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What does it mean to be an artist today? In our first episode, Mandovi Menon and Shiva Nallaperumal talk about creative discipline, collaboration, and the ways art connects to culture and identity. With humor and insight, they unpack misconceptions about creative work, unexpected sources of inspiration, and how their own journeys have evolved over time.

What We Discuss:

00:00 Introduction
00:36 Path 1: Discovery
7:40 Path 2: Unblur
11:20 What is your origin story? A pivotal moment or influence that sparked creative energy in your life?
26:19 In terms of process, what are some of your go-to habits or rituals that help you get into the creative mindset?
27:21 Path 3: Perspectives
27:31 AI in the Creative Industry- Boon or Threat
34:22 Social Media as a tool for shaping identity
43:41 The Rise of the Creative Director

For feedback and suggestions, reach out to us at podcast@blurtheborder.com

As always, thank you for tuning in!

BTB Speaks to

Akhil Nagpal

For AKHL’s Akhil Nagpal,the true potential of Indian craftsmanship can be tapped through their innovation

Written by: Manica Pathak

In recent years, several homegrown labels have spawned a new wave of interest in India’s artisanal inheritance – dominating the country’s fashion scene with designs that favour modern cuts and contemporary styles in lieu of traditional silhouettes. When Blur The Border speaks to Akhil Nagpal, founder and creative director of AKHL, he and his team are amidst unpacking their recent collection. “We are trying to understand what the customer really expects out of the label and evaluating how to introduce new elements to our textiles,” says Nagpal whose label has emerged amongst the crop of designers innovating craftsmanship from a different lens. At AKHL, while structure, form and tactility form the cornerstones of the designs’ dramatic cuts and shapes, things are different. “We don’t start with a sketch and then find a textile that works for it – it’s quite the opposite for us. The qualities of the textile, including its malleability and how we can manipulate or drape it, determine the direction of our silhouettes – That’s our USP,” Nagpal explains.

Akhil Nagpal at his first studio, New Delhi, 2020

The Wave Form Cutout Column Dress from AKHL’s collection Prima Donna FW24

With the prestigious Gen Next recognition and a series of innovative collections to its credit, AKHL’s trajectory as an emerging avant-garde is one that reflects on India’s fashion identity from its current standing. “I was trying to make sense of how Indian fashion can fit into a global dialogue. Why is fashion in New York, London, Paris or Tokyo considered global fashion but Indian fashion is just addressed as ‘Indian fashion’? What are the kinds of limitations and boundaries we have placed on ourselves? Can we do more to have Indian fashion be part of the global dialogue?” Akhil goes on to explain that the local and global appreciation for Indian crafts and textiles- despite the intricate weaving and surface techniques involved in their make – remains confined to the surface.“It’s a very orientalist view to box India as a colourful country and relate its artisanal oeuvre to certain motifs only.” he says.

“Why is fashion in New York, London, Paris or Tokyo considered global fashion but Indian fashion is just addressed as ‘Indian fashion’? What are the kinds of limitations and boundaries we have placed on ourselves? Can we do more to have Indian fashion be part of the global dialogue?”

But Nagpal does not imply that traditional aesthetics lack relevance or importance today. “A large market in India appreciates traditional aesthetics and is willing to pay a premium for it. Some designers have even successfully leveraged this part of the market. But while I respect tradition, my approach isn’t a traditional one. My focus is more future-oriented, looking at what’s next,” says Nagpal, identifying existing gaps as opportunities for his label in the Indian fashion industry while gripping both ends firmly.

This adds to the thought, that while the evocative pieces at AKHL bring to life traditional embroideries such as Aari and Zardozi, they are more radical, steering away from what we are accustomed to seeing. “For me, it’s not their surface-level engagement but the techniques and generational know-how that make these textiles and crafts Indian. These techniques have become more complex over generations and you can create them in ten different ways. Our kaarigars have internalised this knowledge and passed it down through generations. If you ask them to alter or adapt a technique, they are incredibly open to it ,” explains Nagpal, delving into the narrative that has found a strong voice in the foundations of AKHL’s collections, including Prima Donna FW24 and Gamma SS24. For such embroidery techniques- originating under the patronage of Mughal emperors in India- the label marries centuries-old artisanal handwork with upcycled monofilament and glass yarns, sourced from fishing villages in Mumbai.

Pieces from AKHL’s FW24, Prima Donna

With AKHL’s pieces that have now garnered editorial features, donned well-known celebrities, and now also boast a presence in the Middle East and at luxury retailers such as Harvey Nichols, every start to a story has a purpose. Akhil’s unique take on the country’s fashion and the vigour to reimagine it can be traced to the India he was born in. “My parents witnessed the rise of a liberal, globalised India with access to Western clothing, which I was exposed to. I did not grow up with my mother’s traditional saris- she wore denim skirts and cool Western outfits. So, I am constantly thinking about Indian fashion in an urban context, reflecting its intermingling with global influences.”

That Nagpal’s designs – so thoroughly inspired by an urbanised India- would also host centuries-old techniques is a sensibility that is honed from his professional experience. Working with Indian designers such as Manish Arora and Amit Aggarwal has encouraged a unique outlook on Indian craftsmanship and their innovation—a journey that followed his education at the Central Saint Martins, London, and a brief stint at Peter Pilotto. Here, he observes a contrast between how contemporisation is received in two different worlds. “In India, we are overexposed to our traditional techniques – which sometimes makes it challenging to appreciate or accept new interpretations,” he delves into the country’ where craftsmanship and their sources for innovation thrive in abundance.

The Radiating Sequin Dress

Gold Double Slit Dress

The Arched Nile Dress

“But, in contrast, the worth and value of such craftsmanship are often much higher in the West. Here, handwork is expensive because it needs outsourcing from Indian export houses, as a result of which designers often resort to generic designs and techniques. So, when Western buyers see something novel done with handwork, it stands out significantly. They are willing to pay a premium for the craftsmanship because it breaks away from the cookie-cutter approaches the West is accustomed to,” hints Nagpal, at the continued need for effort from both ends of the spectrum and the importance of supporting new designers who bring fresh perspectives to traditional craftsmanship. “But I feel like the change is happening because many young and established names have opened the door to unconventional textiles. There’s Gaurav Gupta, Amit Aggarwal, and Rimzim Dadu – who are a generation before mine and have led the way in breaking into that market and now I feel like we have to carry their legacy forward,” he concludes.

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OTHERS

What led Shivam Punjya, an academic and researcher to start a premium brand retailing leather handbags? From the outside, it may seem puzzling but it isn’t when you learn that social impact pervades every step of production at design at Behno. Born and raised in California, Shivam launched Behno in the US. Now a favorite among homegrown labels in India, Behno recently signed Katrina Kaif as the brand ambassador for its Indian launch. In this episode, we explore Behno’s growth story and how Shivam has created a brand at the intersection of luxury and social impact.

What We Discuss:

00:00 Intro
01:43 Behno’s Launch in India
02:26 Katrina Kaif x Behno
05:25 Creating a Brand for Social Impact
10:29 How Brands Can Adopt Conscious Production
14:42 Challenging Design and Aesthetic Stereotypes
17:09 The Hidden Meaning in Behno’s Handbag Design
19:51 The Pivot from Ready-to-Wear to Handbags
21:01 Why the Brand was Named ‘Behno’
22:59 Shivam’s Take on India’s Homegrown Industry
25:59 On Collaboration & Go-To Homegrown Labels
30:27 How Brands Can Increase International Representation
31:29 The Day-to-Day of Running a Brand
34:01 “I Never Thought I’d be the Founder of a Fashion Brand”
36:54 Know the Founder

For feedback and suggestions, reach out to us at podcast@blurtheborder.com

As always, thank you for tuning in!

Watch the full episode on:

YOUTUBE

SPOTIFY

OTHERS

In the late 1990s, Vivek Sahni, the founder of Kama Ayurveda, discovered the efficacy of Ayurveda. Since then, his mission has remained steadfast: to bring traditional Indian remedies with proven efficacy to a global audience. In 2002, this vision culminated in the launch of Kama Ayurveda in India. However, behind this success lies a wealth of insights. In this episode, we delve into Vivek’s journey, uncovering invaluable lessons on building a successful brand. He shares essential tips on establishing a successful store, staying connected with customers, perfecting your products, and maintaining uncompromising quality. For aspiring entrepreneurs, this discussion promises to be a masterclass in brand building and growth within India.

What We Discuss:

00:47 Intro
01:48 Kama’s Launch in the UK
08:13 Vivek’s Journey: From Graphic Design to Founding Kama
15:45 On Simplifying Your Brand Messaging
17:01 Vivek’s Take on the Difficult Moments
24:05 Kama’s USP: Designing their Stores
30:27 The Power of Sampling
31:35 The Kama Store No One Would Enter
35:28 Vivek’s Thoughts on How the Industry has Evolved
36:53 Vivek’s Homegrown Brand Picks
38:40 On Working with Regional Influencers for Marketing
41:35 Know the Founder
47:20 Kama Over the Next 10 Years

For feedback and suggestions, reach out to us at podcast@blurtheborder.com

As always, thank you for tuning in!

Written by Manica Pathak

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For decades, the Cannes Film Festival has stood as one of the most highly anticipated red-carpet events. But, while it is traditionally associated with film gatherings and holds immense prestige for critically acclaimed directors and actors, the event has also gained recognition for its notable fashion moments. Since its inception, a parade of attendees clad in luxury labels and international names have descended the French Riviera. However, while film and fashion continue to be focal points of the festival, recent years have witnessed a significant shift—veering away from the rulebook and embracing more global perspectives. Stepping beyond the lineup of names solely associated with films, the 10-day festival now includes well-known influencers on the red carpet. And while they currently remain a topic of discussion on social media, Cannes is also making headlines for all the right reasons—emphasising representation, recognition, and repurposing.

Kelly Rowland in Gaurav Gupta

Kelly Rowland in Anamika Khanna

While events such as Cannes have always demanded conspicuous looks, this year’s edition of the festival turned heads to a different light. Actors such as Ratna Pathak and Chhaya Kadam won over the fashion fraternity with a bold departure from the norm. Both the actresses made a statement by looking back instead, at their own wardrobe and Indian roots. Pathak, who was at the screening of filmmaker Shyam Benegal’s 1976 film, Manthan, wore a a Chanderi saree from her personal collection, meanwhile, Kadam, a cast member of the award-winning film All We Can Imagine as Light, wore her late mother’s saree, showcasing deft and rich Indian weaves. Celebrities were spotted re-wearing their personal wardrobe, an aspect that can certainly lead to normalizing repurposing.

Chhaya Kadam wore her late mother’s saree

Ratna Pathak wore a Chanderi Saree from her personal collection, paired with a blouse from re-ceremonial

Another noteworthy aspect of the Festival is the spotlight it placed on several homegrown names. The Indian audience in the past has typically been familiar with labels that continuously dominated the Indian fashion scene. However, with global attention focused on who-wore-what at the Cannes Festival, audiences closer to home and the West are also discovering emerging and niche Indian designers. While several influencers, Bollywood and Hollywood celebrities including Masoom Minawala, Aishwarya Rai Bachchan and Kelly Rowland turned heads in designs from Anamika Khanna, Falguni and Shane Peacock, Gaurav Gupta, Amit Aggarwal and more – names now familiar in international headlines and global fashion – some also chose to wear labels that are particularly celebrated for their traditional designs. Actress Aimee Baruah delivered a poignant look in a traditional Muga silk saree (Mekhela Sador) by Assamese designer Juthika, boasting motifs as old as 200 years rooted and in Indian heritage. Ratna Pathak paired her saree with a bespoke himroo blouse from re-ceremonial, designed by founder Aveet Anand. Chhaya Kadam’s benarsi silk lehenga from Warp ‘n’ Weft and singer Sunanda Sharma’s chanderi kurta salwar from Aikeyah caught the attention of several publications.

Singer Sunanda Sharma

Meryl Streep in Hanut Singh earrings

While such moments have only recently started to gain traction, a closer look at the timeline reveals that our perspectives on appreciating traditional ensembles at international events have been contradicting. Celebrities like Vidya Balan, who have previously attended Cannes in traditional looks from Sabyasachi, have often faced criticism including remarks like ‘lack of experimentation’, ‘boring’ and more. Nearly 11 years later, this dramatic shift in celebrity choices is prompting us to analyse and learn from our preconceived notions. Perhaps the Indian audience – due to its deep-rooted familiarity with traditional attires – has not been able to fully grasp its potential beyond its everyday worth. Our gradual shift towards Western attires has also contributed to overlooking the potential of our own garments to represent our identity and heritage. Apart from fashion, this year’s Cannes Festival also became a platform to highlight jewellery pieces from the most coveted Indian designer names. Meryl Streep complemented her sublime appearance with a timeless pair of Hanut Singh earrings, meanwhile, Jennifer Lopez wore a stunning emerald and diamond neckpiece from Manish Malhotra.

As the Cannes Festival concludes, it leaves us with a trail of thoughts to mull over, including the potential for creating similar spaces closer to home. Following the the success of the NMACC which included dignitaries and influential figures from across the globe, it is only befitting that such events hold the potential for innovation and provide visibility for both emerging talents and established designers. While India is already gaining global recognition when it comes to fashion such events could re-emphasize the abundance of Indian craftsmanship, textiles, and design in the country. It also underscores that events such as these allow us to talk about art, design and fashion at a larger scale. Moreover, while independent designers have typically remained confined niche consumers, such red- carpet moments showcase their designs beyond the traditional market and to a wider audiences.

Art, AI & Identity: A Creative Deep Dive | The Creators’ Loft ft. Mandovi Menon & Shiva Nallaperumal

For AKHL’s Akhil Nagpal, the true potential of Indian craftsmanship can be tapped through their innovation

Making Luxury Matter with Shivam Punjya, Founder of behno New York

Backstage with Vivek Sahni, founder of Kama Ayurveda

What Red Carpet Events like Cannes Say About India’s Shifting Fashion Narratives

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BTB Speaks to

Akhil Nagpal

For AKHL’s Akhil Nagpal,the true potential of Indian craftsmanship can be tapped through their innovation

“Why is fashion in New York, London, Paris or Tokyo considered global fashion but Indian fashion is just addressed as ‘Indian fashion’? What are the kinds of limitations and boundaries we have placed on ourselves? Can we do more to have Indian fashion be part of the global dialogue?”

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