New Delhi,
When it comes to separating true talent from well-styled noise, no one does it with more flair than Meher Castelino. With decades spent judging, mentoring, examining and chronicling fashion from every possible vantage point, she has an unbeatable radar for what matters and what will last.
She’s tracked global fashion shifts, sat through more runway shows than most of us have had hot dinners, and can spot a future trend long before it hits a moodboard. Immune to hype and allergic to mediocrity, Meher zeroes in on the standout ready-to-wear from this October’s LFW x FDCI at The Grand in New Delhi — and when she makes her picks, the industry listens. Here’s her exclusive report for our readers.
By Meher Castelino
There are fashion weeks held around the world, and each has its distinct profile. The fashion weeks in New York, Paris, London, Milan, Dusseldorf, and Moscow stay true to the ready-to-wear (RTW) genre. Paris has its Haute Couture Week, and Milan has a men’s wear event that has its individual appeal. The designers make it a point to adhere to the required profile of the fashion week – RTW Autumn/winter or RTW Spring/Summer or Couture. There are fashion weeks in the Far East, Middle East, Australia, Africa, South Africa, and Canada too. Each country caters to its domestic needs.
India’s fashion weeks are divided into two distinct genres. There is the Lakmē Fashion Week, in partnership with the Fashion Design Council of India – LFW X FDCI – which is held twice a year, in March and October. The former caters to summer buying, while the latter is aimed at the Diwali, New Year, and wedding seasons. The Couture Week is held annually in July, and is a glittering showcase aimed squarely at brides, grooms, and anyone with a penchant for maximalist splendour
LFW x FDCI aims at a more ready-to-wear profile – clean silhouettes, retail-ready separates, and modern Indian interpretations designed to move from runway to rack. But often, a little couture drama always sneaks in. But the October 2025 edition in New Delhi struck a refreshing balance. This season delivered genuinely wearable fashion with global appeal for men and women— pieces that speak to both the Indian and Western buyer looking for craftsmanship without the costume. Here are the collections that cut through the noise and set the tone for what’s next.
ABRAHAM AND THAKORE
When a collection creates an innovative impact on the ramp, it is truly memorable. Amongst all the glitz and glamour of the show, David Abraham and Rakesh Thakore unveiled, for their label Abraham and Thakore, an intriguing collection. They presented an unusual look for the humble dhoti and lungi fabrics. The collection, called “Warp and Weft,” turned the traditional drapes into fashionable creations for men and women. Jackets, skirts, elegant trench coats, palazzos, and panelled blouses breathed a stylish air into the fabrics.
Men’s wear featured traditional bandis and kurtas with discreet glitter that had an eye-catching appeal. The addition of ikat, recreated in 100 per cent Tencel, brought a new dimension to the apparel. This was a collection that spoke a great traditional language, as it paid homage to Indian textiles with a unique international flavour.
GOLDEN FEATHERS
I have watched the winners of the Circular Design Contest since it was launched in 2018 by R|Elan™ at the Lakmē Fashion Week Winter/Festive edition. It was created by Reliance Industries’ R|Elan™, in partnership with the United Nations Environment Programme, to promote sustainable circular practices in fashion.
The winners so far have been: I Was a Sari (2019), Mailai (2020), Bandit (2021), Pieux (2022), Without (2023), RKive City (2024), and Crcle (2025). But it was the runner-up this year, Golden Feathers, that made me sit up and stare. I have seen several sustainable modes for garments, but when I saw butchery chicken waste turned into the most amazing woollen apparel, I couldn’t believe my eyes.
The discovery of Radhesh Agrahari and Muskan Sainik, Golden Feathers is listed as the sixth natural woollen fibre. The 27-step, chemical-free sanitization process has zero waste. So far, 57,000 kgs of chicken feathers have been upcycled, and in three years, 500 tons of butchery chicken waste have been recycled. The “Kora” collection was a vision in ivory — all beautifully designed into high-fashion garments.
WATCH FULL SHOW FROM 16.22 onwards for Golden Feathers
TASVA
The Tasva label by Tarun Tahiliani, in partnership with Aditya Birla Fashion and Retail Limited, has proved to be a great seller for men’s Indian and Western wear. The latest collection offered a variety of fabrics, Indian embellishments, and crafts like Lippan art from Kutch, which added life to the men’s wear. It is probably the wearable quotient of the collection that ensured it fits into the best ready-to-wear category. The discreet detailing was elegant and far from the OTT concept that many men’s wear brands execute.
ARJAN DUGAL
What made Arjan Dugal’s men’s wear impactful was the subtle detailing and clever use of fabrics and crafts. The look was classic, with a hint of edginess that combined fabrics, colours, and unconventional prints. The regular men’s wear favourites were evident — kurtas, sherwanis, shirts, suits, and Nehru jackets — but each had the marked Arjan Dugal stamp. The use of dori, marodi, cutwork, and scallops was cleverly integrated with a restrained appeal.
ASHISH SONI
An Ashish Soni collection is always a study in sharp, precise tailoring for men and women. His grandiose collection, “The Soirée at the Grand Budapest Hotel,” was all about ultra-elegant future fashion. Ashish’s philosophy, “Less is More,” was visible in the predominantly black-and-white collection. There was opulence in the design directions for both men’s and women’s wear. The line-up of trousers, jackets, gowns, tuxedo-inspired club wear, and wide-leg trousers pushed the occasion-wear concept to a higher level. Yet, it was apparent that the collection was eminently wearable and would appeal not only to Indian buyers but also to the international market.
PAYAL JAIN
Payal Jain’s ode to Parisian glamour, with her “Paris Mon Amour” line, interpreted the French fashion ethos with an easy, comfortable narrative. Payal’s use of Chanderi and mulmul ensured that Indian textiles were ideal for the fun-filled look that will appeal to a wide global and national audience. With white as the core colour, Payal’s use of crochet and tonal embellishments highlighted the appeal of her holiday resort collection.
NAUSHAD ALI
This Puducherry-based designer is known for his multi-layered collection that can be mixed and matched seamlessly. Naushad Ali’s “Continuum” line offered a varied look at coats, shirts, skirts, dresses, and a variety of assorted apparel in different fabrics. Naushad is not a follower of trends in fashion. For him, comfort seems to be at the forefront for buyers, and each piece of clothing would suit the whims and fancies of the wearer. It was a line that appeared seasonless as well as timeless, with great sales appeal.
SHWETA GUPTA
The Shweta Gupta label, SWGT, has always been devoted to nature and its inspirations. The “Look Closer” collection offered precision in embellishments along with a harmonious blend of crafts and Indian fabrics. Sourcing materials from all over India, Shweta brought hand-woven mulberry silk, cotton from West Bengal, and Chanderi from Madhya Pradesh, which formed the basis of the collection.
Detailing was intense, while the overall look of the collection had an ageless appeal. Skirts with wide, fluid tops and pussy bows; co-ord sets with bouquets of embroidery; tiered maxi skirts; and voluminous maxis were simplicity personified — ideal for the global traveller who desires a wardrobe that speaks an Indian language.
