For decades, Indian fashion has been synonymous with grandeur, embellished with ornate embroideries, glistening handcrafted silks, and wedding-season opulence. While this craftsmanship has long been the pride of Indian couture, it has also created a gap where everyday fashion rarely carries the same artistry or intention.
But a quiet revolution is underway. Over the past few years, a wave of Indian designers has been venturing into prêt-à-porter, aka ready-to-wear- a way to reimagine craft and couture for everyday wear. Whether it’s consciously designed separates, handwoven dresses, or artisanal jackets that can move from day to evening, ready-to-wear lines are steadily redefining how India dresses. And perhaps most significantly, they’re making Indian fashion less about occasions and more about identity.
Among the pioneers leading this change is Vaishali Shadangule, whose debut ready-to-wear collection, Kintsugi, launched for Spring/Summer 2026, brings her couture craftsmanship into the rhythm of everyday life.
Where Heritage Meets Wearability
‘My prêt-à-porter is a natural extension of my couture. It feeds from the same inspiration and thrives on the same values,’ says Shadangule. ‘This is why it is also made only with handwoven fabrics and all by hand.’
For the designer, who has showcased at Paris Haute Couture Week and New York Fashion Week, Kintsugi is not a departure but an extension. Her new collection bridges what she calls the ‘growing gap between heritage and wearability’ by taking the same handwoven textiles and design language that define her couture and translating them into silhouettes suited for modern life.
‘Prêt, more specifically, wants to give an easier entry into the world of Vaishali S to people who love the aesthetics and creativity, yet would not dare a couture piece as a first Vaishali S garment,’ she adds.
The Collection: Kintsugi
Named after the Japanese philosophy of mending broken pottery with gold, Kintsugi celebrates resilience and transformation. The 45-look lineup draws from the poetry of broken seashells, each fragment reshaped by time and tide, translating that metaphor into flowing silhouettes, subtle textural detailing, and a balance of fragility and strength.
Her signature cording technique, inspired by shell interiors, reappears here as sculptural yet soft detailing, tracing silhouettes with ease. While couture once celebrated drama, prêt embraces quiet precision.
The collection features Murshidabad silks, lightweight cottons, and woven blends, maintaining the artisanal essence while adapting it for lightness and versatility. The palette mirrors the sea with hues like pearl ivory, coral blush, oxidised grey, deep blues, and bright coral red.
In the designer’s words, ‘Craftsmanship and the values of the brand are the roots of all my work and will never be compromised. Ready-to-wear for me is an exercise in how to express the same feelings in a shorter and easier phrase. There are more constraints in my creativity, but because of this, it’s also a proof of maturity.’
The Shift in Indian Fashion
Shadangule’s Kintsugi is part of a broader movement that redefines what Indian design looks like beyond bridalwear. ‘Till now, fashion in India has been mainly bridal and very Indian-looking, while everyday life is carried out with no design garments,’ she says.
This, she believes, is where ready-to-wear can truly transform the perception of Indian fashion, both domestically and globally. ‘Easier ready-to-wear garments, if we use original weaving techniques, can really give recognition and make Indian fabrics more precious in the eyes of people,’ she explains.
As more designers bring handlooms and traditional crafts into wearable, contemporary formats, Indian textiles are finding new relevance. The idea of luxury is shifting away from excess and growing closer to endurance, meaning, and mindfulness.