Vikram Phadnis: Bollywood has made me whatever I am today

 After starting off as a fashion choreographer, Vikram Phadnis ventured into designing only to realise that it was his true calling. Simultaneously, he started designing clothes for films.
He got his first big break with Hindustani (1996), starring Kamal Haasan and Manisha Koirala. Since then, there has been no looking back for the 48-year-old, who has designed ensembles for almost every top actor in the industry.
Now, to mark his silver jubilee in the fashion world, he will celebrate with a big show that will bring all the people he has worked with, under one roof. Here, he talks to us about his journey, and of course, his association with Bollywood.
You've spent 25 years in the fashion industry. Has it sunk in?
The first 15 years seemed long. But the past 10 years just flew by. Establishing a brand and gaining a foothold in the industry takes time. But I won't call it a struggle; it was a beautiful phase.
Bollywood has been an important part of your journey.
I did films for so many years. I will still never say no to a film I like. But I feel that at the age of 48, it's time to take my brand places. So, I have reduced my film work. I don't want to do films to be part of an actor or an actress' life. I do their clothes anyway for events, etc. Having said so, Bollywood has made me whatever I am today. I wouldn't have completed 25 years in fashion without the support of the film industry.
What is the status of the film you plan to direct?
That's been a dream for many years. There have been many rumours, and many people have been talking about the film. So, I have just decided that I'm not going to say anything about it. I'm just going to roll (start shooting the film). Once that happens, everything will become clear. Announcing a film is the easiest thing to do. Making it and getting it released is another episode altogether. Everything is on track, but it takes time.
Do you think things would have been easier for you if you had started your career now?
Definitely, there were only five designers in the film industry when I started. At that point, if western garments were needed in a film, we used to get them tailored. Today, everything is readymade. You just have to travel abroad and pick them up. It's more about styling a film. Also, fashion weeks have given a lot of exposure to young designers. Earlier, there were no fashion weeks. So, one didn't know where to find new talent. I also think that today there is more competition.
But you are still choosy about the events you participate in.
I can't work under pressure. I can't be in a race to make a position for myself. I have to be happy about what I do. I can't say that if I miss a season at fashion week, I will lose visibility. Yes, I do certain fashion weeks, but I do them for the right reasons.
Are you competitive?
Of course. My nature is such that I don't take my work or myself for granted. I love living on the edge, and I love staying on my toes. I admire other people's work, because I don't want to be foolish to not accept reality. We all have our ups and downs, and that's the beauty of creativity.
Do you feel fashion critics are harsher in their opinions nowadays?
They are. There is so much awareness. So many people are writing about fashion. Critics are harsher, because they want you to deliver your best. But I don't take all that seriously now. Initially, I used to check the comments, but then I realised that maybe these critics are not my target buyers. Now, I just ask myself, "Am I satisfied with what I have put up?" I am my best critic.
Does social media play a role in determining trends nowadays?
In pret and diffusion, social media does dictate trends sometimes, but not in couture. Through social media, everyone knows everything in a split second, but awareness changes every minute. An Instagram post right now is not news 15 minutes later, because something new will come up. So, I enjoy following social media and I involve myself in it because I feel it helps you reach out to a lot of people. But I don't depend on it.
Several designers rue the fact that Indian fashion still does not get the kind of governmental support it requires. What's your opinion?
I agree. This industry needs to be taken more seriously. Most of the production of international labels happens in Tiruppur, Bengaluru, Delhi and Noida. Most of the hand embroidery on international clothing is done in India. But we just don't get the visibility. We need support and infrastructure. There is a big shortage of labour. Who is going to look after the karigars (artisans) in the long run? How will this form of creativity stay alive? These are important questions that need to be answered.