Isha Ambani Is Anything But ‘Aam’
This whimsical ‘Aam’ by Subodh Gupta turned remarkably ‘Khaas’ at this year’s MET Gala, fuelling dialogue centred around Indian culture, artistry and tradition.
- 8 May '26
- 3:29 pm by Rishma Gill
Drenched in sculptural gold, Isha Ambani’s look for the MET Gala 2026 this week, styled by Anaita Shroff Adajania, represented India’s cultural opulence, most vividly on what is considered the world’s most extravagant fashion stage. On the steps of The Metropolitan Museum of Art, the mango handbag stood out as the undisputed star, a focal point sparking numerous conversations. In tandem with this year’s theme ‘Fashion Is Art,’ her ensemble, designed by Gaurav Gupta and crafted by master artisans at Swadesh, portrayed a sensibility deeply rooted in tradition. An ode to the iconic Indian painter Raja Ravi Varma’s painting titled ‘The Lotus Lady, a sculptural arc heightened the visual aesthetic. Historically referenced hand-painted Pichwai motifs came to life while zardozi and aari embroidery featured prominently.
Aam: A Purposeful Infusion Of Indian Identity
Artist Subodh Gupta’s metallic mango, crafted in steel, hung in a delicate jaali crochet bag by 3.10 By Guggi, exuded its unique artistry within the MET arena of haute couture storytelling. Conceived through a playful pun and the nostalgia of childhood kitchen table conversations, it was the aam that unequivocally stole the Met Gala’s theatrical show. “I enjoy making things and art. The mango work came from playing with the word aam, which means both mango and the common person in Hindi. I liked that connection,” notes Gupta.
It pays homage to Gupta’s artistic philosophy, which transforms ordinary, everyday Indian household objects into monumental pieces of art that seamlessly transition between elevated aestheticism and bourgeois identity. When asked what it meant for him to have the aam’s journey all the way to the gala, he says, “I liked the idea that the sculpture could move with the body instead of sitting still in a gallery. Suddenly, the work was walking, travelling, being photographed, and becoming part of another energy. Ambani carried it beautifully and gave another life to the work.”
Encased In Sheer Brilliance
Anaita Shroff Adajania’s vision led to the creation of the sheer crochet bag that enveloped Gupta’s steel mango. Created by 3.10 By Guggi, a mother-son duo label, the delicate jaal, inspired by the lotus, unfolded in a radial symmetry, deeply connected to sacred geometry. Co-founder Daksha Batra explains, “The lotus-inspired jaal felt instinctive to us. There was something beautiful about the fruit of India being held within the flower of India. For us, the brief was extremely special because the bag was not meant to compete with the mango sculpture. It had to hold it, frame it, and allow the artwork to remain the hero.”
Again, the choice of label 3.10 By Guggi was a deeply intentional one. Showcasing a relatively small homegrown Indian brand on the international circuit meant empowering communities of women artisans, who are integral to the brand’s identity. As Batra states, “Our women artisans are the backbone of 3.10 by Guggi. Every piece carries their patience, skill, and handwork, and this moment belongs to them as much as it belongs to the brand.”
As an artistic expression, the mango has been deeply synonymous with India. For the country’s collective consciousness, it stands as the harbinger of spring and summer; a cardinal feature appearing in paintings, sculptures, mythology, and religious symbolism; a metaphor for fertility, abundance and pleasure. This, perhaps, is the reason why it worked so well as a sharp cultural influencer on the global stage.