‘Indian Fashion Is Not Arriving Now But Coming Into Its Own’: Shantnu And Nikhil On Moscow Fashion Week Debut

Earlier this year, Indian designers Shantnu & Nikhil painted London with flair at The Big Egg Hunt. Little did they know what awaits them further on the global stage. Just months later, the Delhi-based designer duo debuted their first-ever all-women’s couture edit, Armouré, at the recently concluded Moscow Fashion Week, where 220 fashion designers from 10 countries put up a spectacular show. Representing India on the global runway, the brothers marked a moment of national pride, placing Indian couture firmly in the international spotlight.

At a time when the world is both embracing India as a luxury powerhouse and occasionally borrowing from its craft without credit, Shantnu & Nikhil stand tall, believing that Indian fashion isn’t just “arriving”, it is stepping into its own. We speak to the maisons on Armouré, what their presence means for India and fostering crafts with cultural dialogue.

How did Moscow Fashion Week happened for you?

The Fashion Design Council of India (FDCI), under the leadership of Sunil Sethi, played a pivotal role in creating this cultural bridge with Moscow Fashion Week. Their vision gave Indian couture the platform to stand with intent, allowing us to unveil Armouré in a context that reflected what we have always celebrated: heritage with rebellion, intimacy with strength and to assert India’s fearless couture voice on a truly global stage.

What was the inspiration for the Armouré collection?

Armouré draws deeply from the sensuality and rebellion of the 1930s. It was a decade where women redefined identity through style, using glamour as resistance. We found resonance in that spirit and re-interpreted it for today. Beyond history, the collection was fuelled by paradox — architectural sharpness meeting fluid drapery, and pearls positioned like armour against metallics. Conversations around resilience, identity and femininity further gave the inspiration its edge. The Armouré woman is the modern global woman. She is unapologetic, commands attention, and embraces paradoxes. She wants couture that protects and empowers her, while also allowing her to express sensuality and glamour. This collection speaks directly to her identity which is red-carpet ready, contemporary in silhouette, yet deeply rooted in craft.

Being largely into menswear, what were the sartorial challenges in bringing an all womenswear edit?

Menswear gave us the foundation of our house codes: structure, drapery, rebellion. The challenge was not translation but reinvention. We have long created bridal couture for women, but now we wanted to move beyond the wedding day and carve a bold new language for red-carpet identity. Armouré is that foray, giving the same bride, and every modern woman, more options that oscillate between occasions. The intent was to create pieces that hold both armour and allure, sensuality and strength, so that womenswear in our world feels fearless and global.

How did the milieu of Moscow resonate with your moodboard?

Moscow is a city of paradoxes — imperial heritage on one side and contemporary energy on the other. Our design philosophy thrives on similar contrasts, where romance meets rebellion and intimacy meets resistance. That alignment made Moscow feel like more than a location; it became a dialogue. The city’s appetite for contrasts gave Armouré the perfect cultural backdrop.

Tell us about the collection’s pieces detailing on fabrics, motifs, embroidery crafts, styles, colours, structure and form.

We showcased 40 looks at Moscow Fashion Week. What unites them is the interplay of strength and sensuality. Be it a corseted gown encrusted in metallics and pearls, or a fluid drape crafted with precision; each look embodies armour and allure. The silhouettes may shift, but the essence remains constant: fearless couture with global resonance. The collection moves between sculptural structure and fluid drapery. Fabrics include liquid silks and sheer overlays that create both strength and softness. Embroidery is entirely hand-applied, with cascading crystals, pearl-studded motifs, and textured threadwork that builds depth and dimension. The palette shifts from dominion reds and midnight blacks to liquid silvers and opulent pearls.

With many Indian luxury brands going international and global luxury brands coming to India, do you feel the world is finally looking at India as both maker and consumer of luxury fashion?

Yes, absolutely. Indian fashion is not arriving now; it is coming into its own. The world is recognising that India is both a maker of unparalleled craft and a consumer of luxury with a discerning eye. The change has come from a shift in narrative — Indian designers no longer present heritage as nostalgia, but as contemporary identity. At the same time, the Indian luxury consumer has grown global in exposure and aspiration. This dual movement is why India is now central to the luxury dialogue.