Sabyasachi Mukherjee’s New York store has been in the works for more years than you know

From Calcutta to New York, what does it take to become a global design icon?

A patchwork cushion cover lying on the couch in my house was purchased sometime around 2005 at a pop-up in Kolkata. Made out of blue khadi, and  block-printed with a strip of Benarasi fabric, the label bears the name of the designer in Bengali—‘Sabyasachi for CIMA’.    

Sabyasachi Mukherjee has been a household name in India for many years and, now, overseas. A quick look at his ‘Brides of Sabyasachi’ Instagram page and it becomes clear who the Indian diaspora’s most preferred choice for their go-to wedding designer is. 

Mukherjee first took the Indian aesthetic international with his collection at Browns, London in 2004. His collaborations over the years with Christian Louboutin, Pottery Barn and H&M were all sold out, and the handcrafted fine and bohemian jewellery pieces he designed for Bergdorf Goodman New York fetched him ₹ 16.6 crore in the first round of sales. Back home, Sabyasachi stores were popping up in almost every city—each telling a story, allowing the customers to sink into Mukherjee’s fantastical world. 

 

For a generation of women, Mukherjee remains the designer who gave them saris in vibrant textiles with embellished patchwork borders—from khadi to Benrasi—steeped in Indian heritage. Mukherjee masters the intrinsic details of the business of fashion and has stellar marketing skills—courtesy of his storytelling, often transporting listeners to a Calcutta of yesteryear. In the fiscal year of 2020, the fashion house reported a revenue of ₹ 274 crore.

Today, Mukherjee takes his brand global with the launch of a 5,800 square-foot flagship store in New York’s West Village, at a Romanesque Revival building. The Established caught up with him about his new venture and the journey that has brought him here. 

 

 

From stocking at Browns to having your own store in New York City – how has Sabyasachi, the brand, and Sabyasachi, as a designer, evolved?

I was always upset by the fact that while India has such a deep history of luxury, we weren’t seeing Indian luxury brands proliferate the market. I knew early on that I wanted to change this by creating a design narrative that was not only entrenched in heritage and craftsmanship but could also be made relevant to our lifestyle today. It was on a flight back to India from New York Fashion Week that I realised that I was doing this all wrong. I got a great response when I was selling at Browns and Selfridges. But it didn’t feel right. I realised that I had to first own my space in my own country and create a brand that was authentically Indian before I took it to the world. And now the time has come. 

 

 

You have built your brand on strong Indian aesthetics and are favoured amongst NRI brides. But your New York edit appeals to a more diverse audience—how do you see yourself managing both aesthetics?

There’s an absolute exuberance in being able to expand the Indian aesthetic for a more global audience. I think when you know who you are—both as a designer and design house—it’s more an extension than a transition. The New York edit is still rooted in the same principles of heritage, craft and craftsmanship, and a certain clarity that comes from the authenticity that frames the brand. I create modern heirlooms—it could be a trench, a necklace or a sari. 

 

 

What’s the most challenging thing about being a designer?

Realising that you don’t have to be ruled by trends or hashtags. It’s a lesson I learnt early on.  

You’ve seen success in your jewellery line, your international collaborations and your H&M collection. Why did you decide on setting up a permanent store as opposed to doing limited editions?

I have always collaborated with like-minded spaces and brands, and I will continue doing so. There’s a certain excitement involved in these cross-cultural collaborations; they are very invigorating. But most collaborations aren’t permanent and I think Sabyasachi was ready to make its mark in the global luxury landscape on its own. I think it is also high time that an Indian luxury brand made its way into the global luxury landscape. 

 

Designers from Brazil, Asia and the Middle East have already made an impact on the global scene. While we have seen some success stories coming from India, why do you think it has taken so long for the international audience to discover (and admire) Indian fashion?

To appreciate and discover any brand, irrespective of geography, you have to be present in the global market. I think while there is a lot of admiration for Indian crafts and craftsmanship, there are barely any Indian luxury brands, even within India. I do believe this will change and we will create a big impact in the years to come. After all, there is nothing rarer right now than the finest of craftsmanship—that is true luxury. India has a massive heritage and legacy, but to create a luxury brand you also need  perspective and a strong design aesthetic that is not driven by trend and time but can stand the test of time. 

From a visual/decor perspective, your stores in India have a unique identity. How is your New York store different?

Each store experience is distinct but there is a consistency across all of them. I think it comes from the spirit of Calcutta, and that is so beautifully embodied in the old homes and palaces of the city. It’s where art, culture, craft, heritage and history come together seamlessly. It’s layered together in this almost heady mix, where legacy meets a certain intellectual sense of modernity. And yet each is distinct and unique; there’s a certain site specificity to it. Each space and location renders a certain je ne sais quoi that is its own. The store in New York became almost a metaphor for the journey from Calcutta to New York.