Ladakh’s rise as a design hub isn’t new. But it remains a story worth sharing—again and again. No matter how often one visits, it’s hard not to be stunned by the landscape’s sheer improbability. On one of the world’s highest plateaus, Martian dunes rise beside ancient stupas, glacial blue rivers flow alongside seas of poplar, and monasteries, hewn into cliffs, overlook valleys where Tibetan-style masjids call worshippers to prayer.
Over the last year there’s been a particular interest in the region from both within and people outside. Take for example the Himalayan Knot, a textile conservation project led by the motorcycle company Royal Enfield which brought together Looms of Ladakh, a herder-artisan-owned brand, with fashion designer Rina Singh of Eka. The resulting collection translates the visual language of the region—mountains, Buddhist prayer flags, and prayer wheels—into embroidery on shawls, knitwear, and separates. Meanwhile June 2024 saw the second edition of sā Ladakh, a public land art exhibition that engaged with the local community, culture, and environment.
Yet what makes this story even more compelling is the current generation of Ladakhi designers, for whom creativity feels less like a pursuit than a prerogative. For them, it’s also a responsibility—to their design legacy and the craftspeople who sustain it. Interestingly, many of these designers have stayed away from their homeland, moving to cities like New Delhi and Bengaluru, only to be compelled to return by a passion to reinvigorate traditional craftsmanship practices and incorporate aesthetics that resonate with customers far beyond Ladakh.
Zilzom by Stanzin Palmo
In east Ladakh, hardy Changthangi goats produce some of the world’s finest pashmina, locally known as lena. This wool is crafted into pashmina shawls, as well as dhoti saris or coats, embroidered with Ladakhi motifs, which form a key focus of designer Stanzin Palmo’s brand, Zilzom. She sources de-haired pashmina directly from Changthangi goat herders and commissions artisans in Zanskar to hand-spin and weave the fibres. These are often sent to Kolkata for intricate hand embroidery. “A common misconception is that genuine pashmina must be fine enough to pass through a ring. But Ladakhi pashmina, being hand-spun and hand-woven, is naturally thicker than machine-processed alternatives,” says Palmo.
Working with women-led artisan communities is integral to Palmo’s creative practice. Before launching Zilzom in 2018, the NIFT Delhi graduate mentored artisans as part of Looms of Ladakh, training women from remote villages to scale their skills and enhance their earning potential.
2112 Saldon by Padma Saldon
“I was deeply influenced by the unhurried pace of life in Ladakh, where everything is made with intention and care,” says Padma Saldon. “Watching my grandmother weave and hearing how every thread and motif carried meaning instilled in me a profound respect for craftsmanship.”
Raised in New Delhi, the NIFT alumnus founded her brand, 2112 Saldon, in 2021. Last October, she debuted as a Gen Next designer at Lakmé Fashion Week. Reversible Nambu wool (a thick textile from the southwestern Zanskar region made from locally-sourced sheep wool) jackets are a highlight. Either side often features a different craft, be it Ladakhi tie-dying (thigma), ikat weaving, or multicoloured patchwork offset by Tibetan-inspired stripes. “Storytelling is central to our designs. Each piece is not just a product but a narrative—whether through colours inspired by Ladakh’s landscapes or motifs drawn from Tibetan culture. This blend of modernity, sustainability, and cultural resonance sets us apart,” says Saldon.
Namza Couture by Padma Yangchan and Jigmet Disket
Early last year, Sonam Kapoor Ahuja shook the Internet when she wore an ornate Ladakhi mogos, a gown or robe, and a bok, a brocade shawl. The opulent ensemble was by Namza Couture, a brand founded in 2016 that specialises in silk brocade occasion wear that reflects Ladakh’s historic role as a Silk Road transit hub—connecting the Indian subcontinent, Tibet, and Central Asia.
Founder Padma Yangchan hopes to continue those global connections. “Our core customers value heirloom-quality pieces,” says founder Padma Yangchan. “Internationally, Japan has shown strong demand for our pashmina and wool jackets, while Dubai favours our brocades. In Europe, our pashmina shawls, jackets, and brocade textiles resonate most. We’re excited to see how the brand continues to evolve and connect with a global audience.”
Yangchen is one of the few designers exploring traditional bridal wear too. Think delicate organza dupattas covered in flowers and the same brocade robe that Kapoor wore but in shades of pista green and sky blue, inspired by the wardrobes of Muslim and Buddhist brides of the region.
Jigmat Couture by Jigmat Norbu and Jigmat Wangmo
As young designers make waves in Ladakh, Jigmat Norbu and Jigmat Wangmo, the husband-wife duo behind Jigmat Couture, have been quietly working to archive and advance the region’s past and present design narrative. Founded in 2010 following two years of intensive research into Ladakhi textiles as a luxury product, Jigmat Couture was an early homegrown Ladakhi fashion brand. Over the last 15 years, they have expanded to four stores in Ladakh, supplied stockists internationally, and established a first-of-its-kind textile museum in Leh. “In recent years, there has been growing interest in Ladakhi textiles from students and professionals alike, yet there were no venues to study or explore the craft in depth,” says Norbu about the museum. “More importantly, local artisans themselves had no place to view their ancestral art and consider its creative possibilities.”
Reinterpreting lesser-known Ladakhi garments, such as ornate robes worn by Ladakhi royals or more practical, kaftan-like overlays worn by the younger girls of a particular tribe, has been a recurring theme in Jigmat Couture’s annual collections. Alongside, their prêt line offers more minimal pieces, like lightweight pashmina capes and upcycled fur gilets, catering to tourists and non-Ladakhi clients.
