The international fashion business forum, which brings together fast-growing economies, has become a venue for shaping the commercial and creative strategies of emerging markets. This year, experts from more than 60 countries gathered to discuss economic trends, production technologies, consumer behaviour, traditional crafts, brand influence and artificial intelligence. The discussions covered fashion markets across Asia, Africa, Latin America, the Middle East and Europe, where design, manufacturing and retail practices continue to evolve.
Kanika Goyal, Founder and Creative Director of KGL, addressed whether artificial intelligence should be viewed as 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, while her brand has also collaborated with Adidas Originals.
Goyal said AI could assist with the design process but could not replace the human understanding required to assess the finer details of a creation.
“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 use of AI depends on how designers formulate instructions and critically evaluate the results. Decisions about which elements to improve, modify or reject must remain with designers rather than being delegated entirely to technology.
Goyal also highlighted the potential of AI to help emerging designers explore creative concepts without the substantial investment previously required for visualisation, photography and 3D specialists. While the technology can make the creative process more accessible, she maintained that aesthetic judgement remains a human responsibility.
“Democratising the tools doesn't democratise taste. Everyone can potentially generate an image. But not everyone knows which image is worth pursuing,” she warned.
The commercial value of traditional craftsmanship in international markets was another focus of the summit. Subhendu Ghosh Dastidar, Business Head at Ezma Fine Cashmere, addressed the subject during the session titled “The Cultural Code: From Historical Archives to Worldwide Impact.”
Dastidar argued that cultural heritage alone cannot guarantee success in international markets. Products must also meet customer expectations for quality.
He described historical archives as repositories of knowledge that extend beyond decorative patterns to include materials, cultural practices and techniques passed down through generations. According to Dastidar, contemporary designers must translate this inherited expertise into clothing that remains relevant to modern consumers.
Goyal also demonstrated how traditional embroidery can evolve through the use of new materials and contemporary silhouettes. Explaining KGL's approach, she said, “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 further explore the concept of fragmented memories.
Sunil Sethi, Chairman of the Fashion Design Council of India, highlighted how designers are combining established artisanal techniques with increasingly expressive approaches to fashion.
He cited Anamika Khanna's use of chikankari embroidery 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.
Sethi said 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.
The discussions at the BRICS+ Fashion Summit highlighted the intersection of technology, creative judgement and traditional craftsmanship in India's fashion industry. From AI-assisted design to contemporary interpretations of hand embroidery and handloom textiles, the contributions of Indian representatives underscored the importance of adapting traditional expertise to changing consumer expectations and international markets.
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