Indian contemporary label Lovebirds recently celebrated its 10th anniversary, a significant milestone in its journey of redefining contemporary South Asian fashion. Unlike many labels to have come out of India — known for their opulence, embellishments and dramatic couture — Lovebirds has carved a niche, prioritising ease and simplicity. The brand’s ethos revolves around clean, wearable silhouettes rather than decorative excess, embracing straight lines over elaborate drapes to create an effortlessly modern aesthetic that resonates on a global scale.
Founded by husband-and-wife duo Amrita Khanna and Gursi Singh, the label is as much their first child as it is a business. While Lovebirds enjoys a cult following in India, it is also expanding internationally, retailing at prestigious stores like Harvey Nichols in London, Australia’s David Jones, Beams Japan and Neiman Marcus in the States. I caught up with the pair just as their brand turned 10.
Vogue: Lovebirds champions a sense of Indianness, but not in the traditional sense of embellishments or cuts. As a brand with a more minimal, modern ethos, how have you carved a niche for Lovebirds on the global stage?
Gursi: We consider ourselves 100 per cent rooted in our Indianness. For us, the ‘Indianness’ doesn’t come from traditional silhouettes or cuts or embellishments but from our learnings of the Indian ecosystem that we take global. While the world appreciates Indian couture for its grandeur, we struck a chord in another sphere. Our distinctive design language, graphic prints, geometric silhouettes and clean minimalism found space in the global market. Our designs distinctly tell the story of modernising Indian craft. And collection after collection, we explore new ideas while staying grounded in our core design philosophy, steadily building a presence in markets like the UK, the US and Japan.
Vogue: Tell us about how you started your global journey.
Amrita: Our international journey actually started many years ago when Sara [Sozzani] Maino of Vogue Talents [a platform promoting unknown designers] invited us to show in Milan. We met so many people and began thinking about what an international network could mean for us in the future. After our first Milan showing, Yoox started stocking us, and ever since, there’s been no looking back.
Since then, we’ve consistently shown at markets in Milan, Paris and London, and after years of persevering, we finally got our big break in 2022 with Matches. After Matches, we partnered with many notable stockists across the globe — Liberty London, Harvey Nichols, David Jones, Neiman Marcus, Beams — to name a few. This, combined with our collaborations with select boutiques, has brought our designs to discerning global audiences alongside our strong client base in India.
Vogue: Would you look to open your own flagship store internationally?
Gursi: We recently did a shop-in-shop at Harvey Nichols where we made an exclusive, fully upcycled collection with them, and it got a great response. We want to continue doing interesting pop-ups. In fact, with Harvey Nichols, we’re exploring a new format that will offer a more experiential approach. This concept will feature a wider range of products and incorporate elements of our brand’s visual language, creating a distinctive and immersive retail experience. It’s still in the pipeline, but it aligns perfectly with our vision of thoughtful expansion and global engagement. We will also see trunk shows and pop-ups at select locations in the US.
Vogue: Lovebirds has a loyal, almost cult-like following in India, and you’re now opening your fifth store in Hyderabad. What has been the secret to building this community?
Gursi: It has been important to show the brand as an experience. We took cues from the culture of dressing in India to make decisions about how the brand functions. India’s tradition of mending and reusing inspires us profoundly. The concept of made-to-order is inherently Indian, as is the focus on creating timeless textiles that adapt to seasons and lifestyles. We started at a time when the modern Indian woman was becoming more liberal, with more independence and the power to buy and wear what she wanted. When disposable income started increasing, women were travelling more and looking to find their voice in daily dressing — that’s exactly what we were offering them.
Vogue: Slow fashion is a growing focus globally yet is part of how India has looked to dressing for centuries. How does Lovebirds incorporate sustainable practices into its collections, and how do you communicate that to your international clientele?
Gursi: At Lovebirds, sustainability has been integral to our process from the very beginning. We focus on using locally accessible resources and techniques like hand-block printing, artisanal screen printing, natural dyeing and handwoven textiles — reinterpreting these age-old methods into contemporary designs. Our collections feature eco-friendly fabrics such as organic cotton and natural blends, reflecting our commitment to sustainable craftsmanship. Every piece is made in-house at our factory next door, ensuring transparency, fair work environments and a hands-on approach to quality. Upcycling is standard practice in the studio, and we’ve been launching numerous meaningful collections and products that our clients can access and purchase.
Vogue: You’ve recently expanded into occasionwear and accessories. In India, many designers lean on bridal as a primary revenue driver. How do you navigate this space while staying true to your ethos?
Amrita: We launched our first-ever occasionwear collection last October. While our primary source of revenue remains contemporary clothing, occasionwear and accessories come from a gap we saw in this space locally. We don’t see ourselves venturing into traditional Indian bridalwear, but I realised from personal experience that there is a lack of structured modern occasionwear in India. I approached the occasionwear line from a personal lens: what I would like to wear to an evening party? Something not too over the top, suited to a formal occasion but also characteristic of me.
Vogue: How has the response been to your accessories line, which was also launched just a few months ago?
Gursi: While the accessories line could be challenging, it’s also something our customers expect from the brand because of the strong image we have created of the Lovebirds woman. We also feel that the quality, design language and price points of our accessories are distinct and not exorbitant, which naturally creates a sweet spot for our customers. Our luxury handbags especially — made with the most premium Nappa leather from Italy — fall into a category of affordable luxury.
Vogue: Lovebirds recently celebrated its 10th anniversary with the ‘Circle of Life’ concept in India. Can you share more about the idea behind it and your plans to introduce it to an international audience?
Gursi: As we marked a milestone anniversary for Lovebirds, we wanted to do something special while thanking everyone who’s been a part of our journey — friends, family, partners, neighbours and all the collaborators we’ve worked with, whom we call our circle, the circle of Lovebirds. As the circle remains an important visual for our brand, we came up with the idea of seating our circle around a huge, 50-foot, round dinner table. We wanted the setting of the event to visually represent how much support and love our partners and collaborators have shown us over all these years to make Lovebirds what it is today.
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