Rivaaj Couture at 22. What was happening in your life and in the fashion market that made you decide to start the label at that point? Shivani Parakh: It came down to instinct and ambition, and a fairly strong belief that there was room for a different perspective within Indian luxury. I was at a point where I wanted to build something of my own. Something rooted in Indian craftsmanship, but not boxed in by the usual definitions of Indian occasion wear. And the market was shifting at the same time. There was a whole generation of consumers who valued heritage and craft but wanted their clothes to feel contemporary, personal, closer to the way they actually live. So there was an opening to bridge those two things – India’s craft heritage on one side, a more modern idea of luxury on the other. That is really where Rivaaj started. Tradition doesn’t have to sit still. You can interpret it, refine it, make it relevant to a new generation. IR: What did you feel was missing from the Indian occasion wear market when you started Rivaaj? SP: There was certainly no shortage of beautiful Indian occasion wear. What I felt was missing was a stronger balance between craftsmanship, modernity and individuality. A lot of occasion wear was designed around the idea of making an immediate statement with heavy embellishment, elaborate silhouettes and garments associated very strongly with a particular occasion. I wanted to explore what happened when you retained the richness of Indian craftsmanship but approached it with more restraint and considered design. Luxury, for me, isn’t about adding more. It can be a better fabric, finer workmanship, an exceptional silhouette and the detailing. It can be the confidence to let the craft speak for itself. I wanted Rivaaj to feel rooted but not predictable. Elaborate when it needs to be, and just as beautiful when it isn’t. IR: The name Rivaaj refers to tradition or custom. What does that idea of tradition mean to you, and how has your interpretation of it evolved since the brand began? SP: Tradition, to me, is something that evolves with every generation. That is also what the name Rivaaj represents.  Our interpretation of tradition has become much more personal over time. We look at a craft, a motif, a textile or even a cultural reference and ask ourselves how we can translate it into something that feels relevant today. The objective is never to erase the past but to carry it forward in a way that feels natural to the person wearing it. IR: Rivaaj is based in Hyderabad, a city with its own deep history of textiles, jewellery, craftsmanship and royal culture. How does Hyderabad influence the way you design? SP: Hyderabad has a very distinct visual and cultural identity, and that inevitably influences Rivaaj. There is a sense of grandeur in the city’s history, but there is also an incredible softness and romance to it, such as the architecture, the jewellery traditions, the old-world interiors, the food, the colours and the culture of celebration. The city’s relationship with craftsmanship is particularly inspiring. Hyderabad has always had an appreciation for detail and refinement, and I think that sensibility finds its way into the brand. At the same time, being based in Hyderabad gives us a perspective that is different from designing from the more obvious fashion centres. We are surrounded by heritage, but we are also designing for a very contemporary, globally exposed consumer. That contrast is something I find creatively exciting. IR: Rivaaj is an independent label competing in a market with increasingly sophisticated Indian luxury and occasion wear brands. What is your strategy for carving out a distinct position? SP: Our strategy is to build a very clear point of view rather than trying to compete by doing more of what everyone else is doing. The foundation is craftsmanship, but the expression is contemporary. We want the brand to be recognised for its distinctive design language, its attention to detail and the way it approaches Indian textiles and techniques. We are also very conscious about building a brand. The world around Rivaaj needs to communicate the same sense of considered luxury. We also have the advantage of being able to remain agile. We can experiment, listen closely to our clients and evolve without losing the core identity of the brand. Ultimately, I want Rivaaj to occupy a space where the customer chooses us not because they need an Indian outfit, but because they specifically want a Rivaaj piece. IR: Do you see an opportunity for Rivaaj to build a presence in other Indian cities or internationally? SP: Absolutely. Indian luxury has a much larger audience today, both within India and internationally. There is a growing Indian diaspora as well as a global consumer who is increasingly interested in Indian craftsmanship and design. We see an opportunity to take Rivaaj to cities where there is an appreciation for luxury, craftsmanship and culturally rooted design. But expansion for us will be thoughtful. We want every new market to feel like a natural extension of the brand rather than simply adding locations. India itself also has enormous potential. Cities such as Mumbai, Delhi, Bengaluru and Chennai have very different consumers and cultural ecosystems, and understanding those nuances will be important as we grow. IR: Are there particular Indian crafts or regions you haven’t explored yet but would like to bring into the Rivaaj vocabulary? SP: There are so many. India has an extraordinary depth of craftsmanship, and I think we have only begun to scratch the surface. I would particularly like to explore more regional weaving traditions, lesser-known embroidery techniques and crafts that haven’t necessarily been positioned within contemporary luxury yet. We are interested in discovering crafts not only for their visual beauty, but also for the stories and communities behind them. There is also something exciting about taking a craft that has historically been associated with a very specific garment or region and finding a completely new context for it. That process of discovery and reinterpretation is something I want Rivaaj to continue doing. IR: What would success look like for Rivaaj beyond revenue, store numbers or geographic expansion? SP: Success would be for Rivaaj to become a brand that people feel emotionally connected to. I would want a Rivaaj garment to become something that is kept, remembered and eventually passed down. I also want the brand to contribute in some way to keeping Indian craftsmanship relevant. If we can create demand for traditional techniques while giving artisans the opportunity to work within a contemporary luxury environment, that is meaningful to me. And ultimately, success would be seeing Rivaaj develop a recognisable identity of its own—where someone can see a garment or an image and immediately understand that it belongs to the world of Rivaaj. For me, the long-term ambition is to build a modern Indian luxury house with enduring design language and a legacy that extends beyond individual collections. Further reading: Avani K Chandan on scaling The House of Ara in India’s ready-to-wear market.