Masaba Gupta, a trailblazing Indian designer, will represent India as the only Indian voice at the RLC Fashion Summit 2026 in Milan, underscoring how global luxury is finally acknowledging India’s long-standing influence. She reflects on India’s deep-rooted role in global fashion, the power of social media in revealing Indian craftsmanship, and the country’s growing confidence in its own design language.
There is something deeply personal about watching an Indian talent take the global stage, it feels like a collective win. In that moment, you are reminded of the sheer power of where you come from, the talent that exists within the country, and the confidence that India’s time is already here.
That is exactly how I felt when I learned that Masaba Gupta, one of the most unique voices in India's design landscape, would be representing the country at the RLC Fashion Summit 2026 in Milan, one of the most influential global platforms across fashion, luxury, and retail. With this, she also becomes the only Indian designer at the forum.
Gupta has always carved her own path, unapologetically original, and her presence at a platform of this scale signals that all eyes are on India.
We speak with her about what it means for her to represent India on a global stage.
Masaba Gupta (MG): It's obviously a great honour to be representing India at a summit of this stature. Typically, these forums tend to feature designers or design houses that have been in business for 30 or 35 years. So it's refreshing that they've chosen someone from a younger generation to speak about what the next 30 years of luxury could look like, particularly from a country like India, where so much is happening in the space today.
The shift we're witnessing — this idea that all eyes are on India — has actually been a long time coming. If you look back, India has always inspired some of the world's most celebrated fashion houses. Karl Lagerfeld's collections for Chanel drew from India, as did the work of Alexander McQueen and Jean Paul Gaultier.
What has changed is the way information is consumed. Earlier, fashion was experienced through newspapers, magazines, and runway shows that people waited months to see. Today, communication is constant. Social media has made every inspiration, collaboration, and conversation visible in real time. Whether it's Prada's interpretation of Kolhapuri sandals or discussions around craftsmanship and sourcing, these stories now reach consumers instantly.
India has always been central to the luxury conversation. International houses have long drawn from our silhouettes, colour palettes, and embellishment techniques. Industry insiders always knew that many global maisons relied on Indian craftsmanship and embroidery. What was once industry knowledge has now become common knowledge.
We know, for example, that the Met Gala carpet is produced by a house in Kerala. There is far greater transparency today around where embroidery is done, where fabrics are sourced, and where craftsmanship originates. India hasn't suddenly become the centre of attention; the world has simply become more vocal about a relationship that has existed for a very long time.
MG: Luxury is becoming storytelling, although in many ways it always was. Today, however, consumers actively seek a story. They want to buy into a brand that feels like a cultural movement or has something meaningful to say beyond simply selling a product.
I've always believed that you cannot sell a product in isolation. A brand needs a larger message and a meaningful place in a consumer's life if it wants longevity.
Historically, luxury brands were taught to be cold, intimidating, and distant. There was an assumption that exclusivity had to be reinforced through scarcity, inaccessibility, and a constant sense of FOMO. I've never subscribed to that idea. To me, luxury should feel warm, intimate, and comforting while still remaining incredibly special.
Unfortunately, people often confuse "special" with waiting endlessly for a handbag, struggling to get an appointment, or feeling ignored when they enter a luxury store. Those were tactics designed to make consumers feel a certain way and, in turn, buy into a brand. But true luxury should be rooted in exceptional personalised service. It should make you feel like the centre of attention in that moment.
Storytelling remains central to that experience. Take Chanel, for example. Much of its enduring appeal comes from Coco Chanel herself — her life, her rebellious spirit, her unique approach to fragrance and her meticulous attention to detail. The woman behind the brand continues to shape its mythology.
For some brands, the story lies in a craft or technique. Bottega Veneta has mastered the art of weaving. Balenciaga has redefined streetwear while retaining a sense of luxury. In other cases, the narrative is driven by the creative director.
I still think John Galliano's era at Dior was iconic, and today we see a different energy with Jonathan Anderson. Yet across every chapter, Dior remains associated with ultra-feminine elegance. Great brands always anchor themselves to a singular idea, whether that's the founder, the creative director or a defining aesthetic.
Even with Chanel today, we are seeing a slightly more playful interpretation of what was traditionally viewed as a serious, elegant house. That makes the brand feel closer to contemporary audiences.
The challenge, of course, is that attention spans are shorter than ever. Storytelling today often comes down to a single feeling, statement or emotion that consumers can instantly associate with a brand.
MG: The narrative I want to present is that India has finally realised that it is its own greatest source of inspiration.
When you look at our extraordinary wealth of embroideries, fabrics, weaving traditions, colour theories, and regional craftsmanship, there is an endless treasure chest of stories waiting to be explored. Whether it's the history of indigo dyeing, handloom traditions or the unique textile identities of different regions, we have so much to offer.
What excites me is that Indian brands are now presenting themselves unapologetically. We're no longer creating watered-down versions of ourselves to appeal to European or American tastes. We are embracing our identity fully and discovering that authenticity resonates far more powerfully than imitation.
I also think young Indian designers have broken free from traditional labels. For years, designers were boxed into categories — bridal, chikankari, handloom or ready-to-wear. Today, Indian design houses are embracing the idea that one collection can serve different kinds of women and tell multiple stories while remaining true to a singular brand identity.
Traditionally, this was seen as a more Western way of presenting fashion. But Indian brands are proving that they can be many things at once, as long as the core story remains consistent.