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Kitsch, but cool: Fashion’s tackiest genre turns très chic
Indian designers are re-inventing the game by going beyond maximalist motifs. Oh, it’s still loud and crazy. But there’s restraint and depth too
Kitsch is no longer just your auntie’s living room aesthetic. In 2025, it is fashion’s loudest genre – think temple bells painted on sneakers, street typography on saris, and every neon hue in the visible spectrum. We’ve come a long way from Manish Arora’s idea of sci-fi-sanskari flamboyance of two decades ago. It’s no longer about throwing clashing colours and prints together. It’s no longer playing up the peacock and paisley. Kitsch has grown up. What was once seen as ‘too much’ is now ‘just enough’. And even a glittery gimmick must have a detailed back story, as these experts show.
Looks familiar
“Kitsch is like the loud cousin at the party; bold, a little chaotic, and a lot of fun. It doesn’t take itself too seriously, and that’s its superpower,” says Juhi Melwani, founder and creative director of the eclectic fashion brand Doh Tak Keh (@Doh_Tak_Keh). “Indian kitsch is rooted in our day-to-day visual landscape: Snack packets, store signage, our nostalgia for films. Our maximalism isn’t curated, it’s everywhere.”
But there’s less of the mindless borrowing of the IndiPop and Buddha Bar era. If a motif from an autorickshaw is being reimagined in zari on a furry handbag, each element must have something in common with the other to make a cohesive whole. If colours clash, they must be from a palette that already echoes the same mood but were never considered together. “The result is a style that is both rebellious and reverent, speaking to the past while boldly stepping into the future,” says Shubhika Sharma, founder and CEO of Papa Don’t Preach (@PapaDontPreachByShubhika).
Identity card
Indian kitsch fashion hits different because it’s not trying to be ironic, it’s just being itself. Sharma’s Papa Don’t Preach store in Mumbai sells outfits, footwear, bags and jewellery, plus bridal couture. It’s all a bit extra, but there’s method to the madness. “Our brand’s aesthetic is inspired by fantasy, rebellion and storytelling,” she says. “But there’s also distinct 3D threadwork, metallic embellishments and structured, sculptural silhouettes that set us apart.”
Ishita Verma, founder and head designer at Noida-based brand Capisvirleo (@Capisvirleo) takes a more global approach. The brand’s inspiration is as wide-ranging as the colour palette of the Mona Lisa and Victorian art. It shows up in dresses, co-ord sets, jumpsuits, jewellery, footwear and bags.“The intentional use of colours and prints in our collections makes us hone our look,” she says.
At Doh Tak Keh, it almost seems like they stick their heads out the window for inspiration. “Our style is rooted in the streets of India: Rickshaw decals, vintage Bollywood posters, roadside typography, desi calendars, ’90s nostalgia,” says Melwani. “We’re obsessed with the iconic visuals people overlook in their everyday life. We work them into bold prints, unconventional graphics, and in often upcycled textiles or deadstock materials.” So, mere visual mix-and-match is no longer enough. “Our audience gets the joke, they love the drama, but they also want comfort and versatility. So, we pair wild prints with wearable silhouettes. It’s masala with a side of ease.”
Drama and detail
And it’s no longer about pairing one loud item with another louder one. The look is crazy, but calculated, and there’s a strong focus on craftsmanship. At Capisvirleo, Verma says she’s conscious about holding on to the balance between over-the-top and too-clever. “This only comes from authenticity. You can’t be loud just to be loud. There’s no pretending with it.” Their collections incorporate a boho look, with flowing fits, tie-dye, embroidered kaftans and bright tassles.
If kitsch is more layered now, it’s likely because the current generation has grown up with the internet, and can look up a reference in seconds instead of drawing every motif from memory. Manish Arora’s Fish Fry brand was all the rage in the 2000s – neon Oms, truck art, peacock feathers and mandalas all printed on the same garment. For a generation that was just getting used to 1990s economic reforms, it was enough. Today’s references fill a deeper well. Melwani is clear who she’s designing for: “People who grew up on Bollywood, love a good Govinda reference, and can spot a vintage Natraj pencil box from a mile away. They want to be seen. They crave individuality, irony, and nostalgia. They’re shopping indie, hunting for statement pieces, and laughing at your caption because they get it.”
Diffusion lines
Over the past decade, even the larger fashion world has focused on individuality. Indian consumers seek out brands that have distinctive designs and have unusual stories. This is where kitsch fashion thrives. “It’s allowed labels like Papa Don’t Preach to flourish, as more people resonate with our vision of fearless and expressive fashion,” says Sharma. She hopes that the next step will be for maximalist fashion to merge with conscious consumption.
Kitsch won’t go mainstream – it’s just too loud, designers say. Melwani imagines that the story will get richer still, “with sharper silhouettes, and even deeper dives into Indian pop culture”.
From HT Brunch, April 19, 2025
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