Editorial and On-Screen Menswear Styling
I craft visual narratives where clothes become the primary character. From magazine covers to high-energy film sequences, my design process focuses on how fabric interacts with light, movement, and the camera.
Being featured in GQ’s Best Dressed list was a moment of recognition for a style I consider deeply personal and authentic. Here I am with a group of incredible creatives, wearing a longline coat that reflects my belief in organic, evolving fashion.
A behind-the-scenes look from the GQ Best Dressed shoot. The energy on set was about celebrating individual expression, a core tenet of my design philosophy.
A quiet moment captured during the GQ shoot. The contrast of the black and white suits here speaks to the duality I often explore in my work: structure and fluidity, light and shadow.
For Aditya Seal's FHM India cover story, I designed this look to feel both relaxed and luxurious. The printed tuxedo jacket is paired with a silk shirt and patterned trousers, creating a cohesive statement that is effortlessly cool.
A closer look at the styling for Aditya Seal's FHM feature. The paisley print tuxedo jacket, with its intricate details and modern cut, sits at the intersection of casual charm and formal elegance.
This full-length shot from the FHM India cover shoot shows how the entire ensemble comes together. The relaxed posture and confident styling reflect a modern approach to men's formalwear.
Another angle of the FHM India look, highlighting the interplay between the bold patterns of the tuxedo and the fluid lines of the trousers. It's a look designed for a man who is comfortable making a statement.
I handcrafted this debonair black suit for Arjun Tanwar's HELLO! Magazine digital cover. The design features classic broad lapels, but the shoulders and pockets are adorned with dazzling stones and beaded tassels for a touch of dramatic flair.
On the set of the "Tauba Tauba" music video with Vicky Kaushal. My designs for this project were focused on creating a strong, modern aesthetic with bespoke pieces like this structured biker jacket.
A powerful shot of Vicky Kaushal in my bespoke couture from the "Tauba Tauba" music video. The all-black look, sharp tailoring, and dramatic lighting all contribute to the commanding presence required for the screen.
About Editorial & On-Screen
When designing for the lens, traditional tailoring rules shift. A garment that looks sharp in a mirror often fails under studio lights or heavy motion. For my on-screen work, I prioritize structural integrity and fabric density—using methods like half-canvas construction and reinforced metal accents—to ensure the silhouette holds its shape through every angle. Whether for a film set or an editorial spread, I build pieces designed to exist within a frame.
Editorial and screen work demands a different approach than everyday wear. It is about psychology as much as it is about tailoring. When I work on projects like the Tauba Tauba music video for Vicky Kaushal or magazine covers for FHM and HELLO!, the goal is to make the garment perform for the viewer.
I analyze how texture catches the light and reacts to the camera. My process starts with deconstructing the requirement—what is the mood, what is the motion—and then rebuilding the garment to support that narrative. If a character needs to move, the jacket is engineered with specific armholes and flexible fabric blends. If a scene is static, the focus shifts to intricate surface detail like metal studs or zardozi embroidery that pops under harsh studio lighting.
This is where the 'organized chaos' of my studio enters the room. I often mix materials that do not usually sit together—leather with wool, or heavy silk with industrial zippers—to create contrast. It is not just about clothes. It is about framing a personality. My goal is to ensure that when the shutter clicks or the camera rolls, the outfit acts as a central part of the story.
Saggar Mehra
I’m Saggar. I treat menswear as a canvas to explore the intersection of art and design. My work is not about following trends; it is about deconstructing what is expected and building something that forces a reaction, whether you are on a film set or a red carpet.
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