They say it’s the most exciting time to be a woman designer—be it Dior’s Maria Grazia Chiuri, Silvia Venturini Fendi at Fendi, Natacha Ramsay-Levi at Chloé, Clare Waight Keller at Givenchy… How do you feel about this?
'I literally get goose bumps when someone says this. I’m now 32 and I’m at that point in my life when the woman I’m designing for is finally me. As a woman, everything I face in this day and age – whether it’s body image, societal pressures, balancing the personal and professional – it all comes together in the clothes I make. The reigning thought when I design is that everyone should look at the woman wearing a Bodice dress, really look at her and admire her, but also wonder why they are so entranced by her because she is dressed so simply.
It is that powerful, quiet confidence that is encapsulated in the dress. Our clients are mainly women from creative industries, but also lawyers and doctors. They want something formal and Bodice was built on the premise of workwear. The idea was to make something that lets them express themselves but still be taken seriously. They don’t have to try to be men, nor be boxed into being women. So we created clothes that allowed them to express both sides of them, the masculine and the feminine.'
2021 will mark 10 years of Bodice. As you look back, can you talk us through some of your highlights?
‘Winning the Vogue Fashion Fund in 2014 came just after three years of starting the label. I was so young and it definitely wasn’t easy talking in front of an audience, but it taught me confidence and gave me the funds I needed to keep going.
‘I built the Bodice store in New Delhi in 2018 from the ground up. It’s very simple, made with all local materials, and it has an expanse of green gardens and two simple structures. One is a studio where you can see the karigars (handymen) working behind a glass door, and the other doubles up as an event space, and sometimes hosts yoga sessions. I wanted to question and rebuild the format of brick-and-mortar stores. Could we make the viewer experience a collection of clothes differently and change their relationship with clothing? With fast fashion, we have forgotten the human connection and how long it takes to make something. I wanted to rekindle that connection between wearer and garment.