Abhinav Mishra's mirrors are among the most recognisable signatures in Indian occasionwear. For his annual couture presentation, Into the Wild 2026, the designer gave them somewhere new to go. The show was held on October 24 under a moonlit sky in Chattarpur, New Delhi. It took its cues from animals, organic forms and the feeling of freedom. Kriti Sanon closed it in black.
The showstopper look
Sanon wore a black mirror-work lehenga made in Neo-Tech fabric, covered in hand embroidery and metallic embellishment and marked with sculptural horse motifs. In a category still ruled by pastels and traditional bridal reds, a black couture lehenga is a statement. Here it made the collection's argument for it: Indian embellishment can be darker, sharper and more experimental and still feel celebratory.
Sanon is not new to the label. She has worn Abhinav Mishra at her sister's wedding, on screen and at special appearances. Mishra has said her confident, contemporary and fearless approach to fashion made her the natural choice to lead the finale. It's an easy look for bridesmaids and wedding guests to borrow from, and a bolder bride could take it too.
Beyond the lehenga
The lehenga stayed central to Into the Wild, but it shared the runway with a much wider wardrobe. There were structured high-collared jackets, trench coats, wide-legged and flared trousers, layered wraps and three-piece sets, alongside corsets, bustiers, kaftans, capes, high-neck tops and even crop T-shirts. Taken together, it showed a designer testing how far his embellishment can travel from the wedding stage.
The palette came straight from the landscape: earthy olive, muted sage, deep brown, rich red, black and dusty neutrals. Animal-inspired prints and oversized florals added movement. The surfaces were heavily worked. Mirrors stayed the brightest element, layered with metallic sequins, zardozi, beads, leather sequins, laser-cut details and hand embroidery. Metal accents and bells added sound as well as texture.
"*Into the Wild* is inspired by animals, nature and the feeling of freedom," Mishra said. "I wanted to bring that spirit into Indian bridalwear. Mirror work has always been my signature, and this time I have combined it with metallic sequins, distinctive motifs and prints. The collection feels a little adventurous, while still being beautiful and special for a bride."
A set built like a forest
The theme carried well beyond the clothes. Huge deer installations and sculptural figures set the mood, and the décor was dominated by moss olive, forest green and deep chocolate. Firefly projections, shadows, branches and foliage, along with ambient natural sound, brought the wilderness into the venue. Mishra worked with ANHAD & TANNER on a cinematic score of layered vocals, immersive textures and shifting rhythms.
The front row included designer Varun Bahl, Taiwanese pop star Cheng Chang Fan, creators Mannat Sandhu and Mohak Narang, and models Sheetal Mallar, Archana Akhil Kumar, Alicia Kaur and Kanika Dev.
Why it matters
Indian couture is often accused of standing still: the same colours, the same silhouettes, a little more embroidery each year. Into the Wild didn't drop the craft. It kept it at the centre and moved it into trench coats, bustiers and a black lehenga with horses on it. Coming just as the wedding season begins, it gives brides and their guests permission to go darker and stranger without giving up the handwork that makes Indian couture what it is.
For Sanon, it was a polished return to the runway in a look that will be referenced long after the season's pastel lehengas are forgotten.
