At Lakmē Fashion Week, where spectacle often takes centre stage, Amit Aggarwal has long mastered the art of quiet disruption. This season, in collaboration with Indriya, Aditya Birla Jewellery, his latest showcase Orizon moves beyond the visual into something more immersive, a study of memory, material, and movement. Rooted in the idea of “heritage in motion,” the collection doesn’t just revisit tradition; it re-engineers it, asking what it means to carry the past while designing for a future that feels increasingly self-assured.
For Aggarwal, this philosophy has always been instinctive. “My work has always explored how tradition can transform,” he says. In Orizon, that transformation unfolds through sculptural forms, engineered textiles, and unconventional techniques that mirror India’s own evolution. “India is evolving rapidly, and our identity is expanding with it. I believe heritage survives by constantly evolving… adapting, absorbing new influences, and continuing to inspire new narratives.”
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That evolution begins with material. This season sees the designer working with moulded handloom and vintage Banarasi—textiles that carry not just craft, but memory. Yet, rather than dismantling them, Aggarwal approaches them with a sense of reverence. “These textiles carry time, touch, and cultural emotion,” he explains. “The process begins with understanding the material rather than imposing upon it.” What follows is not deconstruction in the conventional sense, but a recontextualisation—Banarasi silks re-engineered into architectural silhouettes that feel both rooted and radically new. “The emotional memory isn’t lost; it transforms… into a form that feels relevant to the present moment and open to the future.”
It’s this interplay between structure and sentiment that defines Orizon. While Aggarwal’s silhouettes have often been described as architectural, he resists being boxed into a singular identity. “What I remember is never the clothing alone, but the feeling it inspires,” he says. Couture may bring precision and sculpture may allow experimentation, but it is emotion that anchors the work. “Storytelling adds layers… but emotion is what makes it successful, especially today, when the consumer is deeply in sync with their own sense of self.”
That self-awareness is reflected in the woman he designs for, one who is self-assured, grounded, and resistant to fleeting influence. “A garment doesn’t need to speak louder than the wearer,” he notes. “It should move in alignment with her presence.” On the runway, this translates into silhouettes that hold their form without restricting movement, pieces that embody strength without spectacle, and confidence without noise.
If earlier collections leaned into visual drama, Orizon feels more internal, almost meditative. “For me, Orizon exists as a moment in motion,” Aggarwal says, describing it as a study of transition and possibility. Garments shift with the body, catching light in unexpected ways, creating what he calls a “sensory dialogue” with the audience. It’s less about commanding attention, and more about holding it.
This sensorial approach finds a natural counterpart in Indriya’s design philosophy. For Abhishek Rastogi, Head of Design at Indriya, jewellery isn’t merely ornamental it’s experiential. “Indriya’s philosophy of jewellery being felt, not just seen comes alive in this collaboration through movement, structure, and sensory experience,” he explains.
The dialogue between the two is most evident in the materiality. Polki and diamonds, steeped in legacy, are reimagined through engineered settings that manipulate how light is received and reflected. “The futurism emerges in how we choose to work with that legacy,” Rastogi notes. “We’re not altering the essence, we’re orchestrating how it is experienced.” The result is jewellery that feels almost weightless, yet deeply dimensional, where tumbled emeralds, blush-toned stones, and metallic accents create pieces that are in constant visual motion.
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Importantly, in Orizon, jewellery doesn’t play a supporting role. Instead, it becomes an equal narrator. “It doesn’t compete with the sculptural garment,” Rastogi says. “It softens it, animates it, and brings it closer to the body.” What emerges is a shared philosophy expressed across two mediums—where adornment deepens the emotional and physical presence of each look.
For Aggarwal, this collaboration is less about merging aesthetics and more about expanding a shared language. “We approached the partnership with a shared belief that tradition does not confine creativity but equips it,” he says. Garment and jewellery were conceived in conversation, evolving together rather than in isolation, each enhancing the other’s narrative.
That narrative, in many ways, mirrors a larger shift within Indian fashion itself. As the industry steps into a new era of global recognition, designers like Aggarwal are choosing to look inward before outward. “India stands at a significant point where it is increasingly being recognised as a powerful force within the global luxury landscape,” he reflects. For now, the focus remains on strengthening that foundation, building with intention, experimenting fearlessly, and allowing global conversations to emerge organically.
For Indriya, too, this collaboration signals something beyond a single showcase. “Pushing the envelope isn’t a choice, it’s part of our core belief system,” Rastogi says. Working with Aggarwal has only expanded that vision, hinting at a future where jewellery continues to move beyond adornment into something far more immersive.
With Orizon, what takes shape is not just a collection, but a quiet manifesto, one that suggests heritage is not something to be preserved in stillness, but something to be carried forward, reshaped, and felt.
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