Masaba Gupta on bridal red, bold choices, and being a House of Masaba woman

Unconventional in every sense of the word, Masaba Gupta is proud of the tag. In the most candid colloquy, the fashion designer, entrepreneur and jewellery designer—the latest feather in her cap—opens up about the privilege of being raised by a famous mom, working 10 times harder and what it means to be a House of Masaba woman.

Brides Today: Indian weddings appear to be hitting their peak pastel phase. Yet, Masaba Bride veered more towards red…

Masaba Gupta: We could have trends around ivory, beige or pink, or brides could pick an off-beat colour like green, but I’m certain these are fads. Bridal red will always stand the test of time. It’s not just a vibrant colour but something that holds a strong significance in our culture. The vibrant sindoor red is also one of our brand colours. Even our store façades and a large part of our interiors are predominantly red because I consider it a very powerful colour.

BT: What kind of a bride were you?

MG: I was a very relaxed bride. I’m a meticulous planner, so I had everything in order well in advance. I knew exactly who I wanted to shoot with, who I wanted for hair and make-up, my outfits, the colour palette and even the backdrop. I knew for certain that I wanted an intimate wedding and to create memories through photographs instead of videos. For the reception, I wore an Alaïa dress that I had had my eyes on for a long time. It was all in my head with no mood boards, but it translated into reality beautifully because I worked with my usual people. I was more interested in the food we served, so that’s the kind of bride I was! I also wanted it to be a soft launch for the Masaba Bride collection. So the pink barfi lehenga I wore introduced people to what they considered bridal later in the year.

BT: How has the wedding industry—brides and their preferences, in particular—changed in recent years?

MG: The one significant difference we see is in the bride’s demeanour. She was once shy and expected to conduct herself in a certain way, but today, she’s more outgoing, extroverted and calls the shots for her big day. Makeup and styling have become minimal. Even hairstyles, necklines and sleeves aren’t dictated by anyone else; it’s become all about personal expression. I find that empowering because it means fashion has also had to turn itself on its head and offer brides more options.

BT: Your designs have their own varied language. How would you describe the quintessential House of Masaba woman?

MG: She can’t be defined as she is ever-evolving and on a quest to rediscover her own style without letting anyone dictate her look. And this is more than just a statement. Dictating the way a woman speaks, even details like the kind of handbag, footwear or make-up she chooses… We’ve somehow let society create a manual of sorts. A House of Masaba woman has no manual. She’s a creature of comfort, someone who is well traveled, well read and has a great eye for everything around the world but is also very India proud.

BT: Given that the Indian consumer is considerably dynamic, how open is your audience to experimentation?

MG: Our audience is possibly the most experimental in the bridal and Indian design market. We have a lot of consumers who come asking for something new and out of the box every two months, which keeps us on our toes consistently. This is great as it makes our job a lot easier with people constantly telling us what they want, knowing that our label can cater to their experimenting. They know we play a lot with silhouettes, colour, shape and form, but at the same time, there’s always something for those who prefer to dress safe.

BT: How would you describe your most recent ‘Kinda Kooture’ and ‘Festive’ collections?

MG: ‘Kinda Kooture’ was possibly my biggest passion project because I was eager to create something that elevated the ready-to-wear segment of the House of Masaba. Print and motif will always be a part of our DNA, but I wanted to take it up a notch. We are not trying to set a new tone or present something entirely new. Instead, we’re evolving with our consumers while staying true to who we are.

BT: You named your beauty line ‘Lovechild’ because that’s how you were often referred to, growing up. How much of such references and being brought up by a single mom shaped your personality?

MG: Lovechild was a much more positive influence than a negative. A lot of my approach to design and being an entrepreneur comes from having been raised by a single mom. But I’m always aware that I was raised by a single famous parent in a slightly more privileged household. I don’t try to mask it. The idea is to acknowledge it, to appreciate it and honour it by working 10 times harder.

BT: In a recent interview, your mum spoke about how you aren’t getting to play the kind of roles you want because you don’t look like Bollywood’s run-of-the-mill actresses. Do you think there’s scope for change given the wide range of OTT content?

MG: I never have a bone to pick with mainstream Bollywood casting the same people because that’s what the audience wants. The biggest directors and producers cast the same actors because they attract an audience. In this environment, OTT serves as a vehicle for people to experiment and cast actors like Vikrant Massey, Jaideep Ahlawat or Nawazuddin Siddiqui in breakout shows like Sacred Games and Mirzapur. Being a businessperson, I understand this template of prioritising commerce, but as a creative force, I believe in blending it with art for the best possible outcome.

BT: It’s year 15 since you ventured into fashion. What kind of challenges did your label face? Also share some milestones that stand out in your journey.

MG: The most challenging period was definitely 2015 and then 2020. The former was tough because we were trying to revamp the label and find a new voice. That’s when we started doing occasion wear. Any transition is challenging because we don’t know whether it’s the right step. The pandemic was particularly rough because I was thinking of liquidating everything and starting afresh just 10 years into being a designer. I never imagined having to make decisions of this nature so early in my career. In hindsight, it’s possibly the best thing that could have happened to me because I’m not the same person anymore.

BT: What’s in store for 2024 both in your professional and personal life? A new collection for the upcoming wedding season, perhaps?

MG: Well, 2024 is a big year. We have our first massive standalone bridal store opening in Delhi. We launched a new bridal collection last month. The second leg of ‘Kinda Kooture’ will drop later in the year. Overall, there’s a lot of things happening on the Lovechild front, too. We have a great brand extension planned and many more products launching in the festive season.

This article first appeared in the June-September 2024 issue of Brides Today.

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