Rohit Gandhi and Rahul Khanna’s ‘Noir Botanica’ explores nocturnal botany and the moody glamour of old Parisian interiors. The collection fuses organic forms with architectural precision, using cording, zardozi, appliqué, cutwork and metallic finishes in a restrained palette of black, charcoal, oxidised silver and olive to define a new, quietly opulent vision of after-dark luxury.
Black is back! It's also deep, dark and as sexy as it gets! Just ask Rohit Gandhi and Rahul Khanna who turned to the hue in their new collection, 'Noir Botanica'. Inspired by Art Nouveau and the grandeur of historical ornamentation, their ensembles spun mystique as they took cues from nature, architecture and sleek cuts to make for an assemblage that we see fitting perfectly into the upcoming social season. In a preview at Galeries Lafayette, Mumbai contrasts made for the play: softness against structure, intricate handwork against industrial surfaces, and organic forms sharpened into architectural silhouettes.
Wondering what the design language spelt? Botanical and ornamental references were interspersed with cording, hand-thread embroidery, zardozi, appliqué, cutwork, fringing and metallic finishes, along with a monochromatic palette of charcoal, gunmetal, oxidised silver, white and black, giving the collection an edge.
"We were drawn to the nocturnal quality of botanical forms, the way flowers, foliage and ornament take on a different character when seen after dark, but we were equally interested in the darkness of old Parisian interiors, architectural ornament and the decadence associated with evening culture," reveal the designers.
They chat with Manifest about their new collection and why they hope it will encourage a broader understanding of what after-dark luxury can be today.
Rohit Gandhi and Rahul Khanna (RGRK): Abyssal was rooted in the quiet, fluid world beneath the ocean, its craftsmanship was about depth, diffusion and the gradual revelation of form. With Noir Botanica, we moved towards something more tactile and architectural. Botanical and ornamental references gave us the opportunity to work with definition and surface intervention through cording, hand-thread embroidery, zardozi, appliqué, cutwork, fringing and metallic detailing.
The shift is really from the fluidity of water to the structure of land; from forms that appear to emerge and dissolve, to forms that are preserved, fragmented and rebuilt with greater physicality. The craftsmanship therefore becomes more pronounced, dimensional and sculptural, while still retaining the restraint that is intrinsic to RGRK.
(RGRK): For us, the organic does not sit in opposition to the architectural; it gives us another vocabulary through which to explore it. In Noir Botanica, we deconstructed botanical forms into their essential lines, curves and fragments, and then translated them through our more precise, engineered language.
A fluid stem could become a geometric line, an ornamental motif could be broken into structural segments, and embroidery could follow the contours of the body rather than simply decorate the surface. The tension between the two is what makes the collection distinctly RGRK; the softness and irregularity of nature disciplined through precision, proportion and structure.
(RGRK): Noir Botanica came from our desire to explore darkness not as something literal or ominous, but as an atmosphere; one that allows form, texture and detail to emerge more slowly. We were drawn to the nocturnal quality of botanical forms, the way flowers, foliage and ornament take on a different character when seen after dark, but we were equally interested in the darkness of old Parisian interiors, architectural ornament and the decadence associated with evening culture. While Noir Within explored darkness in a more introspective and personal way, Noir Botanica looks outward; it is more sensual, atmospheric and celebratory. It is less a story of survival or mystery and more an exploration of what happens when nature, architecture and the human form are viewed through the lens of night.
(RGRK): We approached botanical elements less as literal representations and more as forms to be deconstructed and re-engineered. Leaves, petals, thorns and stems were reduced to their essential lines and translated into fragmented embroidery, cording, appliqué and metallic detailing, allowing them to become part of the garment’s structure rather than simply motifs placed on the surface. Crystals and metallic elements were used selectively to accentuate these forms, creating shifts in light, relief and texture. The intention was to retain the organic irregularity of nature while giving it a more precise, architectural finish, so that something as delicate as a petal or thorn could acquire a distinctly sculptural presence.
(RGRK): The palette remains deliberately nocturnal, but we wanted to introduce colour in a way that felt nuanced rather than disruptive. Alongside our signature blacks and charcoals, we introduced oxidised silver, gunmetal, chalk white and, importantly, olive, a more unexpected botanical note that brings a subtle sense of life into the darkness. The metallic tones are particularly important because they catch and reflect light across the embroidery and surface work, allowing the garments to reveal themselves through movement. Rather than breaking the night canvas with overt colour, we wanted the palette to feel as though it was slowly emerging from the darkness.
(RGRK): If we had to put a face to the Noir Botanica individual, it would very naturally be Vijay Varma. In fact, that sensibility was part of why we wanted him to close the presentation at Galeries Lafayette. He embodies the world we had imagined, effortless intrigue, sophistication, quiet magnetism and a distinctly modern edge, with an old-world cinematic quality that feels very at home within the collection. For us, Vijay has always been more than a familiar face; he has been a muse whose individuality, attitude and innate sense of style resonate deeply with the RGRK language. He represents the kind of man we envision wearing Noir Botanica, not because he seeks attention, but because he possesses a presence that naturally commands it.
(RGRK): Noir Botanica is very much rooted in the idea of quiet opulence, where luxury is communicated through craftsmanship, proportion, texture and the intimacy of detail rather than through excess. Our embroidery and surface work can be intricate and highly dimensional, but it is deliberately contained within a restrained palette and considered silhouettes. We wanted the richness to reveal itself gradually, through movement, light and proximity. For us, that is what makes modern evening wear feel relevant: it has presence and occasion, but never feels burdened by ornamentation.
(RGRK): In many ways, Noir Botanica required both control and surrender. The architectural foundation of the collection demanded precision in silhouette, proportion and construction, but the botanical references introduced a certain unpredictability through their organic lines, irregularity and movement. We allowed that tension to remain rather than trying to resolve it completely. Embroidery, surface textures and layered elements were given room to evolve on the garment, while the overall silhouette remained carefully controlled. For us, that balance is what makes the collection feel alive: the discipline of tailoring and construction meeting the freedom of nature.
(RGRK): We hope it encourages a broader understanding of what after-dark luxury can be today, not necessarily louder or more embellished, but more considered, immersive and personal. With Noir Botanica, we wanted to create an evening wardrobe that feels sophisticated without being overly formal, sensual without being overtly provocative, and richly crafted without losing its sense of ease. The presentation at Galeries Lafayette was an extension of that idea, a night where fashion, atmosphere, music and people became part of the same experience.
(RGRK): When we began with H2O in 1997, menswear was far more prescriptive. There were fairly fixed ideas of what a man should wear, how he should present himself and what constituted sophistication. Today, the modern man has far greater freedom to define that for himself. He is more conscious of proportion, fabric, fit and detail, and is increasingly comfortable exploring elements that were once considered unconventional, whether that is fluid tailoring, jewellery, colour, embellishment or a more expressive silhouette.
For us, evolution is not really about the idea of the “metrosexual man” anymore; it is about a man who is comfortable with his individuality and understands that dressing well is an extension of his personality, rather than a performance of masculinity.
(RGRK): The mantra has always been to evolve without losing sight of who we are. Fashion is constantly changing, but a strong design identity should have a continuity to it. We have remained relevant by staying curious, absorbing what is happening around us, questioning our own vocabulary and being willing to experiment, while remaining uncompromising about craftsmanship, fit and the integrity of the RGRK aesthetic. For us, longevity comes from knowing what to preserve and what to challenge. You have to respect your heritage without becoming defined by it, and keep giving people a reason to discover the brand anew.
(RGRK): Our aesthetics align at the level of instinct, but we don’t necessarily approach every idea in exactly the same way and we think that difference is important. Over two decades, we have developed a shared understanding of what feels distinctly RGRK, from our emphasis on precision, proportion and craftsmanship to our love for understated drama. Within that framework, there are often different interpretations of how far an idea should be pushed, and those conversations are what ultimately strengthen the work.
We challenge each other, question each other’s first instincts and, more often than not, arrive at something that neither of us would have reached individually. That constant dialogue has been one of the most valuable parts of our partnership.