The truth behind the global love for desi design

Mishra’s collaboration with Italian luxury brand Tod’s, for example, saw high-profile events in London and Dubai, while Sabyasachi x Estée Lauder’s limited-edition lipsticks was sold in nearly every fashion capital city, accompanied with on-ground events. Anamika Khanna’s H&M collection sold out within minutes in multiple markets, receiving international media attention.

Mishra says, “Just like there was a time for Japanese design, India is now in the mainstream—whether it’s in films, television, fashion or art. Apart from the appreciation for our aesthetic sensibilities, there is now a lot of credit being given to Indian craftsmanship. It’s also a way for Western brands to express gratitude for India’s contribution to the global luxury industry." This recognition is long overdue, given that Indian artisans have been producing work for international fashion houses for decades. But it is commerce that’s truly driving this newfound love for Indian design.

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When luxury brands first entered India, they were often unwilling to adapt their marketing strategies or products to suit the local market. But Indian consumers weren’t willing to accept whatever was offered simply because it was western.

Unlike China, where western fashion was more easily adopted, India has continued to embrace its traditional clothing while also developing a keen understanding of international fashion trends. Consumers here are discerning, supporting both homegrown talent and high fashion from abroad.

Now, with markets cooling off in China and Europe and the Indian market on the rise, attitudes are changing. Today Mumbai is the global capital of billionaires. According to Bain & Co., India’s luxury market, which includes personal luxury goods, jewellery, home décor, cars, boats and spirits, is now worth $17 billion and is expected to grow to $90 billion by 2030. This economic growth, paired with India’s cultural significance, has made it impossible for international brands to ignore the country.

Phyllida Jay, anthropologist and author of Inspired By India: How India Transformed Global Design (2022), notes that the global luxury market slowdown is making C-suite executives take a keener interest in India. She views this shift as “a clever strategy for greater brand visibility and expansion in India". Beyond business, Jay believes it’s a positive development for Indian creativity and international fashion.

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“They offer the chance for beautiful cross-cultural conversations," says Jay.

Two sides of the creative coin

For Indian designers, these collaborations not only offer them exposure to a global audience but also a chance to work with super brands that have extensive supply and marketing systems and an opportunity to work with new materials.

Talking about his Tod’s partnership, Mishra says, “It was important for us to put our best foot forward in terms of quality. We have ensured that the embroidery doesn’t impact the flexibility of their leather and feels both delicate and durable for its specific kind of use. It compliments their classic silhouettes while it also shines as itself—doing justice to their legacy and our identity was important."

It is a learning experience that helps designers push their own boundaries of creativity.

For international brands, these collaborations provide them a deeper understanding of Indian dressing culture.

As Anamika Khanna explains, “It offers a wonderful opportunity for international brands to not only bring a fresh perspective to their collections but also to learn and appreciate the intricacies of Indian culture. It’s a win-win, as we’re able to share our rich heritage, while they can incorporate that authenticity into their own designs."

More collaborations are expected to be announced in the next quarter.

Jay’s wishlist collaboration designers include Gaurav Gupta, a label whose aesthetic she believes would work well with accessory labels like Jimmy Choo. She also suggests Amit Aggarwal as a great choice for a beauty brand. “Imagine the concepts, the colours, and the packaging; it would be divine. Lovebirds also offers a modern, refined take on Indian design," she says.

Jay hopes future collaborations will move beyond clichéd Orientalist motifs and showcase the full diversity of India’s design traditions. She encourages brands to collaborate with smaller labels and master artisans who possess a deep knowledge of technique and aesthetics.

It is when international labels begin to adopt a more out-of-the-box approach, as suggested by Jay, that India will have a real signal that international brands are viewing the country as more than just a commercial opportunity. It will also bring a fresh perspective to the tried-and-tested fashion collaboration model. Such a collaboration will really prove to be a true inflection point and bring a shift in India’s global fashion identity.

Sujata Assomull is a journalist, author and mindful fashion advocate.

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