Beyond tokenism: Meet the designers leading Northeast India’s new fashion movement

I come from the hills of Nagaland; my first visit to familiar, the air just as fresh, and houses perched on hills didn’t feel foreign. The journey from the airport to Aizawl felt strikingly similar to the drive from Dimapur to Kohima. For years, Northeast India has been seen through a narrow lens—celebrated for its culture, diversity, cuisine, traditional attire, and well-dressed communities, yet rarely acknowledged as a region capable of shaping its own fashion movement or nurturing homegrown brands. That perception is beginning to shift. The Zoram Fashion Showcase marked the first public expression of the Aizawl Design Project—a significant step in reframing that narrative. Held on March 10 at LPS Arena, Aizawl, the showcase brought together three of the city’s leading design voices: Hannah Khiangte, Lapâr, and Escape Engmoia. It was curated by Lal Moya, a floral designer and event curator who has worked with major luxury houses in the United States.

The words culture, craft, and tradition are often used loosely by brands, resulting in work that merely gestures at sincerity. In contrast, the collections by Khiangte, Lapâr, and Engmoia moved beyond representation. Their designs were not just nods to heritage, but acts of ownership and storytelling from within. The collections were styled by Aizawl-born stylist James Lalthanzuala. Lapâr, founded in 2017 by Patricia Zadeng, an alumna of the National Institute of Design, is rooted in a commitment to uplifting handloom weaving in Mizoram. Influenced by her collaborations with Rahul Mishra and Maku, her collection, titled Bride of Christ, reflects the spiritual journey of the Mizo people. At its core, the collection explored how traditional shawl-wearing practices could be translated onto the runway without losing intimacy or symbolic depth. Craftsmanship remained central, with an emphasis on fringe, intricate weaving, and embellishment, anchored by deliberate silhouettes.

Engmoia, often described as the maverick of Mizo fashion, has a journey as compelling as his work. Raised in the village of Vairengte, he began by cutting hair to afford sewing materials—an early step towards creating the life he envisioned. His collection featured matte silks, textured weaves, and draped fabrics. Power-walking models, bold shoulders, and black-framed glasses created a distinctive, almost intellectual uniformity that sharpened the otherwise soft, nature-driven aesthetic. Architectural draping, diamond motifs on kimono-style coats, ruched waists, and accents of f lorals in purples and pinks, alongside multicoloured embroidery, grounded the collection in botanical richness.

“My collection comes from the idea of Khawntlang Lunglen,” says Khiangte. “It is the feeling of remembering something deeply without knowing exactly what you are remembering. It lives in our songs, our poetry, and in the way we think about the past.” Founded in 2013, her label reinterprets traditional Mizo handlooms through precise tailoring and a contemporary sensibility. The collection feels like a “living memory”—heritage deconstructed and reassembled through an edgy lens. Structured overlays and exaggerated proportions dominated, with sunset oranges and marigolds leading the palette. Layered underskirts created depth, while fabric rosettes in red and yellow acted as focal points—perhaps symbolising the blossoming of a memory.

The shows were breathtaking, but what grounded me most was the humility that threaded through the experience—from the designers and curator to those who came simply to support the first showcase of its kind in the region. It reaffirmed something I’ve always known: the Northeast’s warmth and instinctive respect run deep. Here, fashion is not performance or aspiration; it is woven into daily life. My trip to Aizawl, and the showcases I witnessed, did not surprise me. I know the calibre of creativity that exists here—the quiet confidence it brings to fashion. What feels overdue is for the rest of the country, and the world, to pay attention. 

This article originally appeared in Harper's Bazaar India's April-May 2026 print issue.

Images: Courtesy the brands

Lead image: A model in Escape Engmoia

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