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.