If you grew up in the ’90s, you would have seen Ujjwala Raut on various magazine covers, brands, and ramps, both international and national. As the Femina Look of the Year 1996 winner, she became one of the most well-recognized faces from India in the fashion capital of the world: Paris, and also New York. However, Raut, one of India’s first supermodels, believes the term “supermodel” is highly misinterpreted in the country and explains why their relevance isn’t what it used to be. She also shares insights about her projects, experiences as a young mother, the decline of supermodels, and what she misses from her earlier days. Read the edited excerpts below: Q. You are one of India’s first supermodels. But they no longer exist. What led to their relevance fading away from the fashion world? Ujjwala Raut: Thank you for that. The definition of supermodel is not interpreted correctly in India. A supermodel does a lot more than just “catwalk” –– campaigns, covers, editorials, shows, and also works in other countries. Going global is crucial. The reason they no longer exist in India is that the people who valued models back in the day are no longer in power or position to demand the same things. The reason supermodels no longer exist in India is that the people who valued them are no longer in positions of power. Those who are in charge now are only looking to undercut the talent. In India, it is often quantity over quality. Q. How do you look at your career in hindsight? Did it pan out the way you had envisioned it? Ujjwala Raut: I feel my career is still going on strong because I can pick, choose, and do what makes me, the clients, or brands happy. So yes, absolutely, it has panned out the way I required it to be. I am a working supermodel, and that’s what a good career means –– to be still working and be able to deliver and demand what is needed. View this post on Instagram A post shared by Ujjwala Raut (@ujjwalaraut) Q. Over the years, in what ways would you say has the Indian fashion industry evolved, and how would you describe it? Ujjwala Raut: It has evolved tremendously. Indian designers have earned recognition nationally and globally, and finally, India is getting the recognition it deserves; we are so good with our fabrics, embroideries, karigars, and, fashion sense, elegance, style, and colours. International designers show this on runways worldwide. And now, India can say it’s because of us you all also exist and can have this massive billion-dollar fashion industry. Q. Many of your seniors and contemporaries have chosen alternative careers. What keeps you busy these days? Ujjwala Raut: Being the only Indian supermodel, my schedule is packed with assignments, contracts, and brand campaigns, all while juggling the responsibilities of being a single mother to my 18-year-old daughter. I tend to keep my personal and professional life private since I believe it can be jinxed; I’m quite superstitious. Fashion remains my main focus, but I’ve ventured into entrepreneurship recently, becoming an angel investor in the Food Square business. Exploring various investment opportunities is on my agenda as I aim to broaden my profile. With my daughter’s recent signing with a modeling agency in Milan, guiding her has also become a priority. Q. Do you ever feel that Indian supermodels were never really given their due credit? If yes, why? Ujjwala Raut: Indian supermodels had a great run in the ’90s, but the scene fizzled out as photographers, designers, brands, and agencies tried to replicate the impact of supermodels had internationally, in India. The decline was also since there were not many great faces and bodies you could count as supermodels. Models got burnout from overwork, and underpayment. Many models, including myself, left India to gain the recognition and pay we deserved. A lot of girls from India left and tasted success in Paris, Milan, London and New York. They were not getting the right platforms or recognition here. I, too, went international and earned name and recognition much more than I could have ever done here for Indian designers or brands. I’m very proud that a lot of girls took the same decision after me; they are doing better for themselves. Q. You walked at the Longitude 77 Dubai launch. Tell us about your outfit for the day. Ujjwala Raut: I wore a gorgeous ghagra and blouse by my talented friend and designer Varun Bahl. And I get to do my own thing with it. The outfit is very pretty, subtle, elegant, and very creative and beautiful. Varun is versatile, experimental. He has his way of creating, with subtlety, with that bang he can give. With such an outfit, you need to also have somebody that can bring that out. Q. Since you do not walk the ramp as regularly as you perhaps used to, do you feel jittery/nervous? Ujjwala Raut: Yes and no. Sometimes I feel jittery and nervous depending on my outfit, but I can walk like a supermodel even in my sleep. It doesn’t matter if you do shows regularly or not. I’ve just become very selective about who I walk for and why. Q. Bollywood stars as showstoppers — your views on the same? Ujjwala Raut: The competition is fierce for them. They need to do much more to earn name and recognition. It’s ultimately up to the designers, brands, and Bollywood stars to navigate this dynamic, making compromises for mutual recognition. I think it overshadows the prospect of ‘fashion’ and what a fashion show should mean. Press prefers covering Bollywood too. It works sometimes, most times, it doesn’t. View this post on Instagram A post shared by Ujjwala Raut (@ujjwalaraut) Q. If there is one thing you miss from your heydays, what would that be? Ujjwala Raut: Actually, I don’t miss much because I still see many familiar faces in the industry. However, many of the international designers and photographers I worked with have passed away or are passing away, as they were much older. I started when I was 17. I do miss that. I particularly miss real talents like Emanuel Ungaro, Wendell Rodricks, and Karl Lagerfeld. Having worked with such brilliant, talented, and intelligent people, I miss their presence.
