But crucially, the collection doesn’t remain in despair. Like a visual poem, it evolves towards renewal. His most powerful piece symbolises this transformation—a ‘tree of life’ emerging from a womb, representing potential and hope. “Hope, even if it doesn’t fully materialise, is the most essential thing in life,” Mishra says, encapsulating the collection’s philosophical essence—a sentiment that echoes Sagan’s meditative reflection on our shared human experience.
Mishra’s couture has always been a visual spectacle, defined by complex constructions. “My experience in architecture, furniture design, and previous collections all contributed to the making of this line. Creativity always moves forward, building on past experiences while exploring new techniques. The goal is to create something distinctly mine while pushing beyond my previous boundaries,” Mishra emphasises, when asked about how he plans on translating this characteristic architectural approach into his new collection’s themes of dystopian landscapes and eventual renewal.
Technically, this collection represents a leap in Mishra’s artistic evolution, pushing the boundaries of craftsmanship beyond his previous work through material innovation and conceptual depth. Extensive hand embroidery, challenging materials like glass and metal, and three-dimensional techniques create garments that are more than clothing—they’re wearable social statements. “I think like a product designer more than a fashion designer, which helps me solve complex problems. I’m fortunate to have a team that gives 150% when I’m giving 100%,” he adds.
What makes this collection important is its refusal to be merely beautiful. It holds a mirror to society, a provocation, an artistic intervention that forces us to confront our environmental fragility. “I’m not trying to do social service,” Mishra insists. “I simply want clean air, a better life for myself, and a healthy future for my daughter.”
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