Diwali was in full swing this year, with New York, Mumbai, and London among the many cities hosting celebrations that read like a who’s who of global glamour. From Priyanka Chopra lighting up the All That Glitters Diwali Ball in New York to Shah Rukh Khan holding court at designer Manish Malhotra’s star-studded bash – featuring Nita Ambani, Radhika Merchant, Shloka Ambani, Suhana Khan and more – the festival of lights doubled as a parade of sartorial spectacle. The outfits on display were nothing short of show-stopping: luxurious saris, embellished lehengas, and couture gowns that reflected centuries of heritage, yet spoke with contemporary flair.
“Indian fashion is gaining global visibility because the internet and social media have given it unprecedented exposure,” fashion stylist and consultant Allia Al Rufai tells BurdaLuxury. “These platforms have narrowed the gap that once limited India’s reach, allowing designers and brands to showcase their creativity directly to worldwide audiences. As a result, India is now being seen, heard, and appreciated on the global fashion stage like never before.” That sentence – delivered with the no-nonsense cadence of someone who styles for global clients – signals the shift: the conversation about Indian fashion is no longer started by Western gatekeepers. It is being led from within.
Market Momentum: Numbers, Nuances, and Nuptial Demand
India’s population has now surpassed China, making it one of the fastest-growing markets in the world, particularly in the luxury sector, where a rising middle class with a penchant for indulgence and conspicuous consumption has created a booming opportunity that is music to the ears of high-end brands.
India’s luxury market was estimated at roughly US$7.74 billion in 2023 and has been projected to approach US$12 billion by 2028, according to a Kearney report – a bright arc that luxury strategists are watching closely.
But numbers only tell half the story. The other half is ritual and life-stage spending: weddings, festivals and landmark family events remain motifs of demand. That hum of demand – of parents willing to commission one-off couture pieces, of brides sourcing heritage textiles for destination ceremonies – underpins a luxury market that is at once cultural and commercial.
Regional taste maps complicate the one-size-fits-all story. Delhi and Chandigarh skew towards status dressing for political and business elites; Jaipur and Lucknow prize heritage textiles and bridal pageantry; Mumbai is the meeting ground for contemporary experimentation and film-driven glamour, as per Jing Daily. Understanding these nuances is essential for any brand seeking domestic and international success. Thus there is an awareness that markets are not only measured in GDP but in rituals, family trees and local sartorial grammars.
A Global Footprint: How Indian Craft Found the Red Carpet
Indian fashion’s inroads into international consciousness didn’t arrive overnight. They are the accumulation of decades of red-carpet moments, cultural exchanges and celebrity endorsements – a slow pressurisation of perception into prestige.
Designer Sheetal Batra frames it succinctly: “Indian fashion today is a seamless blend of heritage and modernity. While globally it is often perceived as traditional and ornate, within India it has evolved to reflect versatility from grand couture to contemporary occasion wear that resonates with both global and domestic audiences.”
Anant Ambani and Radhika Merchant’s 2024 wedding was the event of the year – a global, multi-day spectacle that drew Hollywood and high society alike – with Kim Kardashian and Khloé Kardashian stunning in two-piece designs by Manish Malhotra, Nicky Hilton Rothschild in a gown by Leepakshi Ellawadi, political figures such as Tony Blair and his wife wearing inspired ensembles, and Rihanna both performing and turning heads in a bespoke look; yet this moment was only the latest chapter in a much longer story of Indian fashion’s dialogue with the West – Princess Diana reportedly owned pieces by Ritu Kumar, Oprah has worn Indian saris on major stages, the Williams sisters donned silk saris in Bangalore, Naomi Campbell has walked for Manish Malhotra (who has also dressed Kate Moss), and more recently Kim Kardashian has appeared in designs by Sabyasachi, Anamika Khanna and Anita Dongre, while Zendaya’s showstopping Rahul Mishra gown at the Nita Mukesh Ambani Cultural Centre – alongside appearances by the likes of Karlie Kloss and Gigi Hadid in 2023 – underlines how Indian craft and couture have become a recurring, influential presence on the global style map.
“Indian fashion translates internationally because its essence is craft-led and material-first,” Sujata Assomull, a contributing editor at Vogue Business and the Founding Editor-in-Chief of Harper’s Bazaar India, tells BurdaLuxury. “Handwoven silks, chikankari, zardozi, or block printing carry a universal resonance through their artistry. Designers present these in contemporary silhouettes – whether a sari gown on the red carpet or ikat in separates – ensuring they never feel like costume.”
Craft, Collections, and the Discipline of Translation
The most compelling work happening now is not pastiche but translation: the careful transposition of an artisan’s centuries-old stitch into a gown with the drop and drama a global client expects. Manish Malhotra’s commentary addresses precisely this alchemy.
“Indian fashion today is at a very exciting crossroads. It carries the soul of centuries-old craftsmanship while embracing a global outlook that’s confident, innovative, and forward-thinking,” he tells BurdaLuxury. “What makes it truly special is that our fashion is not just about aesthetics; it’s a reflection of culture, emotion, and identity. Every weave, every embroidery, every drape tells a story of where we come from, yet it speaks to where we are headed.”
That sentence is a map: it places craft at the centre but insists on narrative and relevance. Malhotra expands on the practicalities of that balance: “Working with traditional fabrics for me is both an honour and a responsibility. The soul of the craft remains untouched, but the design is reimagined through modern silhouettes, innovative textures, and a contemporary colour palette.”
When asked how he achieves this balance on the ground, Malhotra described an approach that is part patronage, part design thinking. “For me, balancing traditional Indian craftsmanship with contemporary global design begins with deep respect for heritage,” he says. He references his Inaya collection – a deliberate project that “celebrates intricate Indian handwork through silhouettes that speak an international language, with crystal drapes, sculpted bodices, and statement detailing that blend old-world grandeur with modern refinement.”
Batra, too, articulates the same method from the maker’s desk: “Techniques like zardozi, gota patti, and hand embroidery are reinterpreted in silhouettes that are globally relevant. By retaining the essence of the craft but reimagining its form, we ensure it appeals to international audiences while staying true to its roots.”
Houses, Houses: When Western Luxury Looks East
Western luxury houses are not merely pointing towards India; many are stepping in.
Louis Vuitton’s Spring/Summer 2026 show, for example, featured a snakes-and-ladders board as its set, while a Gucci saree turned heads on the Cannes red carpet, as reported by Vogue Arabia. Vivienne Westwood held her first show in India this year, celebrating indigenous textiles.
Dior’s long-term engagement with the Chanakya School of Craft – a partnership that produced embroidered panels for the Dior couture show and ongoing training initiatives – is an example where technical exchange functions as cultural collaboration rather than extraction.
And yet the dialogue is not always straightforward. Prada’s Kolhapuri chappal episode – when Milan runway sandals sparked a conversation in India about giving proper credit to Kolhapur’s centuries-old footwear tradition – ultimately led to a productive outcome: the brand sent a team to Kolhapur to meet local craftsmen and gain a deeper understanding of the rich heritage behind the iconic sandal.
These frictions are instructive. They show that when global luxury touches Indian craft, the ethical ledger must include provenance, livelihoods and the narratives of maker communities.
“Indian fashion has long borrowed and adapted global influences, but it has always had a dialogue between cultures that makes its authenticity feel both historic and forward-looking,” explains Assomull. “And it has always credited the other cultures it has borrowed – an example is the Tanchoi sari. Its very name, Tanchoi sari, credits its Chinese influence, shows how India doesn’t just borrow but absorbs and reinterprets. Over time, Tanchoi became so integrated that it is now considered an Indian heirloom weave. That is the essence of Indian fashion: timeless, versatile, and adaptive.”
Digital Acceleration: Platforms, Pop-ups, and Placement
If the runway – be it Mumbai or Milan – provides spectacle, e-commerce and social platforms like Net-a-Porter, Farfetch, and Instagram provide reach. “There’s a growing number of Indian designers creating modern, contemporary collections featured on these sites, which gives international buyers direct access while browsing or shopping,” Al Rufai said. “Just being present on such platforms automatically lends credibility and global relevance, placing Indian brands alongside some of the biggest luxury names in the world.”
That digital presence shifts the mechanics of discovery. A boutique label’s appearance on Net-a-Porter or Farfetch places it in the shopper’s mental map; an influencer reel can turn a regional weave into an international trend. Batra highlighted specifics: her brand’s Oodhni collections “have been a hot seller to the international audience, even outside the Indian diaspora. Hong Kong, the United Kingdom, and even the United States are shopping to have a part of the heritage and embrace India in their own manner.”
The upshot is that platform placement operates like a seal of legitimacy. For many Western buyers, finding an Indian designer on a familiar luxury platform reduces friction: shipping, returns, quality assurance. For designers, it opens channels to new wholesale partners, editorial visibility and – crucially – repeat customers who now think of Indian handwork as part of their global wardrobe rotation.
International fashion weeks, pop-ups, and collaborations play a pivotal role in a brand’s global growth, providing exposure, credibility, and direct access to audiences and buyers around the world. “They provide invaluable in-person exposure, allowing audiences to experience a brand’s craftsmanship, quality, and identity firsthand,” says Al Rufai. “Events like Who’s Next and other global trade shows create opportunities for networking, partnerships, and visibility, helping brands establish credibility and expand their presence beyond local markets.”
Certain celebrity fashion moments acted like accelerants. Malhotra calls them out with a practised clarity: “One that stands out is when Jennifer Lopez wore a Bridgerton-themed gown we created. Imagine that moment, a Latina icon in America wearing a British-themed creation crafted by an Indian designer. That is where the magic of fashion lies. It transcends geography, culture, and identity to create a shared global language. And of course, there was the moment when Beyoncé wore custom chaps we designed for her tour.”
At the same time, the sari has claimed its place on the global red carpet. When Aishwarya Rai Bachchan wore a Malhotra-designed sari at the Cannes Film Festival, it underscored how timeless and universally admired this silhouette truly is. “These instances show that Indian design is not confined to one expression. While lehengas and saris remain integral to our heritage, our design vocabulary is expansive and can translate into contemporary narratives while retaining the finesse of Indian craftsmanship.” For Malhotra, each of these collaborations has been about more than visibility. “They have been about shifting perceptions and proving that India is not just participating in the global fashion dialogue, but helping shape it,” he shares.
The Next Chapters: Where Indian Fashion Could Head
If the last decade was about visibility, the next could be about infrastructure. Expect to see more formal partnerships between Indian ateliers and international houses, more Indian labels on global platforms, and increased investment in training and provenance systems.
“The balance lies in reimagining, not replicating, craft,” says Assomull. “Heritage techniques are treated as living traditions – hand embroidery becomes modern-day wear, and heritage weaves take on contemporary cuts. Just as the sari evolved over centuries without losing its essence, Indian brands today honour tradition while creating silhouettes that resonate with a global audience.”
Malhotra closes the loop with a reminder of intent. “People across the world are drawn to authenticity, to stories told through hands and heritage,” he says. “That’s what makes Indian craftsmanship so powerful. My role as a designer is to bridge that gap, to take something deeply traditional and give it a new language through storytelling and styling. The result is fashion that feels timeless yet contemporary, deeply Indian yet effortlessly global.”
BurdaLuxury’s Lens
Looking ahead, Indian fashion stands at a rare intersection of heritage, innovation, and global aspiration. With a population that values cultural pride and a rising middle class eager to invest in luxury, designers have a unique opportunity to craft collections that are simultaneously rooted and cosmopolitan. By honouring centuries-old techniques while experimenting with modern silhouettes, Indian brands can capture the attention of international buyers and resonate across Asia’s increasingly sophisticated markets. The message is clear: when tradition meets forward-thinking design, Indian fashion doesn’t just participate in the global conversation – it shapes it.
