Indian fashion leaders examined how AI is changing design while traditional craftsmanship creates opportunities in international markets. Discussions in Moscow highlighted the importance of human creativity, textile heritage and contemporary interpretations of Indian artisanal techniques.
Indian fashion industry representatives brought artificial
intelligence (AI) and traditional craftsmanship into focus at the recent BRICS+
Fashion Summit in Moscow, examining how designers can use emerging technologies
while preserving India's textile heritage.
The international fashion business forum of fast-growing
economies has become a decisive venue for shaping the commercial and creative
strategies of emerging markets, and this year gathered experts from more than
60 countries to discuss economic trends, production technologies, consumer
behaviour, traditional crafts, brand influence and AI. Discussions considered
fashion markets across Asia, Africa, Latin America, the Middle East and Europe,
where design, manufacturing and retail practices continue to evolve.
Kanika Goyal explains why AI cannot replace creative
judgement.
Kanika Goyal, Founder and Creative Director of KGL, examined
whether AI should be considered a creative partner or a tool for designers.
Recognised in Forbes 30 Under 30 and Entrepreneur 35 Under
35, Goyal has dressed M.I.A. and Priyanka Chopra Jonas. Her brand has also
collaborated with Adidas Originals.
“AI can help with the design process, but it cannot understand how a model feels or whether an embroidery detail is in the right place. AI is more of an assistant because it has no emotions or life experience,” Goyal said.
She emphasised that effective AI use depends on how
designers formulate instructions and critically assess the results. Decisions
about which elements to improve, change or reject must remain with the designer
rather than being delegated entirely to technology.
Goyal also highlighted how AI could help emerging designers
explore concepts without the substantial investment previously needed for
visualisation, photography and 3D specialists. Yet, while AI makes creation
more accessible, she emphasized that aesthetic judgment remains human.
“Democratising the tools doesn't democratise taste. Everyone
can potentially generate an image. But not everyone knows which image is worth
pursuing," she warned.
Indian textile heritage offers opportunities in
international markets.
Subhendu Ghosh Dastidar, Business Head at Ezma Fine
Cashmere, addressed the commercial importance of traditional craftsmanship
during the session “The Cultural Code: From Historical Archives to Worldwide
Impact.”
Dastidar argued that cultural heritage alone cannot secure
international market success. Products must also meet customer expectations for
quality.
He described historical archives as repositories of
knowledge extending beyond decorative patterns to materials, cultural practices
and techniques passed down through generations. Contemporary designers, he
suggested, must translate this inherited expertise into clothing relevant to
modern consumers.
KGL reinterprets traditional embroidery through contemporary
design.
Goyal illustrated how traditional techniques can evolve
through new materials and silhouettes.
“At KGL, we work extensively with hand embroidery, but
interpret it through very contemporary materials, techniques and silhouettes. I
think that is how craft survives, when it continues to evolve and becomes
relevant to a new generation.”
Her Arc Echo collection was presented through a partnership
between the Fashion Design Council of India and Moscow Fashion Week, which took
place in the Russian capital alongside the BRICS+ Fashion Summit.
The collection features jackets and trousers constructed
from narrow strips of upcycled denim, with embroidery completed by artisans in
New Delhi. Mosaic knitwear and interwoven fabrics explore the idea of
fragmented memories.
Sunil Sethi highlights the international appeal of Indian
craftsmanship.
Sunil Sethi, Chairman of the Fashion Design Council of India,
pointed to designers combining established artisanal techniques with
increasingly expressive approaches to fashion.
He cited Anamika Khanna's chikankari embroidery paired with
relaxed trousers and washed indigo, Rahul Mishra's use of zardosi, Falguni and
Shane's intricate beadwork and sequins, and Sabyasachi's handloom creations.
For Sethi, these examples demonstrate how Indian fashion is
moving beyond conventional interpretations of traditional aesthetics towards
greater creative freedom.
He also identified international demand for handmade
products as an opportunity for India's fashion exports.
“The foreign customer appreciates handmade crafts, as they
represent true luxury through their timeless quality and reflect our rich
textile traditions and processes that have withstood the test of time,” Sethi
said.
