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Maximalism has always been less about excess and more about intention, and few Indian designers understand that better than Shubhika Sharma, the founder and creative force behind Papa Don’t Preach. Launched in Mumbai in 2010, the brand has steadily carved a cult following for its fearless aesthetic: bold colours, playful irreverence, and an unapologetic rejection of restraint. Rooted in creative rebellion, inclusivity, and conscious luxury, Papa Don’t Preach speaks to people who dress instinctively.
We caught up with Shubhika at the brand’s Dhan Mill flagship in Delhi, on the occasion of her new high jewellery launch, a natural yet significant evolution for a label that has long championed self-expression. Fresh from her own wedding, Shubhika designed her bridal jewellery herself, an experience that quietly reinforced a belief she has held for years: that a look is never complete without accessories. “I always wanted to build a brand that could dress a person from head to toe,” she shared, referencing the brand’s journey through shoes, bags, embroidered costume jewellery, and now, fine high jewellery that carries the same maximalist soul.
Papa Don’t Preach promotes a philosophy of gender-fluid, size-inclusive, cruelty-free, and artisan-focused, which has always been about empowering people to show up as their most authentic selves. In 2026, there seems to be an appetite for going all out, embracing emotion, identity, and individuality without apology. In many ways, this return to maximalism feels more like a correction. For Papa Don’t Preach, it has always been the point. Under RR Recommended, Shubhika shares five homegrown names that, like her own brand, celebrate maximalism.
Part fashion house, part art practice, Bobo Calcutta is the deeply personal universe of multidisciplinary artist Ayushman Mitra, aka Bobo. Rooted in Kolkata yet shaped by global exposure, the brand thrives on storytelling where mythology, queerness, heartbreak, sexuality, and animals coexist on hand-embroidered garments that feel closer to collectible art than trend-driven fashion. Prints are born from Bobo’s paintings and brought to life by artisans in Kulia village, making each piece a labour of love. Maximalism here is emotional and layered, worn as self-expression and quiet activism.
Founded by sisters Kaabia and Sasha Grewal, Outhouse has redefined statement jewellery in India with its sculptural, fashion-forward approach. Drawing from global cultures and dramatic silhouettes, the brand treats every piece as a conversation starter. From red carpets to pop culture moments (including Tyla’s recent appearance in their Le Palm Wildborne choker), Outhouse understands the power of accessories to transform a look entirely with confidence.
Designer Akshat Bansal’s Bloni approaches maximalism through an intellectual, future-facing lens. With a foundation in anthropology, biomaterials and emerging technologies, the brand blurs time, melding archival textiles with experimental forms. Gender-agnostic and anatomically conscious, Bloni challenges how clothing interacts with the body and identity itself. It is maximalism not of colour alone, but of concept: layered histories, materials, and ideas coexisting in garments that feel both radical and deeply considered.
What began as a journey back to roots for Amrit and Mriga has evolved into one of India’s most culturally resonant design platforms. NorBlack NorWhite thrives in the “grey space” of culture, where Indian craftsmanship meets global street sensibility. Known for vibrant prints, relaxed silhouettes, and an unshakeable community ethos, the brand’s maximalism is joyful and lived-in. It celebrates home, friendship, and outward movement, proving that bold design can still feel deeply personal and intuitive.
Artist, designer, and cultural provocateur Param Sahib embodies maximalism as resistance. Through loud colours, unapologetic visuals and a fearless merging of Sikh identity with queer expression, Param challenges stereotypes around masculinity, religion and sexuality in India. His work is digital, sartorial, and deeply autobiographical, using excess as optimism, reclaiming visibility and joy in spaces that often deny both. Maximalism here becomes armour, healing, and truth-telling all at once.