Siddhartha Bansal’s Spring Summer 2026 Drop, Paradise City, Screams Travel Ready

Summer has a way of arriving all at once as the light lingers longer, plans begin to take shape, and wardrobes instinctively lean towards ease and colour. It is precisely at this moment, when the sun has decided to shine brighter that Siddhartha Bansal introduces Paradise City: Spring Summer 2026 A Travel Edit, a collection celebrating the season’s energy.

Conceived on a travelling boat, somewhere between ports and passing horizons, Paradise City is built around the idea of movement. Movement symbolising moods, memories, and moments. Bansal’s muse is a woman who carries an entire world with her, collecting experiences as she goes. The collection mirrors that very instinct, offering pieces that feel alive in transit, responsive to light, wind and the rhythm of summer itself.

At its centre are two standout dresses that anchor the narrative. The Glass Beaded Dress and the Jelly Floral Dress. The first dress is handcrafted with glass beads knotted onto metal wires, and it catches light in shifting fragments, much like water at dusk. 

The second one, the Jelly Floral Dress sits in contrast, exploring texture and translucence. Built in layers of organza and fine voile, it is scattered with three-dimensional floral motifs that appear almost edible in their finish. The florals lift gently off the fabric, casting shadows that add depth, while the dress itself moves freely, as though guided by its own direction rather than the wearer’s.

Beyond these focal pieces, the collection brings to life a complete summer wardrobe. Column dresses, kaftans, safari jackets and fluid co-ords are designed with travel in mind, these pieces will make you want to travel. The palette of the collection is immediately striking: sorbet pastels, ice-dyed gradients and saturated brights that echo the colours of coastal towns at their peak. 

Alongside, the detailing plays a significant role throughout. Hand embroidery introduces a tactile dimension, with pressed-petal motifs and crystal-like elements that reflect light in subtle, shifting ways. There is a sense of impermanence to these finishes, drawing from references like ice, confectionery and glass, materials that are as delicate as they are visually compelling.

Accessories, too, follow the idea of the traveller as a collector. The offerings include translucent heels, beaded belts worn loosely, and clutches that resemble everything from candy boxes to small bouquets. There are organza boots, tinted glasses in unexpected shapes, and playful bag charms that feel like keepsakes gathered along the way. Each piece contributes to a broader narrative of a woman assembling her look over time, across places, building something entirely personal.

For Bansal, whose work has consistently drawn from Indian textile traditions while embracing a bold visual language, Paradise City continues that trajectory. A graduate of NIFT, with early stints under names such as Manish Arora, Satya Paul, and Nida Mahmood, he has steadily built a practice rooted in colour, print and craft. Since his GenNext debut at Lakmé Fashion Week Winter/Festive 2015, his work has evolved into a recognisable visual identity.