A long journey! I just find it very odd and sometimes funny that I come from a small village in South Kerala [Kollam] with no exposure to fashion. However, my dad used to do artwork for local commercials, which inspired me to sketch and visualise things from a very young age.
In 2016 right after graduation from the National Institute of Fashion, India, I started assisting International Woolmark Prize winner Suket Dhir in New Delhi, opening many possibilities and learnings. I believe I learned more than what I learned from BA in just six months at his atelier, and it set the right environment. In 2017, I accidentally got into the London College of Fashion while accompanying my partner for her interviews. Fast forward, and now I make balloon pants for a living!

My creations are about forging a different reality. They let me perceive the world differently, more like from another viewpoint entirely detached from the stereotypical notions of the human perspective, arousing curiosity.

I believe it comes from being exposed to many cultures, both from a geographical point of view and a material culture point of view. Today when I see things, I can perceive them from multiple perspectives simultaneously; these perspectives reflect my work.

Oh! It would be difficult to describe my material choices as they are momentary, and it constantly shifts. However, I try to appreciate everything and try a lot to master as many materials as possible. For example, I never thought I would work with a material like latex, which always has a fetish aspect associated with it, but now I appreciate the fabric very much, and we get along really well. As far as my process is concerned, I appreciate forms and their beauty. So be it anything in front of me; the form is the first visual aspect that reaches my eyes second to materiality.

When I think to create, I try to stretch the boundaries or the perception of boundaries that we give ourselves. The first idea about the trouser came from this humorous thought of visualising me from my dog's perception, and that one thought led me from the venuses of Willendorf to Bauhaus to Jean-Paul Goude.

The whole process of creating a collection is the struggle between challenges and surprises. One side is about making something accessible and based in reality, and then the other side is to create an emotion and make something that I am excited about when I see it. Sometimes I just wonder if it ever goes well. While working on concepts, one day, I think something is the most amazing thing, and then a few days later, it's the worst or has been done before.
Answering your question, I just came to London after a year break to work on the following collection, so hopefully in the next six months.

Back in 2020, when I launched my collection, it was the beginning of the pandemic, and the world was sad. Yet that collection put a smile on a lot of faces. So for me, that's just the idea. Nobody cared about the material or the technicalities; all they saw was this image, and that's my style — an image-making approach to fashion, appreciating forms around the body, interplaying reality and fantasy yet keeping it approachable.

I believe both practices are, in a way, about storytelling. I am not a stylist by profession, but I try to mix various visual elements that are quite contrasting within my work.

Honestly, I am still seeking what fashion is and is about. Being a designer means a never-ending inquest about everything around. However, today, I look at Fashion from two perspectives: A maker and an image creator, and I always try to balance these two aspects in my work and my practices.
Before this collection, my perception of fashion was from a mere product point of view; however, after it, I realised it’s so impactful that you can directly influence someone's emotions in that space of time. You can make someone excited or make them hate something just in response to your creations.

Absolutely no clue! I count days.