it quietly, like a line of poetry discovered in a dog-eared book. Rooted in Indian craft and shaped by a global perspective, Gupta’s aesthetic is both an offering and a question: What if fashion could slow down, strip back and still speak volumes? From the mountains to Manhattan Born and raised in Uttarakhand, a quiet state tucked into the Indian Himalayas, Gupta was inspired by her mother’s creative energy as a painter while growing up. “Since I was in middle school, I have explored mixed media and painting, constantly drawn to colours, textures and the power of visual storytelling,” she recalled. “But alongside that, I was always fascinated by fashion; styling my loved ones and designing pieces for them felt like second nature. It gradually became clear that this was the path I wanted to pursue. “My upbringing in Uttarakhand shaped my creative lens in quiet but powerful ways. The rhythm of the mountains, the intricate crafts, the simplicity and depth of everyday beauty, all of it helped me see the world with an artistic eye.” That sensibility stayed with her as she moved to New York to study at Parsons School of Design. Rather than abandoning her roots, Gupta found ways to weave them deeper into her work. At Parsons, she refined her technical vocabulary but resisted the aesthetic flattening that sometimes comes with Western fashion education. “Looking back, it feels like a beautiful convergence of my environment, my roots and the artistic legacy passed down from my mother,” Gupta said. The art of quiet disruption In an industry that often privileges spectacle, Gupta’s collections whisper instead of shouting. Her garments move with a sculptural softness, characterised by fluid tailoring, architectural forms and hand-treated surfaces that evoke abstract expressionist paintings. They feel more like objects of personal introspection than seasonal trend bait. But behind the soft-spoken elegance is a deeper intention: to reimagine Indian craftsmanship for a modern global context. “Growing up in a culture where handwork is woven into everyday life, we’ve always been drawn to the tactile beauty and emotional depth of artisanal practices,” Gupta explained. “India’s legacy lies not in mechanised production but in generations of passed-down skill, like the handwoven textiles, delicate embroideries and intricate surface treatments.” Indeed, what sets Gupta’s label apart is its willingness to engage with tradition not as an endpoint but as a point of departure. Her team works with local artisans in India to recontextualise handloom weaving, embroidery and dyeing practices, applying them to minimalist silhouettes and neutral palettes that align with an international design sensibility. “In doing so, we aim to contribute to a broader, more nuanced global perception of Indian fashion, one that embraces craftsmanship not just for its visual richness, but for its cultural relevance, sustainability, and timeless soul,” she said. “Alongside my peers, I’m also exploring themes like gender fluidity, modern minimalist and mindful design within the Indian context.” This ethos positions the brand as part of a new wave of Indian designers, alongside names like Amit Aggarwal, Gaurav Gupta and Anamika Khanna, who are redefining what ‘Made in India’ can mean to a global audience. “Together, we are reshaping the narrative while showing that Indian fashion is not monolithic, but ever-evolving, multifaceted, and powerfully resonant on the world stage,” Gupta said. Beyond borders, beyond labels For Gupta, the vision has always been global. “We aspire to see the brand resonate not only within India but also across fashion capitals, like from the streets of New York to the style-forward hubs of Hong Kong and beyond,” Gupta said. “Our goal is to establish a strong international presence where people begin to recognise and connect with our aesthetic and philosophy on a global scale.” The brand has found early traction among international stylists and platforms that prize intentional design. Its designs have been featured in notable publications, including Vogue, Elle, Harper’s Bazaar, Grazia, Cosmopolitan and Flanelle. Indian celebrities, such as Deepika Padukone, Tripti Dimri, Tara Sutaria and Rakul Preet Singh, have endorsed the label’s contemporary aesthetic. But Gupta is quick to note that these moments of visibility, while meaningful, are just one part of a slower, more deliberate growth trajectory. “Being featured in global publications and seeing our work worn by some of India’s most respected names, as well as the US, is both humbling and affirming,” the designer said. “Every milestone, whether big or small, holds deep significance for us and serves as a stepping stone in our journey. Looking back, those early partnerships, along with the lessons we learned, sometimes even through our missteps, have been instrumental in defining our brand’s ethos.” Mannatt Gupta is now focusing on expanding its footprint in the US, which has become one of its key global markets. “We’re in the process of exploring partnerships with prominent PR and marketing agencies in the US to strengthen our visibility and cultivate a more impactful presence. We’re taking a thoughtful, market-by-market approach to ensure sustainable and meaningful growth,” she added. “With international audiences especially, we hope to foster a mindset that embraces the unconventional, encourages risk-taking and celebrates individuality. We want our pieces to feel like more than just clothing, to feel like an extension of the wearer’s inner world. “Ideally, each garment becomes a second skin, which is something intimate, expressive and transformative. Ultimately, our goal is to create a visual and emotional dialogue, one that transcends borders and cultures and encourages people to step outside the ordinary – something that feels both personal and powerful.” Fashion as conversation Perhaps what most distinguishes Gupta’s work is its underlying invitation to dialogue. “Through our collections, we hope to ignite conversations around individuality, innovation, and the power of self-expression,” the designer said. “I’ve always believed that every day is a runway, that fashion should empower every individual to express who they are without restraint.” Gupta remarked that the brand has been consciously moving away from predictable, formulaic designs and instead pushing itself to explore new silhouettes, experimental techniques, and architectural forms that challenge traditional norms and invite deeper engagement. “Our garments are designed not merely to be worn, but to evoke curiosity and dialogue,” she explained. “It’s incredibly rewarding when someone encounters a piece and is compelled to ask about the techniques used, the concept behind it, or the thought process that led to its creation. For us, that’s where the magic lies – when fashion becomes a medium through which people connect, reflect and begin to see themselves differently.” This autumn, Gupta will unveil Ethereal Realms, a new collection that represents what she calls “a more exploratory design language”. It incorporates unexpected materials, unconventional structures and experimental surface work. “It’s a deeply personal body of work, and we’re eager to see how audiences respond to it,” she said. “Our hope is that people not only appreciate the craftsmanship but also connect emotionally with the narrative and vision behind each piece.” Overcoming constraints with creativity This creative freedom doesn’t come without its share of friction. Working as an emerging designer in India, Gupta has had to grapple with both systemic and practical limitations. Advanced technology and cutting-edge fabrication techniques commonplace in design hubs like Paris or Milan can be hard to come by in India, especially for independent studios operating outside of industrial fashion ecosystems. “When we want to experiment with new materials or push boundaries using cutting-edge tools, those options aren’t always within reach here,” she said. Rather than stifling innovation, these constraints have, paradoxically, become a source of inspiration. “These limitations can sometimes shape what’s possible in our design process. But instead of viewing them as setbacks, my team and I try to treat them as creative prompts. They push us to think differently, to find new ways of doing things, often by returning to hand-executed techniques or using what’s locally available in innovative ways,” she said. “This approach has really influenced how we work and how we think. It has made us more adaptable, more resourceful and more grounded in the value of craftsmanship. It has also helped us build a kind of quiet resilience, where the absence of certain resources doesn’t stop us but actually fuels new ideas.” The AI question: Holding space for the human As the global fashion industry lurches toward digitisation, with AI-generated designs, virtual showrooms and algorithmic trend forecasting, Gupta remains cautiously sceptical. “While the technological advancements are undeniably impressive and full of potential, I do find this trend somewhat disconcerting, particularly when it comes to the deeply tactile and emotional nature of fashion,” she said. “Fashion, at its core, is a physical and sensory experience. A virtual try-on cannot replicate the feeling of fabric against the skin, the weight and movement of a garment, or how it responds to the body in motion. These tangible qualities are vital to understanding and appreciating a piece of clothing, and no digital simulation can truly capture that essence.” The designer said there is a real risk that the artistry, time and craftsmanship invested in each creation will be overshadowed or lost in translation when reduced to mere pixels on a screen. The intricate handwork, the detailing and the emotional labour that go into building a garment are difficult, if not impossible, for AI or augmented platforms to comprehend or communicate fully. Gupta is not anti-tech. But she advocates for a slower, more deliberate integration, one that enhances, rather than replaces, the human touch. “As AI becomes increasingly capable – from designing garments to generating virtual models – it threatens to displace the very people who form the backbone of our creative ecosystem: patternmakers, photographers, stylists, videographers and more,” she said. “While innovation is essential, we must also be cautious not to lose the human element that makes fashion so uniquely powerful and personal.” ‘Hold on to that uniqueness’ What emerges from a conversation with Gupta is not just the portrait of a promising designer but a case study in how fashion’s future may be shaped not by monolithic brands or algorithmic precision, but by a mosaic of deeply personal, place-based perspectives. For young designers hoping to walk a similar path, Gupta’s advice is clear and compassionate: “To wholeheartedly embrace the chaos that often accompanies the creative journey”. “It’s within that uncertainty, those missteps, and those learning curves that your most valuable growth takes place, both as a designer and as an entrepreneur. Because every mistake that I’ve made has taught me something essential and brought me closer to understanding who I am, not just creatively but also in terms of how I want to build and lead my brand,” Gupta said. She urged designers to resist the pressure to conform to global trends or dilute their aesthetic to cater to algorithms. “At the same time, it’s imperative to stay rooted in your authentic aesthetic. In today’s highly commercialised fashion landscape, there’s often immense pressure to conform to market trends, consumer demands, or global standards of what is considered ‘saleable’. But I believe true impact comes from introspection, asking yourself what genuinely inspires you, what aligns with your vision, and what brings you creative fulfilment.” To Gupta, cultural authenticity, when expressed through a deeply personal lens, can be a bridge, not a boundary. “Hold on to that uniqueness. When your work is driven by integrity and passion, it will always resonate, perhaps not instantly, but deeply and lastingly,” she concluded. This story first appeared in the August 2025 issue of Inside Retail Asia magazine.