TV: That show was amazing. I was there, and I was completely floored. It was beautiful, and it felt so rooted in the community. The production was incredible.

SM: It really was. For the collection, I experimented with materials like leather and fuller silhouettes for the first time. It was exciting to build an entire world around the story I was trying to tell and explore so many different techniques and mediums. I feel like I really pushed myself creatively with that collection, and it showed.

TV: I’d love to hear about some of your inspirations—both in design and in life.

SM: For this collection, specifically, I was inspired by Victorian-era garments and structures. I spent a lot of time studying corsetry and cage-like understructures and thinking about the relationship between what’s visible and what’s hidden. A lot of my garments were built through construction techniques that reflected that idea. For example, one dress consisted of more than 20 individual panels sewn together. The same was true for many of the tops. I was interested in piecing together fragments to create a whole, which tied directly back to the theme of identity.

I also focused heavily on hand stitching and craftsmanship. I’m from India, and one thing I’ve always admired about Indian craftsmanship is the incredible attention to detail. You can see the labor, care, and artistry in every piece. I wanted that same sense of intentionality to come through in my work.

TV: Would you say your upbringing in India has influenced your work overall?

SM: Definitely. Earlier in my career, the references were much more literal. Before my thesis, I created collections inspired by Bharatanatyam, which is a classical Indian dance form that I studied for 10 years. For one project, I actually laser-engraved rhythmic dance notation onto garments and built an entire collection around those movements and patterns.

As my work evolved, those references became more subtle. They’re still there, but they’re woven into the silhouettes, materials, and storytelling rather than being direct visual references. A lot of people from my family can immediately recognize those influences, which I think says something.

TV: Have you officially launched your own brand?

SM: Not yet. Right now, I’m focused on gaining industry experience. I recently received my O-1 visa, which was a huge milestone.

TV: Woo! Major congratulations!

SM: Thank you! After graduating, I realized it didn’t necessarily make sense for me to launch a brand immediately. I wanted to learn more about the industry, build relationships, and gain practical experience first. My hope is that all of that knowledge will eventually help me build something stronger when the time comes.

TV: How would you describe your work to someone who has never seen it before? Who are you designing for?

SM: That’s always a difficult question. Most of my creative process starts with personal memories, lived experiences, and emotional connections to places and people. What excites me most is seeing someone connect with a piece and immediately imagine themselves wearing it. When someone can visualize where they’d wear it, how they’d feel in it, or what it means to them, that’s incredibly rewarding.

If I eventually launch a brand, I don’t think it would focus on everyday ready-to-wear. My work naturally leans toward more conceptual and avant-garde territory. What interests me is creating pieces that make people feel transformed, confident, and emotionally connected to what they’re wearing.

TV: That makes perfect sense. I often think about designers like Olivier Rousteing, who talks about designing for confidence and empowerment. Fashion can have a real emotional impact on the people who wear it.

SM: Absolutely. And I think body image is a big part of that conversation. Fashion education can sometimes become very centered around sample sizes. You’re often designing around a standard that doesn’t reflect most people’s realities. Being able to wear pieces from my own collection was actually very important to me. It allowed me to experience the garments firsthand and understand how they felt. I think designers should be able to see themselves in their work.