“Namza is deeply emotional for me. It represents home, identity and continuity.”

In the growing conversation around heritage-led fashion in India, Namza Couture is carving out a distinct space by placing Ladakh’s textile traditions at the center of contemporary design.

Founded in 2016 by Ladakh-born designers Padma Yangchan and Jigmet Disket, the Leh-based label is seeking to reshape how the region’s cultural identity is understood within the broader fashion landscape.

For the founders, the brand emerged from a desire to challenge limited perceptions of Ladakhi dress, which they say is often viewed as costume rather than as part of a sophisticated textile and design tradition shaped by geography, trade and community knowledge.

“Namza is deeply emotional for me. It represents home, identity and continuity,” Yangchan said, describing the label as an extension of lived experience rather than a purely commercial venture.

The brand’s approach is rooted in preserving local material traditions while adapting them for contemporary audiences. Rather than reproducing historical garments unchanged, Namza reinterprets regional forms through modern tailoring, proportion and construction, creating pieces that maintain cultural references while functioning within current fashion contexts.

Central to the label’s work is its use of indigenous fibres sourced from Ladakh’s high-altitude environment. These include nambu, a traditional sheep wool widely associated with the region, as well as spuruk from Zanskar.

The brand also incorporates yak wool and camel wool obtained from the Changthang plateau, an area known for its pastoral communities and longstanding textile traditions.Production remains closely connected to local artisans and weaving communities.

The designers work directly with craftspeople who possess generations of knowledge in spinning, dyeing and weaving, creating a supply chain that remains embedded within the region rather than outsourcing production elsewhere.Pashmina continues to occupy an important place in the brand’s collections, reflecting its historical significance in Himalayan textile culture.

Silk brocades are also frequently incorporated, referencing Ladakh’s position along historic trade networks linked to the Silk Route, through which textiles, materials and artistic influences moved across Central and South Asia for centuries.The influence of this layered history can be seen throughout Namza’s design vocabulary.

Traditional garments such as the goncha and mogos serve as recurring points of inspiration, although they are reinterpreted rather than replicated. The designers focus on adapting silhouettes and proportions to contemporary contexts while retaining identifiable elements of regional dress.Decorative details further reinforce these connections.

Collections frequently feature stylized crane motifs, floral embroidery traditions associated with the Brokpa community and symbolic patterns influenced by Buddhist artistic traditions. Indigenous techniques such as tigma, a traditional tie-dye process, are employed alongside carefully positioned embroidery that allows individual garments to convey distinct cultural narratives.

According to Yangchan, one of the most significant challenges has been translating Ladakh’s cultural depth into a language that resonates beyond the region without compromising authenticity.“Ladakh is often seen in a very limited way, either as something purely traditional or purely touristic.

Translating its depth into something that resonates globally while still being true to its roots has taken time. Also, working with handmade processes means scalability is always a challenge,” she said.The challenge reflects a broader issue facing many heritage-focused fashion labels.

While demand for handcrafted and culturally rooted products continues to grow, scaling production remains difficult when garments rely on specialized techniques and artisan-led processes that cannot easily be industrialized.For Namza, maintaining production within Ladakh remains a core component of its identity.

The label continues to rely on local handloom systems and artisan networks, ensuring that traditional knowledge remains part of the production process rather than merely serving as inspiration for finished products.This model also creates economic opportunities within communities where textile skills have historically been passed through generations.

By integrating traditional materials and techniques into contemporary fashion markets, the brand contributes to sustaining practices that might otherwise face pressures from changing consumer preferences and industrial manufacturing.Beyond clothing, Namza’s work reflects a broader cultural project.

The label presents Ladakh not as a static heritage destination but as a living and evolving cultural landscape capable of engaging with global audiences on its own terms.As interest in regionally rooted fashion continues to expand, Namza Couture offers an example of how contemporary design can serve as a vehicle for cultural storytelling.

Through textiles, craftsmanship and reinterpretation of traditional forms, the brand is positioning Ladakh’s design heritage within national and international fashion conversations while remaining firmly connected to the communities and landscapes from which it emerged.

The 2026 edition of the Met Gala 2026 featured a notable increase in participation by Indian designers and public figures, with red carpet appearances characterised by an emphasis on craftsmanship, structural design and material experimentation rather than conventional eveningwear.

Industry observers noted that this year’s Indian representation moved away from standard red carpet silhouettes, instead foregrounding techniques rooted in textile traditions, artisanal labour and sculptural construction. Several attendees collaborated closely with designers and artists to produce garments that functioned as both couture and conceptual objects.

Isha Ambani appeared in a custom creation by Gaurav Gupta, presenting a saree reinterpreted through a sculptural lens. The garment combined fluid metallic tones with a structured pallu designed to retain architectural volume. Surface detailing incorporated hand-painted motifs referencing traditional Indian design vocabulary.

The look was complemented by jewellery from her personal collection, including diamonds and emeralds, alongside a sarpech positioned at the back of the hairstyle.

A stainless steel mango-shaped accessory by Subodh Gupta introduced an element of object-based art, aligning with his practice of recontextualising everyday Indian forms.Karan Johar wore a custom ensemble by Manish Malhotra that drew from classical Indian portraiture, including references to the work of Raja Ravi Verma.

The outfit featured layered construction with dense embroidery incorporating figurative and ornamental elements. A structured outer coat was paired with a detailed inner garment, while jewellery and accessories contributed to the overall scale of the presentation.

Malhotra himself appeared in a black bandhgala and tailored trousers, using a restrained base to highlight a cape embroidered with the names and signatures of artisans from his atelier. The piece reportedly required close to 1,000 hours of handwork, underscoring the labour-intensive processes behind couture production. Styling remained minimal, directing attention toward craftsmanship and collective authorship.

Natasha Poonawalla collaborated with artist Marc Quinn and the Italian luxury house Dolce & Gabbana. Her look centred on a sculptural white orchid form extending outward from the torso, layered over a couture base. The composition emphasised contrast between rigid structure and textile softness, with restrained styling allowing the sculptural element to remain dominant.

Sawai Padmanabh Singh wore a custom outfit by Prabal Gurung, incorporating traditional techniques such as aari, zardozi and resham embroidery. The garment featured a mirror installation inspired by Sheesh Mahal interiors, designed to reflect light dynamically. Motifs associated with royal heritage were integrated into the embroidery, while the overall silhouette remained structured and contemporary.

Gauravi Kumari also wore Prabal Gurung, opting for a chiffon saree-gown hybrid that balanced fluid drape with structural elements. The design referenced archival styles associated with Maharani Gayatri Devi, particularly through the use of layered pearl and diamond jewellery. The subdued colour palette and classic styling maintained focus on the garment’s construction.

Ananya Birla appeared in a sharply tailored couture piece by Robert Wun. The look combined a cinched blazer with a pronounced peplum and a pleated metallic skirt. A defining feature was a stainless steel headpiece by Subodh Gupta, constructed from repurposed kitchen utensils and covering the face entirely. The piece transformed the outfit into a conceptual installation, with minimal jewellery used to anchor the visual composition.

Diya Jatia Mehta wore a custom design by Mayyur Girotra that incorporated elements of Bengal’s artisanal heritage. The garment combined a Kanjivaram saree base with structured tailoring, while its surface was detailed with shola work, a lightweight, hand-carved craft technique. The layered application of these elements created volume without adding significant weight, reflecting a balance between traditional methods and contemporary design.

Across these appearances, a consistent emphasis on material innovation and craft was evident. Designers and collaborators drew on regional techniques, historical references and artisanal processes to construct garments that extended beyond conventional fashion presentation.

The integration of sculpture, metalwork and embroidery suggested a broader shift toward interdisciplinary approaches within couture.Observers noted that the Indian contingent’s approach aligned with wider trends in global fashion, where conceptual design and craftsmanship are increasingly foregrounded.

The use of recognisable cultural motifs alongside experimental forms indicated an attempt to position Indian design within both heritage and contemporary contexts.

In May 2026, Mumbai-based designer Monica Shah of Jade by Monica and Karishma initiated a revival of the historical kasab zari technique, drawing from archival material preserved by Chanakya International. The effort is rooted in the rediscovery of a Mughal-era garment and has resulted in a high-value couture piece requiring approximately 15,000 hours of manual craftsmanship.

Shah’s interest in the technique was sparked during a review of Chanakya International’s textile archive, which includes over 10,000 historical textiles and more than 100,000 craft studies. Among the items was a vintage jacket constructed from pure silver taar. According to Shah, the garment dated back to the Mughal period and was originally made for a child.

Its defining feature was structural: it appeared to exist without a base fabric, with metallic threads forming a self-supporting surface.The rediscovery coincides with the 500-year mark of the First Battle of Panipat, which established Mughal rule in India under Babur.

The kasab technique, which originated in Persia and entered the Indian subcontinent during the Mughal period in the late 16th century, forms part of the broader zardozi embroidery tradition.Kasab, also referred to as kasav or kasab-zari, uses fine threads of gold, silver or copper wrapped around a silk core.

These threads are stitched using an Aari needle and layered over themselves rather than being applied to a textile base. Shah explained that the absence of foundational fabric requires a specialised knotting method known as madkan, which secures each segment of thread.

This technique ensures structural integrity across motifs such as floral patterns and paisleys, effectively creating a self-sustaining textile framework.Following the discovery, Shah spent approximately six months working to understand and replicate the technique.

She collaborated with master artisans associated with Chanakya International, including individuals described as belonging to the 13th and 14th generations of craft practitioners. These artisans played a central role in reconstructing the method and training apprentices to continue the process.Initial experimentation involved producing smaller garments such as jackets and blouses.

According to Shah, these early pieces helped refine the technical process and assess commercial viability. Demand for the revived technique emerged during this phase, prompting further development.The project expanded into the creation of a full kasab lehenga commissioned for jewellery designer Shweana Poy Raiturcar.

The garment was produced entirely by hand, adhering to pre-industrial construction methods. Shah stated that no sewing machines were used, and each panel of the lehenga was assembled manually. The ensemble included 22 panels, some of which required approximately 1,000 hours each to complete.The total labour input for the lehenga, including the blouse and dupatta, reached an estimated 15,000 man-hours.

The construction process maintained the defining feature of the technique, with no base fabric used. Instead, structural cohesion was achieved through interlinked metallic threads and knotting.In developing the blouse component, Shah incorporated elements of macramé, adapting the technique using kasab taar.

Decorative elements such as borders and tassels were also created using the same metallic threadwork, maintaining consistency with the no-fabric approach.Material adjustments were introduced at the production stage. While historical examples used pure silver threads, Shah stated that the modern version utilised a precious alloy due to feasibility constraints.

The modification allowed for durability and cost management while retaining the visual characteristics of the original technique.The revival has occurred alongside broader activity within the label, which continues to work across multiple Indian textile traditions including ikat, Banarasi brocade and Madras checks.

Shah referenced a recent project involving gold-plated silver threads woven in Varanasi, indicating ongoing engagement with traditional craft clusters.The kasab revival highlights the dependence of such techniques on skilled labour and institutional support. Chanakya International’s role in maintaining archives and training artisans enabled the reconstruction process, while the involvement of multi-generational craftsmen facilitated knowledge transfer.

The renewed interest in kasab has generated increased inquiries, according to Shah, though production remains constrained by the time-intensive nature of the craft. Each piece requires extensive manual intervention, limiting scalability but positioning the work within the high-value couture segment.

The initiative reflects a broader pattern within India’s fashion industry, where heritage techniques are being revisited through contemporary design frameworks. In this instance, the process has relied on archival research, artisan collaboration and adaptation of historical methods to modern production conditions.