UNRAVELLING UTKARSH AHUJA THE MAKING OF MATSYA

With craft-driven innovations and modern royalism reinterpreted, Utkarsh Ahuja has carved a singular space for his brand. The designer takes Brides Today inside the world of Matsya, where symbolism and storytelling shaped one of Indian couture's most distinctive voices.

- SHRADDHA CHOWDHURY

Vintage Lotus Pond. The Royal Tree Of Life. Tuscan Paradise. Patchouli Palace. Roman Bouquet... With such monikers, it’s unsurprising that Matsya’s intricate works of art are inherently inspired by the idea of modern royalty. A name that evolved from a B2B background in manufacturing Indian wear and textiles, to trading out of Chandni Chowk in Delhi, followed by white labelling ready-to-wear, Matysa has made an indelible mark in the world of luxury bridalwear, further expanding into global prêt, accessories, menswear, and homeware. Founder and designer Utkarsh Ahuja lets us into their world of weaves and wonders.

Brides Today: Matsya has grown into a distinct voice in Indian couture. How has your design language evolved since the brand’s early days? Was there a collection, or moment that defined your aesthetic?

Utkarsh Ahuja: The first few years since 2014 was all about experimenting and creating a new language of couture. Although, one thing was clear from the onset: we wanted to build a brand that embodied modern royalty, retaining symbols of the past, rooted in the fine qualities of craftsmanship without compromise, yet representing something that could cater to a new generation of consumers.

The first defining moment was our 2017 campaign in Ukraine [pictured here]. We were lucky to be able to see the country in full bloom. Our ivory and blue lehengas, with contrasting dupattas, were unusual for the time and didn’t find takers in the market, but we didn’t deviate from it to enter the mainstream. So this whole campaign guided what our couture would look like, going forward.

The other such instance was when we went slightly more mainstream with our luxury non-bridal prêt. The campaign, shot at Karauli Palace just before the pandemic, found more commercial success.