BTB Speaks to

Kardo

Unapologetically Made in India—Kardo, founded by Rikki Kher, is redefining global menswear through a modern lens of Indian craftsmanship, sustainability, and collaborative storytelling.

Written by: Manica Pathak

Today, the gravitas of Made in India holds more than just a label or a marker of geographic origin. Yet, when Blur The Border speaks to Rikki Kher, founder of Kardo, a contemporary menswear label known for its handmade textiles rooted in Indian craftsmanship and sustainability—the perception was far from the same a decade ago. “When I first showcased Kardo in New York in January 2014, people loved it. They thought the collection was beautifully made. But then they’d ask, ‘Is it Japanese?’ And I’d say, ‘No, it’s from India.’ And suddenly, they’d lose interest and walk away. I’d ask why, and they’d say, ‘We’ve worked with India before—it’s a nightmare: late deliveries, quality issues’, you name it,” says Rikki.

Rikki Kher (Founder of Kardo)

At this point, for Rikki, who was born and brought up in London, pivoting towards the conventional path seemed like the safer bet.“Someone suggested I label the brand ‘Kardo London’ or ‘Kardo Paris.’ Since I’m from London and my wife is from Paris, they said it would sell better. And I thought, okay, this is business—I need to sell.”But in retrospect, his visits to India had already left an irreplaceable mark on him, “It gave me a deeper understanding of who I am—why my parents are the way they are, why I think the way I do.” So, instead of conforming to industry biases, it became about dismantling them. ”When I discussed it with my wife, she said, “Sure, you could do that, but then you’d just be like every other brand. And that’s when I said, I’m going to be unapologetically from India.”

Kardo’s journey, however, was quite serendipitous, the genesis of which stemmed from the principles of Rikki’s personal quest for well-made, and well-fitting clothes for himself, “In India, fashion had a bit of a ‘laissez-faire’ attitude—fits weren’t always precise. Back then, fast fashion brands had just arrived in India and the market was dominated by brands like Ralph Lauren and Giorgio Armani, but they weren’t affordable and didn’t reflect our culture. Everything was imported,” he says. Moreover, despite being surrounded by India’s rich heritage of indigenous textiles, Rikki found that these resources remained surprisingly elusive to the menswear category.“Even when you look at a handloom sari or a textile technique traditionally worn by women, I wasn’t seeing men embrace those fabrics. I kept thinking, why can’t I wear something that represents who I am? When I started making clothes for myself, people would comment, ‘Oh, that’s nice—you should do this,’ or ‘I’d like to buy one.’ That’s when I began exploring the idea of an Indian menswear brand.” But even though Indian craftsmanship became the epicentre of Kardo as a label,Rikki wasn’t content with simply celebrating Indian heritage through fabric. “If I wanted to create an Indian brand for the international market, the only way to do that was through exceptional quality and fit,” he says and continues. “Then came a eureka moment in a Khadi store in Jaipur. I saw this beautiful textile—one that truly represented India’s independence, its struggle, and Gandhianism. It was a real identifier of who we are. But at the time, Khadi was associated with bureaucratic, unflattering clothing. I thought, why not use it in a more contemporary way?”

”When I discussed it with my wife, she said, “Sure, you could do that, but then you’d just be like every other brand. And that’s when I said, I’m going to be unapologetically from India.”

The next steps were quite pivotal—engaging with artisans and reshaping the modus operandi. “I remember buying saris, cutting off the pallu, and asking weavers to recreate the design separately. They thought I was crazy. We couldn’t use the entire fabric in its original form, and that was the beauty of it. I wanted to take a specific section of a sari, for instance, and turn it into a shirt.” The curiosity and passion eventually catalysed Rikki to investigate further. “That led me to the deeper exploration of identifying weavers—understanding who these craftspeople are, the clusters they belong to, their techniques, processes and what their work signifies.”

Today, even though Kardo honours traditional weaving, dyeing and printing techniques in India for their collections, using fabrics such as Ikat, Natural Indigo Denim, Shibori and Chikankari embroidery, Rikki is thinking ahead—to elevate the traditional siloed nature of Indian craftsmanship and encourage a more collaborative ecosystem at the grassroots. “We’re also trying to bring artisans and cultures together. In the entire collection of Autumn 24, we brought Assamese weavers together with Ajrakh printers in Gujarat. These artisans have never traditionally worked together. So, if we can merge two creative clusters or crafts, how will that look? What will happen when we do that? That’s what we’re trying to explore.”

Looking closely at Kardo’s collection, it becomes clear that the label isn’t just referencing heritage—it’s curating a living archive. While Rikki is keen on exploring newer iterations of traditional craft techniques, many of Kardo’s pieces are created in collaboration with 10th-generation, award-winning artisans like Sufiyan Ismail Khatri and his team in Ajrakhpur, as well as using 200-year-old archival prints from 4th-generation block printer Suraj Narain Titanwala. He says, “We wanted to start with the artisans’ expertise—what the artisans have mastered over generations.” As he continues to share insights, he gestures to the oversized camp-collared shirt he’s wearing from Kardo’s Spring/Summer collection during the interview, “The world doesn’t always understand the intricacies behind what we create. Many people know about it, but does the average consumer realize that this piece was made using an Ajrakh print on Matka silk from Bengal? And what exactly is Matka silk? What is Ajrakh printing? Who is the Ajrakh printer?”

But passion alone isn’t enough to build a strong brand presence. There are several other key elements that Kardo has successfully managed to get just right to carve out its place towards the global map. According to Rikki, even the seemingly minor details play a crucial role in shaping the bigger picture,“You can’t just ship a box with the tape all mashed up. Presentation is half the battle. Even the label placement has to be perfect. At times, I’d walk into my workshop and tell my tailors, “The label is two millimetres too high on the right side,” and they’d say, “Chalega.”And I’d say, “No, you don’t get it.” The proof of validation ultimately has made all the effort worthwhile. “Once the tailors saw the reaction to precision, they started to understand. It took a couple of years to train people. The stitching had to be perfect throughout. Buttons had to be sewn on correctly. Packaging had to be top-notch. We’re competing against international brands with high standards, so we had to match them. While a lot of people didn’t understand that I was lucky that I did because I grew up and worked abroad. That was probably my competitive advantage,” he says.

Even after showcasing at international fashion weeks and securing stockists in countries like Belgium, Australia, France, Germany, Hong Kong, and Japan, Rikki’s core belief has remained intact, perhaps one of the reasons that makes him a visionary, more than just an entrepreneur. “My swansong is actually being involved in real India and bring it to the world so people can acknowledge the country is home to true craftsmanship. Of course, we want to be commercially successful, but it’s also about creating a circular ecosystem where, as we grow, artisans gain more recognition and opportunities. If we were to step away tomorrow, we would want the artisans to continue thriving. And If the artisans we collaborate with receive more work, how does that affect us? It’s a win-win”, he asserts. In many ways— as Rikki continues to share, the industry has also exploited their skills—sampling textiles from the artisans only to have them mass-produced elsewhere at lower costs. “We never did that. If we sampled a textile with an artisan, we made sure to produce it in bulk with the same artisan. Many artisans do multiple jobs. They’re agriculturalists, they’re weavers, they might have another source of income. It’s about assuring them that we’ll provide enough work to support their weaving and even create opportunities for the next generation—and crucially, we ensure fair and timely payment,” he says.

With over a decade of Kardo’s presence, the brand has attracted a spectrum of customers, particularly across borders. “We have a massive diaspora following worldwide. I recently did a talk in New York, and people came up to me afterwards and they told me, “You make us feel proud of where we’re from.”That really struck me. I was born in the ‘70s in Britain, and here were people—probably third-generation Americans—still struggling with their identity. It made me realize that’s part of what we’re doing—giving people a sense of pride in where they’re from,” shares Rikki.

But there is still much work to be done—a collective effort that shouldn’t rest solely on brands but must be equally shared. As the conversation deepens, Rikki reflects on the growing disconnect between consumers and the process behind what they wear—and why bridging that gap has never been more crucial. “People aren’t always willing to invest time and effort in understanding this. With Instagram and the rapid rise of fast fashion, it’s become even harder. That’s why storytelling is so important. The more we show how things are made, the more consumers will understand and resonate with these narratives. It’s not just about presenting a product that looks beautiful or fits into current fashion trends. If consumers see the process, they might appreciate it more, or maybe they won’t—we can’t dictate how people think. Some will resonate with it, and some won’t. You can’t win everyone over. But the key is to nurture those who believe in what you do and build a connection with them.” Beyond the role of the consumer, he shifts focus to another critical piece of the puzzle—the need for infrastructural and institutional support to truly sustain the craft economy. “As for the government, Our textile heritage is second to none and if the government wants cities to be less crowded and rural areas to bounce back, they need to support craft and recognize that an incredible number of people need employment. Yes, India will have to industrialize faster, but can’t we counterbalance that with investment in craft? For example, we were weaving a herringbone cotton fabric and introduced it as a basic in our collection. Our first order was 120 meters. After which we received an order for 2,000 meters. The weaving cluster we worked with only had two weavers capable of making this fabric. So I said, “I’ll give you a blanket order of 5,000 meters a year. Let’s train two or three more weavers to meet the demand.” But it also requires a combination of government support, investment, and market demand. We have the market—I show in Paris, London, New York, and Tokyo, we have the visibility and can secure orders. But how are we going to produce at scale? We need support. As much as we try to backweave clusters, weavers also need guarantees to keep them from migrating to cities.”

As the conversation draws to an end, what emerges from Kardo’s journey is also an evocative portrait of a founder.Having spent over two decades in India, including ten years in large-scale industrial garment production, he brings with him an innate understanding of the industry. Kardo isn’t just a brand in his hands—it’s the distilled outcome of years of learning, unlearning, and evolving. “My twenties were impatient, my thirties were impatient, and maybe by my forties, I had developed a sense of calm. I lost money, made some, had brilliant experiences, and every challenge taught me something valuable. All of that has helped me navigate how I run this company—and its probably that last one I’ll run,” he says.

BTB Speaks to

Samaaj

Raman Chawla founded Samaaj in 2023 as a contemporary menswear label, blending traditional Indian craftsmanship like Kantha, Kalamkari, and Pashmina with modern silhouettes, fostering direct collaborations with artisans and upcycling vintage textiles to create culturally rich, sustainable fashion.

Written by: Manica Pathak

Sometime in 2021, Raman Chawla, then a footwear design student in India, decided to pivot his path, moving to Montreal to study Fashion Marketing. “When you’re abroad, there’s a stronger urge to connect with your roots and showcase your culture,” he says, recalling the year when, as part of his curriculum, he had returned to India to work with artisans in Bagru, for a research project. But what began as a small research initiative soon evolved into a personal creative endeavour. It wasn’t long before—following appreciation from his friends—Raman found himself making frequent trips back to Bagru, this time to experiment further with silhouettes. “I posted the outfits on a subreddit called Streetwear Startup. To my surprise, the post blew up! People were so interested in the pieces and the story behind them—the natural dyeing and block printing really captured their imagination,” notes Raman on this exploration that marked the first steps toward launching his own contemporary menswear label in 2023, which currently offers a line-up of shirts and jackets in crafts including Kantha, Kalamkari and Pashmina.

Gradually, things have picked up for Samaaj since, having amassed a significant following on social media alongside prominent celebrities donning the label’s outfits. But what’s even more fascinating about Raman’s journey is his independent pursuit, having travelled and nurtured relationships with handloom weavers from Andhra Pradesh, Bengal, and Gujarat. During these visits, Raman is someone who has always followed a thoughtful approach. “Since they might not always work with the same professional processes I’m used to, I make sure to set clear expectations, especially to achieve a specific quality. First, I look at what they’ve made in the past—any references I can gather from their work. I then explain my ideas to them, often word by word. If needed, I create a tech pack or detailed drawings to make things clearer and print them out for reference.”

“Since they might not always work with the same professional processes I’m used to, I make sure to set clear expectations, especially to achieve a specific quality. First, I look at what they’ve made in the past—any references I can gather from their work. I then explain my ideas to them, often word by word. If needed, I create a tech pack or detailed drawings to make things clearer and print them out for reference.”

But even today, having worked with several indigenous communities as Raman runs his label from his hometown in Delhi, he makes sure that he taps into resources with suppliers where inventory is abundant but often goes to waste. “In Delhi, there’s a Gujarati society near Connaught Place where many Gujarati women sell their vintage pieces as a side business. I source most of the patchwork fabrics from there. I also have a supplier in Kolkata who provides us with Kantha fabrics. For Kashmiri shawls, I got in touch with a supplier I found through one of the government-run initiatives.”

Hand Embroidered Collection

He also makes it a point to visit the right places, “The government here is very proactive in supporting artisans. Many government buildings host small shopping centres where artisans promote their crafts. Places like Pragati Maidan and Dilli Haat are prime examples—every week or two, a new batch of artisans showcases their work, and the government covers their travel and other expenses. I make it a point to visit these places regularly. I collect their contact details and sometimes take samples from them. If I need custom pieces made from scratch, I visit their workshops directly.”

Although here Raman has picked up on an irony. “Whenever I visit markets in Delhi where artisans showcase their work, it’s often disappointing to see that the main attraction for visitors is the food stalls rather than the crafts or clothing,” he says. This neglect, according to Raman, can be attributed to, “In India, they are so ubiquitous. We have grown up surrounded by these crafts, so they don’t intrigue us as much as they might intrigue someone encountering them for the first time.” he says. Even garments made from upcycled fabrics—one of Samaaj’s key offerings, where vintage deadstock materials from decades ago are transformed into outerwear and shirts—often face stigma. “For domestic stockists, especially in places like Mumbai, we’ve received feedback that customers don’t like visible signs of wear, patches and fading preferring items that look new and untouched. It’s a common challenge in India.”Their value is further overshadowed by mass-produced alternatives, “I’ve faced a lot of backlash from the domestic market for pricing. People often comment things like, “Why is this so expensive? I can get this cheaper elsewhere. Because it’s so easy to replicate hand-block prints through screen printing. People are used to paying ₹100 per meter for those, so it becomes very difficult to sell one piece for ₹10,000 or ₹15,000 in India.”

However, labels like Samaaj have managed to garner substantial attention across borders. “Internationally, especially in markets like the US and Europe, there’s a high level of interest in artisanal, sustainable, and culturally significant products. Indian crafts are often perceived as exotic, and people really appreciate the unique stories behind them. For example, at a pop-up I did in Mumbai during the Boiler Room Festival, the UK team was fascinated by one of my Kalamkari hand-painted shirts, amazed to learn that the entire piece was hand-painted with a brush using natural dyes.”

This renewed appreciation for crafts and textiles must find its way back home.“The handloom and sustainable textile industry often caters to a privileged section of society because of its cost. But these crafts are expensive to produce, and that naturally reflects in the pricing of the products.” Eventually, a few recalibrations are due—and the timing couldn’t be more serendipitous, with conversations around textiles and crafts gaining momentum and young labels taking bolder strides in their representation, “Making these crafts more accessible to the masses while ensuring that the actual artisans, rather than middlemen, benefit could help promote the craft. Perhaps subsidies or tax rebates on handloom fabrics could make these products more affordable. Lower prices could help reach a wider audience and bring more support to the artisans themselves,” Raman concludes.

BTB Speaks to

Indigene Crafts

Jaya Bhatt and Ruchi Tripathi of Indigene Crafts nurture timeless traditions with artisans, creating a legacy of handcrafted beauty and meaningful connections.

Written by: Manica Pathak

Even with over a decade of market presence, Jaya Bhatt and Ruchi Tripathi of Indigene Crafts are far from touting their success. Instead, “Indigene is just a drop in the ocean.” states Jaya humbly. Long before the term ‘homegrown’ entered the mainstream vocabulary, both the founders, precisely 14 years ago, were working closely with crafts groups and clusters for the modern market. Today, the brand takes utmost pride in its partnership with artisans and local communities. Each piece that is created passes through many hands across different regions—all whilst maintaining an ethical supply chain. “As we work together, the artisans refine their skills through practice, and our one-on-one interactions strengthen the relationship. Often, we learn from them too,” says Jaya. From their studio in Delhi, the founders’ conversation with Blur The Border promises to be both insightful and engaging. Yet, it’s their light-hearted demeanours and a strong understanding of the importance of building relationships—not just with their artisans, but also with the customers— that leap through the screen. “We don’t use chatbots on our website. It’s usually one of us personally responding to customer queries, which creates a more meaningful experience. It allows us to explain our products in detail, making customers more aware of what goes into creating them,” emphasizes Ruchi.

Jaya Bhatt & Ruchi Tripathi (Founders of Indigene Crafts)

The industry’s reality is currently tugging between preserving cultural heritage and artisans’ striving for economic progress. However, Jaya quickly redirects this viewpoint, “The issue of migration and the loss of traditional crafts is a much larger question. Rural economies are collapsing, and you can’t blame artisans for wanting a better life. Everyone is aspirational now. They want to move to towns and cities, educate their children, and improve their quality of life. For instance, a weaver might be happier that his son becomes an engineer rather than continuing in weaving. That’s the reality we’re facing.” Ruchi delves deeper into the shift, “What often happens is that larger enterprises or buying houses expect standardization—1,000 identical pieces, for example. But ‘handmade’ is still a very niche segment, and we need to accept that. It can’t be highly scalable. We can’t expect to produce volumes and volumes of handcrafted products,” she asserts and elaborates on the collective efforts that demand attention, “Industries need to be more sensitive and accepting of the so-called “defects” in handcrafted goods. These are not flaws—they’re unique aspects of the craft that make each piece special. We try to do what we can, but everything is so market-driven now that it’s incredibly challenging. You constantly have to be on your toes to attract customers so that the work we do with artisans continues. While we can’t solve these larger societal shifts, we can focus on nurturing a market and an audience for these crafts. The support of audiences and customers is crucial—they need to appreciate and value what we create. That’s the toughest part.” This pragmatism and sense of groundedness have shaped Indigene’s journey in some of the most profound ways. “As long as there is demand and appreciation, these skills and traditions have a chance to survive. And if we can play a small role in sustaining that, I think it’s a job well done,” adds Jaya.

“You can’t just walk into an artisan’s village and say, “Make this for me.” It doesn’t work that way. It’s the artisans’ craft, their skill, and you’re essentially seeking to collaborate with them. When we explore new crafts, it involves a lot of groundwork—that process takes time. We’re approaching them with our ideas and concepts, not the other way around. So, it’s important for us to be more accepting and adaptable to their ways rather than expecting them to adjust to ours.”

This cognition, Among the many milestones—ranging from editorial features in leading magazines to runway shows like Lakme Fashion Week—these relationships have also led to valuable learnings, particularly in re-evaluating the dynamics between designers, brands, and artisans. “We need to adapt to them, and in turn, they need to adopt us,” remarks Jaya, emphasising that the process is symbiotic, one of co-creation and mutual understanding. “You can’t just walk into an artisan’s village and say, “Make this for me.” It doesn’t work that way. It’s the artisans’ craft, their skill, and you’re essentially seeking to collaborate with them. When we explore new crafts, it involves a lot of groundwork—that process takes time. We’re approaching them with our ideas and concepts, not the other way around. So, it’s important for us to be more accepting and adaptable to their ways rather than expecting them to adjust to ours.”

With a gamut of traditional crafts explored—including Ajrakh, Dabu, Sujni, Ikat and Kalamkari— and collaborations with various artisan clusters, the inner workings involved are anything but a one-size-fits-all approach. “Hand block printing and natural dyeing have been passed down through generations, and working with artisans means finding a balance between tradition and new ideas. With Ajrak, which usually features intricate motifs in indigo, red, black, and white, we experimented with a more open, minimal aesthetic and introduced colors like aubergine and mocha—something that hadn’t really been done before.” highlights Ruchi, hinting that co-creating with the artisans can create harmony between the past and the present—honouring tradition but also making room for modern interpretations. She continues ”In contrast, with embroidery artisans—most of whom are women—the process is a bit different. Many of them are already skilled in needlecraft, but they might require technical training to learn new stitches or refine forgotten ones. For instance, Kantha artisans are often used to running stitches, but we sometimes reintroduce other traditional stitches that they may not have practised in years. It’s as much about reminding them of their heritage as it is about combining those techniques into contemporary designs.”

Even upcycling forms an important part of Indigene’s design philosophy. Their Relove collection, which launched in 2017, continues to thrive, recently showcased to a live audience at the Open Art Project. Ruchi notes, “The response was fantastic. People were excited to see how each piece had its own story, and we provided a complete experience for the audience. The display walked them through the process of creating Relove—from sorting and patchworking to layering and garment construction.” By honoring discarded textiles with the same reverence as new designs, Indigene ensures that every artisan’s work is preserved, underscoring that the brand’s true success lies not just in its products, but in the community it has fostered over time. “It’s not just about design—it’s about a social and emotional connection. That’s what builds trust over time. The producers are truly the backbone of Indigene. If they decided not to work with us, we wouldn’t have anything.” Jaya concludes

BTB Speaks to

The Ikat Story.

The Ikat Story’s Chandni Sareen reflects on her journey as a founder, tracing her path from modelling to styling for acclaimed publications, and how a collection she created for a music festival evolved into a contemporary wear label that has flourished for over a decade. At its heart lies the revered craft of Ikat weaves.

Written by: Manica Pathak

Incepted in 2014, The Ikat Story is popularly known for its versatile and fun-hued garments spanning dresses, shirts, tops, bottoms and co-ords. Over the years, the label has created designs that shift seamlessly between casual and formal, each embodying different cuts, fits and layering. But, what ultimately sparks curiosity is the label’s specialization. “Every piece starts with the Ikat weave,” states founder, Chandni Sareen— a statement that invites intrigue, whether anchoring every design and product with ‘Ikat weave’ as a defining feature, limits the ability to variate and innovate without deviating from the core material. To that, she informs, “In every other collection, I try to work with other handwoven or hand-dyed ethical fabrics apart from Ikat, this allows me to play with the Ikat itself and create some cool new styles. We do a range of mul shirts that is the only thing we do in multiples and no doubt is our best-seller along with our most unique #ikatbandhani which by the way; we have made over 10000 of, each one of a kind, absolutely no repeats.”

Chandni Sareen (Founder of The Ikat Story)

The beginnings of Ikat Story were somewhat different, uniquely unconventional when viewed through the blueprint of entrepreneurial journey within Indian textiles and craftsmanship blueprint. The narrative here has typically centred only around a shared, core objective: their preservation. However, Chandni notes. “My first ‘collection’ wasn’t really meant to be one; it was made from my mom’s old saris and my grandmother’s vintage bed sheets—rare Ikat weaves you just don’t see today. I designed them for myself for a music festival in 2014, and when friends started asking to buy the pieces, The Ikat Story took shape.” she recalls. However, the incident was merely a catalyst for deeper realisations; Chandni’s journey with the beauty of Ikat had begun long before she realised it. “My parents would take us on road trips around India, collecting artefacts and looms from different regions, and those memories stayed with me. I was lucky to grow up immersed in Ikat and other handlooms—it was part of the everyday magic in my family’s life.”

“The industry needs to move away from mass production and embrace slow, meaningful fashion and I believe brands like mine have a critical role in keeping traditional crafts alive by focusing on quality over quantity and building deeper connections with the artisans to create value, not just for the customer but for the community behind the work.”

It was as though everything was unfolding in sequence, with one point leading to another in Chandni’s journey. Having worked across publications including Vogue, Harper’s Bazaar and Cosmopolitan, the former model-cum-stylist notes, “Modelling opened my eyes to the artistry behind the scenes, which led me to explore styling. In those days, I was on set almost six days a week, continually sourcing pieces. Eventually, I realised I wanted to create something unique and authentic—something that went beyond the mainstream. That drive is what inspired me to start designing.” And then, it became about finding purpose and establishing core principles. “Working in styling had shown me the industry’s excess and waste, and I wanted to build something with real meaning. My vision was to create a brand that’s sustainable, affordable, and truly unique,” emphasises Chandni and notes that the journey was far deeper than just sourcing Ikat fabrics from the weavers and turning them into commercial products. “It was about building relationships with the artisans who have been weaving this craft for generations. Every piece would have a story, connecting people to who made it and where it came from. I would visit small villages, sit with the weavers, and learn the intricate techniques firsthand.”

What followed were pivotal moments; getting a brand off the ground is one thing, but championing authenticity over low-price alternatives is an entirely different challenge. “It wasn’t always easy—if you didn’t go to the weavers people would sell you Ikat prints over weaves. The challenge was ensuring that I could help preserve these weaves while creating demand.” And it’s a process Chandni has come to understand must be nurtured to make a lasting impact. “Over time, by forming strong bonds and ensuring fair pay for the artisans, I’ve been able to make it work. I work closely with clusters of artisans from Telangana and enjoy spending time with them in the process.”

Delving further into the design process reveals that much of it is deeply influenced by Chandni’s personal style. “I love my style, it isn’t about being perfect; it’s about embracing individuality and finding beauty in things that are a little wild and unexpected,” and ultimately informs the boho-like and eclectic feel in Ikat Story’s designs. “Because that’s exactly how I approach life and style—free-spirited, a little unconventional, and always open to mixing things up. I’m naturally drawn to vibrant colours, eclectic patterns, and pieces that feel relaxed but have a story to tell. I want the people who wear my pieces to feel that same sense of freedom and authenticity, to just be themselves and have fun with it.” she says emphasising the spirit of putting something personal into the brand, that automatically creates a distinct identity in the crowded fashion space.

Along the way, from engaging with artisans to designing products and expanding Ikat Story into new categories—now including accessories, furnishings, and kidswear—Chandni shares her key takeaways for the future. “The industry needs to move away from mass production and embrace slow, meaningful fashion and I believe brands like mine have a critical role in keeping traditional crafts alive by focusing on quality over quantity and building deeper connections with the artisans to create value, not just for the customer but for the community behind the work.” Interestingly, the founder’s call to action is also directed toward the consumers of fashion, whom she sees as instrumental in shaping the future of conscious fashion and indigenous crafts. “It’s about shifting the mindset from ‘fast and cheap’ to ‘slow and meaningful.’ The first step is understanding the story behind what we buy. Choose brands that are transparent about their process and that prioritize ethical production. When we make conscious choices, we’re ensuring that these crafts not only survive but thrive for future generations.”

Founded nearly a decade ago, the label has carved out a unique identity for itself. While it continues to stand out with its distinct character, the brand is part of a larger vision in the homegrown space. “There are so many exciting homegrown labels right now, and it’s inspiring to see so many talented designers embracing traditional textiles and upcycling methods, working with fabrics like you’ve never seen before. Some of my favourite fresh brands doing great work: Kokun, Rkive City and Rafu’d. It’s a great time to be a part of this movement, and I’m always looking to collaborate and learn from other brands that share the same values. Together, we can create a more sustainable, meaningful fashion industry.” Chandni concludes.

BTB Speaks to

Day & Age

Day & Age’s co-founders Shreya Parasrampuria and Sharan Adka take a thoughtful and candid stance on their vision for the label. A design and lifestyle brand that currently shapes vintage textiles and embroideries through the lens of time, Day & Age refuses to be confined by clothing alone. Here, the intricate worlds of graphic and textile design aim to come together for ‘what came before with what is yet to come’

Written by: Manica Pathak

Text, Textile and Time might seem like disparate words to be strung into a sentence, yet for co-founders Shreya Parasrampuria, a textile designer and Sharan Adka, a graphic designer, they form the conceptual scaffoldings for Day & Age, a design and lifestyle label— whose sensibilities draw from the reserves of a slower more thoughtful approach. “Interestingly both ‘text’ and ‘textile’ derive from the same Latin root—texere—meaning ‘to weave’.” This etymological link and their converging histories—a topic that the founders explored extensively during their time as students at the National Institute of Design – Ahmedabad— somehow fit together like pieces of a puzzle and ultimately led to the founding of their label in 2023. Sharan adds, “For Shreya, the connection with textiles is more direct, while ‘text’ signifies the broader history of communication and graphics, which represents me. We examine both these elements through the lens of time, informed by various techniques, graphic movements, visual elements, and ideologies.” Reflecting further on this overlap, he continues, “We often associate pixels with the digital world, but textile weaving operates on a similar grid structure. Weaving is a precise, mathematical process—just like graphic design with typefaces or other intricate details.”

Sharan Adka, Co-Founder- Day & Age

Shreya Parasrampuria, Co-Founder- Day & Age

Drawing from her background—a niche that dives deeply into the technicalities of textiles—Shreya offers her insightful perspective on this as well, “The primary difference lies in the medium, whether it’s fabric, a screen, or paper, but the underlying principles and processes remain close. Fabric, for instance, is arranged on a grid with measurements like ends per inch (EPI) and picks per inch (PPI), echoing the concept of DPI in digital design,” she explains.

With just over a year since its inception, Day & Age has already donned a diverse mix of both popular and emerging names in the industry. Yet, as Blur The Border delves into an hour-long interview with the founders, it’s clear they possess a grounded perspective, choosing not to vaunt their journey but focusing more on what they want their label to express — and it’s only the beginning of the countless opportunities and avenues ahead.

“All of it may seem random, but it’s very intentional. When we create, storytelling is our guiding principle, so we don’t start with a predetermined craft or technique in mind. Instead, we approach each project intuitively, asking ourselves how we can best express the concept at hand and keep our main focus on the visual outcome—whether it is combining digital printing or hand embroidery.”

Shirts crafted from decades-old Kantha or applique fabric, wooden blocks carved in Sanganer, Rajasthan, bearing the print of Roman god, Janus, embroidered shirts critiquing the monotony of adulthood, a passage from Indian Majority Act 1875 embroidered on a shirt-pocket — are a few of the compelling elements that one would find at Day & Age. However, the part where all of the designs band together is the purpose and meaning behind each. “All of it may seem random, but it’s very intentional. When we create, storytelling is our guiding principle, so we don’t start with a predetermined craft or technique in mind. Instead, we approach each project intuitively, asking ourselves how we can best express the concept at hand and keep our main focus on the visual outcome—whether it is combining digital printing or hand embroidery,” says Sharan. As we continue to get to the heart of the label, anticipating a familiar narrative, one that often emphasizes a traditional approach to working with local artisans, Shreya is quick to assert, “An interesting point for us is that, although we work extensively with craft and techniques, we don’t directly collaborate with the makers themselves.”

For instance, in our Bygone collection, we primarily use vintage or found fabrics,” she continues. These garments which can range anywhere from shirts, jackets, vests, overcoats and even bags are 1/1 that are impressions of the past— re-fashioned from what already exists. “In contrast, our Currents collection takes a different approach. It focuses on the present, where we produce items that are not one-of-a-kind, unlike Bygone.” she expands. The first edition of this collection, titled ‘All Grown Up,’ delves into the complexities of adulthood, offering commentary on the various factors that shape our understanding of it and the expectations that accompany it. It remains one of the primary factors that has also brought the label under several spotlights—celebrities and publications alike. Sharan notes, “Interestingly, most of our customers don’t come to us specifically for the embroidery or a particular technique. They come for the concept, the story behind the work and the lifestyle we showcase, even before the commercial aspect comes into play,” he says.

Bygones Collection.

However, adding layers of deeper meanings or symbolism isn’t about dressing the label up or packaging it to seem superficially profound.“We pay attention to small details and create narratives for people who follow the brand closely. It isn’t something we think about after the product is made. It’s not even an afterthought when we ask ourselves, “What’s the story now? How can we sell this?” It develops simultaneously, as the design and creation process unfolds.” Sharan adds and continues to elaborate on how an overarching concept or an intangible vision is simmered down to threads and imagery in fabric pieces. “Many of the pieces in our Currents collection are named after oxymorons, like Clearly Confused or Strangely Familiar. These names reflect the confusing nature of adulthood, where you can feel like a child and an adult at the same time. When we begin the process, we start with a concept. Once we have that in mind, we think about what kind of visual could best describe it. For Clearly Confused, we envisioned a chaotic, organic, abstract surface, filled with many elements, almost overwhelming to look at in one go. There’s no clear path or direction in the design, symbolizing the nonlinear, mixed experience of adulthood. From there, we begin sketching and decide on how best to translate that into textiles. The textural component was important to us, so we chose chain stitch embroidery. As we develop the concept, we pull in metaphors from different aspects, translating them into techniques, visuals, colors—everything informs the larger idea.”

Eventually, this weaving of ideas, emotions and experiences into a narrative flows into everything they do. “From our social media captions, labels, campaigns or even the kinds of garments we make, sometimes, the narrative even grows during the photoshoot stage. Take the Parallels collection for instance—each caption was written like a journal entry, describing fictional events of the day in a few lines,” explains Sharan.

Although it is common knowledge by now that social media can be a murky space at times, with over a hundred posts that we collectively flip through daily; but the founders’ vigour as creative individuals has led them to balance their creative purpose with an understanding of how audiences will ultimately engage with their work. “Whether or not someone picks up on that is something we don’t always know, especially with Instagram, given the short attention span of users. For us, it’s never just about the product. That’s why we describe ourselves as a design and lifestyle brand, not just a clothing brand. Crafts only play a role in the stories we want to convey through our designs. So, we dont want to be pigeonholed as a brand that focuses solely on a specific craft. It’s a reflection that sums up Day & Age’s collections where a variety of crafts exist —one piece may feature applique work from Rajasthan or Kantha from Bihar, another may combine both techniques, while yet another could be a jacquard weave on khadi cotton.

The founders’ decision to take the road less travelled is rooted in a belief that true dedication to craft should lead directly to the Indigenous artisans and craftspeople who are the living embodiment of that tradition. And in contrast, Shreya notes, “When customers approach a brand, it should be for the design, the setting, or how the product is presented, which plays a crucial role in how they connect with it. By creating a product and showcasing it in a way that resonates with their lifestyle, customers often engage with the craft, without even realizing it.”

Although it comes with its fair share of bumps in the road, even for labels trying to carve out a unique niche in the otherwise saturated fashion industry. Shreya explains, “Many people, apart from other designers, find it difficult to grasp the concept that these pieces can’t be reproduced in another size or what it means for a piece to be truly one of a kind. For them, the term is often a marketing adjective, rather than taken literally. It’s a major hurdle even with stockists who prefer to deal with SKUs.” With ‘vintage’ now a catchphrase in the industry, it also emerges that the term’s meaning is often lost in translation, amongst consumers.”In India, people have become more accepting of the aesthetic of handwork, but there’s still room for growth in terms of appreciating the uniqueness of vintage items. “The fabric might already be 30 or 40 years old, and it’s important to accept that character—its tears, patches, and irregularities. From a commercial standpoint, this presents challenges for stocking, both online and in-store to avoid double-selling. But this is a shifting landscape, and the changes are happening in the industry,” she explains.

A little more than a year old, the future of Day & Age is something to look forward to. “When we started, we knew clothing would be just one part of what we do. Flexibility with mediums and outputs and exploring diverse creative avenues are key to our label—whether ceramics, furniture, posters, or digital projects. Right now, we’re focused on clothes and textiles, but we’re not confined to any single definition,” emphasizes Sharan.

As young designers steering their label through the complexities of an industry that often demands bold declarations and disruptive ambitions, Shreya and Sharan stand out for their unrestrained creative spirit and refreshingly unconventional approach to business. Unfazed by the pressure to ‘make a dent,’ their energies and expertise only complement each other in cultivating a vision that’s as authentic as it is unapologetically unique. “Honestly, we don’t take ourselves too seriously. People have told us that our business approach is unconventional—like making one piece at a time or not focusing on sizes. I think it’s important to do what feels right, to have your own voice, and to avoid just saying what’s expected. We don’t have grand ambitions of shattering ceilings or making a huge industry impact. We’re just here, doing what we love,” they conclude.

BTB Speaks to

Hindostan Archive

Hindostan Archive’s Sahil Meenia and Shaoni Ray unravel how their shared cultural roots and personal journey evolved into a label that honors the ancient textiles of South Asia.

Written by: Manica Pathak

In a little over two years since its inception, Hindostan Archive has already found its way into Paris Fashion Week S/S25. Launched in 2022, co-founder Sahil Meenia recalls putting together a collection of 40 products only as a part of his internship project, “We never set out to build a brand. We didn’t have the money, the connections, or even a team. It all just kind of happened on its own. We brainstormed the brand name, and Shaoni did all the graphics. We set up an Instagram page and shared our work, and suddenly, it clicked. People started showing us so much love,” says Sahil.

Shaoni Ray, Co-Founder- Hindostan Archive

Sahil Meenia, Co-Founder- Hindostan Archive

Fast forward to today when Hindostan Archive has evolved into a menswear luxury label, blending South-Asian textiles, culture & heritage with a global and contemporary spirit, Sahil and Shoani speak to Blur The Border from their workspace in Gurgaon. A certain enthusiasm is noticeable even as we exchange the conversation over a video call, perhaps both are mulling in the positive aftermath of the Fashion Week. “We showcased some of the most unexplored Indian textiles ever,” emphasizes Sahil, offering a glimpse into their latest designs that have invited buyers from countries including Taiwan, Japan and Italy. This particular collection draws inspiration from a rich array of textiles and crafts across India, particularly from Ajrakhpur, where these unique practices are increasingly rare.

“Honestly, to get future generations like Gen Z and Gen Alpha to appreciate traditional crafts, we need to meet them where they are—online; and put out more content that resonates with them. The cool thing is, they are pretty receptive when they see how traditional crafts connect with modern stories and sustainability trends,”

“But in the beginning, we focused on more commercially viable crafts because most Indian crafts are not apt for commercial use; so, we need to consider factors like hand-work, color variations which play a bigger role. We started working with Kantha embroidery because it has similarities to Boro and Sashiko stitching, which were already trending in the Western market.” On the other hand, there are crafts like Khambadiya patchwork that have been explored less in a contemporary context. “Thanks to the artisans we work with—they often also introduce us to incredible textiles that we otherwise wouldn’t have found.”

However, what caught the attention of international clients was the labels’ name and logo. “We wanted to honor both of our shared histories and further explore and work on the textiles and culture of different parts of the subcontinent.” With Sahil’s ancestry in Pakistan and Shaoni’s in Bangladesh, the label’s prefix ‘Hindostan’ is reminiscent of pre-partitioned India, expanding the label’s scope to explore not only Indian textiles and crafts but also techniques like Rilli, which has roots in Sindh, Pakistan. “I’m also really keen on getting more involved with the handloom sector and exploring Dhaka muslin from Bangladesh next year,” says Sahil.

Pieces from SS25 PFW

In a long shot, everything at Hindostan Archive springs from a personal journey. “I was always fascinated more by how men styled themselves. As a kid I watched how my grandfather and other men in my family groomed themselves— wearing locally tailored blazers and shirts, accessorized with earrings, retro watches, and shawls,” he says and continues “Later when I went to military school as a kid, I used to spend every single rupee to collect fashion magazines like GQ, Vogue and read them secretly. That’s when my curiosity grew,” reflects Sahil on this keen observation that has now honed its focus on contemporary menswear—an area that has often distanced itself from intricate surface designs, and the maximalist nature of crafts. But young Indian designers see immense potential within it today.

It might come across as startling that both founders decided to forgo their in-campus college placements to pursue Hindostan Archive. “The real turning point was when Diljit Dosanjh decided to wear one of our jackets. Our Instagram started growing organically and that’s when we felt this could go somewhere.” And despite several other milestones including the Design Excellence Award and having Shivan & Narresh as mentors, it’s the founders’ vision— shaped by personal explorations and experiences— that convinces you Hindostan Archive is beyond a fleeting idea. The label might have been seeded from personal journeys but, “A few designers have inspired me such as Junya Watanabe’s innovative approach to menswear, especially his use of patchworks and unconventional textiles; Ralph Lauren’s timeless American style that blends traditional with luxury and Hiroki Nakamura from Visvim brings a unique blend of American and Japanese craftsmanship,” Sahil informs. “For brands like Hindostan Archive, Emily Bode’s work proves that there is an appetite for clothing that celebrates culture and craftsmanship, rather than fast trends. She has paved the way for many brands like us and has inspired us to focus on authenticity and personal history in their collections.” These influences have been north stars for Hindostan Archive but it’s a delicate balance, between inspiration and innovation, that the founders have been able to navigate.

While much has been accomplished, the focus now also needs to shift towards engaging young consumers.“Honestly, to get future generations like Gen Z and Gen Alpha to appreciate traditional crafts, we need to meet them where they are—online; and put out more content that resonates with them. The cool thing is, they are pretty receptive when they see how traditional crafts connect with modern stories and sustainability trends,” adds Sahil referring to the brands’ Instagram presence and website, which convey deeper meanings beyond clothing.

It is a fairly new, just-fresh-off-the-ground brand, but it’s this narrative that makes it impossible not to take a long glance at the breadth and depth of the brand, where snippets from mythology and glimpses of cultural practices observed during the festival converge. “We are heavily inspired and directed by ‘What is Indian-ness?’, which also dictates our visual language. Indians have often shied away from embracing their roots but our country has so much potential and a rich history with so many textiles and crafts and in fact, the best leather comes from Kanpur.” They have been able to capture this through a dedicated section for vintage vinyl records—that’s now an important part of the labels’ universe— featuring soulful renditions from iconic artists like Rabindranath Tagore, Nusrat Fateh Ali Khan, and Mohd. Rafi, which both founders stumbled upon in a vintage store in Kolkata. “It’s inspired by Amie Leon Deore and how they wanted to highlight the culture of New York through the brand. We wanted to build such an ecosystem. Our music is so rich and beyond that it’s the unique aesthetic in their packaging- the album covers, the font choices, the typography. The graphic design back then wasn’t about minimalism: it was bold, unafraid and full of pop colours.” As the conversation draws to a close, it’s clear that Sahil is inspired by influential figures in design, more so to learn and find opportunities for growth. “But music is just the start of what’s more to come from Hindostan Archive,” Sahil hints. It has prompted him to question why the label should limit its focus to clothing in showcasing Indian heritage when there’s a spectrum of cultural reserves to embrace alongside it.

BTB Speaks to

Morii Design

Morii Design’s Brinda Dudhat on how a deep reverence for Indian craft and a taste for contemporary design, has driven them to create textile artworks at their design studio in Gujarat’s Gandhinagar.

Written by: Manica Pathak

A single textile wall art from Morii can take up to 2-3 months to complete following their initial conceptualisation. At first glance, they seem digitally created, but are in fact hand-embroidered works, echoing the skills of Indian artisans. When Blur The Border spoke with founder Brinda Dudhat, a textile graduate from NID Ahmedabad, she had just returned from a show at Perth’s Holmes à Court Gallery in Australia, where Morii’s wall arts showcased Indian textiles in a different light, contrary to their traditional wearable formats. “We created a piece with seven panels to talk about climate change. Those are warning stripes. Each panel represents a decade transitioning from blue to red, showing how in 70 years, the temperature of the Earth will rise.” says Brinda reflecting the brand’s attempt to explore the intersection of art and design.

Brinda Dudhat & Sonu Yadhav (Founders of Morii Design)

Sujni Embroidery

In a way, the brand’s name has also evolved organically to represent its ethos and story. Derived from the Japanese word meaning forest, Morii was inspired during Brinda’s exchange semester at the TAMA Art University in Japan where she studied fibre, textile and weaving art. Here, she also discovered the concept of Morii girls- a subculture that values nature’s abundance and simplicity. In reflecting on her journey, Brinda as a design student was also exposed to various crafts and craft villages as part of her curriculum at NID Ahmedabad, where she notes a difference compared to her experience at TAMA. “There are beautiful traditional techniques in Japan but there are hardly any artisans left practising them. Whereas in India there are so many artisans, she recalls, “but because of mass production, the quality of that craftsmanship is deteriorating. So, we need to make a clear distinction between authentic crafts and their replicas. For instance, Kalamkari work from Andhra Pradesh, traditionally hand-painted with natural dyes, is now also available in screen-printed forms,” Brinda says, emphasising the initiatives the industry can take to accelerate the growth of legacy crafts and textiles in the country and beyond.

“That one year of hands-on experience showed me the potential of craft, not just in terms of creativity but also in the impact it has on the artisans’ lives. I witnessed firsthand how fair wages for skilled work could empower women, giving them financial independence. It was incredibly fulfilling, and it was in that moment I realised that working with traditional crafts was my calling”.

This cognition, for preserving authentic crafts, has also propelled Morii into several international spaces, including XTANT in Spain’s Palma De Mallorca and Berlin, since its inception in 2019. However, “Textiles as a form of art are not yet widely accepted. In the West, craftwork is often viewed as an individual effort, more commonly regarded as a hobby rather than art.” “In contrast, craft is deeply rooted in the Indian community. It represents the identity of a whole group of people, passed down through generations,” she says.

This sense of community —so deeply shaped by Indian textiles— is reflected eloquently in their wall art — typically ranging between 30” to 70”— and has now garnered attention amongst architects, adorning walls of office spaces and homes, Morii’s journey began on a relatively different note. “We started as a garment brand making one-of-a-kind embroidered jackets,” says Brinda. However, an unexpected spark of creativity led one thing to another. “Once we just thought of framing a panel of one of our jackets. An architect found it really interesting and asked to use it in his project. From there, more architects and designers became interested in our work through word of mouth, and the brand grew organically,” she says.

Bela Block Print

However, the artisans associated with Morii deserved their own spotlight. After graduating from NID, a World Bank-funded project led her to work closely with Sujani artisans in Bihar. “That one year of hands-on experience, I witnessed firsthand how fair wages for skilled work could empower women, giving them financial independence. It was incredibly fulfilling, and it was at that moment I realized that working with traditional crafts was my calling.”Today, artisans from over nine villages, skilled in over 5 kinds of crafts are a part of Morii. Brinda recalls, “The Jat artisans, known for cross-stitch embroidery, were one of the first to partner with me on this journey.” And what followed was very organic. “Then COVID hit, and the artisans I had worked with in Bihar reached out for more work and we resumed our collaboration on Sujani. Then gradually, we began working with a weaver family in Kutch to develop base fabrics for our embroidery. Over time, we expanded to include the Rabari community and most recently, we started working with Bela artisans who specialize in block printing.” she says.

For Morii, the process isn’t the one with shortcuts and instead begins, months or sometimes even a full year in advance. “The first step is always learning about the history of the craft and its current state. Every month, we visit the craft communities to explain the work and guide them through the embroidery process,” says Brinda. “We undertake a six-month training program with the artisans. Although they have the skills, many have stopped practising, so their techniques need some polishing. During this time, we create our own little stitch libraries where we take out old stitches and create new and different combinations. Over these six months, the artisans practice these new techniques, allowing them to adapt to our approach,” she reflects on how artisans with generationally-rooted techniques have eagerly embraced the brand’s innovative spin on traditional crafts.

And then it actually gets down to creating, “I initiate the work by selecting the colours, says Brinda, “And the process is very intuitive for me. I convert my sketches into textile works from a huge pile of textiles that I have collected over the years.” The true pride of Morii, however, has emerged from co-creation.” She continues, “But when it comes to stitching, the artisans—who are experts in embroidery—take over.” Although it may seem like a tall task, Brinda embraces it with a pinch of salt, travelling frequently to villages and studying the different layers of each craft before the wall arts come to life. “And I believe it’s this narrative that resonates with our customers. Our mission is to tell the true stories behind the craftsmanship and the artisans,” she emphasizes, affirming that to really understand a craft it is imperative to experience the places and the people who are their custodians.

The future for Morii looks very clear to Brinda. While clothing seems to be part of its future, the focus is primarily on going beyond the conventional meaning of textiles—harnessing their potential and making a larger impact globally. “Right now, I am focusing more on expanding several 2D artworks I have created, into 3D forms with meaningful messages. I am planning two large-scale installations for this year. While wall art will remain part of our work, my goal is to explore textile sculptures and installations. This series aims to raise awareness about climate change and explore whether it is possible to reverse the repercussions. It is titled ‘Hope’,” she concludes.

BTB Speaks to

Richa Maheshwari

Boito’s Richa Maheshwari speaks to Blur The Border on how a sabbatical trip to Odisha’s remotest villages amidst its textile legacy led her back to her roots.

Written by: Manica Pathak

It is no small task, transitioning into a radically different profession- and yet after a 17-year-long career as a Software Engineer at SAP, it is a dynamic journey that Richa Maheshwari seems to have embraced with great passion.“I was working with teams outside of India but I wasn’t able to touch and feel what I was doing. I wanted to experiment,” laments Maheshwari, who founded Boito. A label that celebrates Odisha’s textile legacy, Boito was born out of the founder’s attempt to find a way back to her roots. “I was brought up all over the country”, she emphasises and continues, “But sometimes you know what happens – because my father comes from Odisha and my mother from Uttar Pradesh, there’s no one set language or one set of food or festivals that you celebrate- maybe the absence of culture sometimes drives you back into looking for it.”

However, for Maheshwari, founding Boito wasn’t one that stemmed out of a whim, but rather a thought-provoking journey. “Rural culture in India has always been very intriguing to me because it’s not something I had access to. I wanted to explore the food, dressing, and various religious practices that existed in my country and starting with my home state of Odisha felt the simplest,” says Richa as she prepares to trek through the snow-capped terrains of Kashmir after this interview.

With intermittent wavers under the strong mountain winds, she continues to recollect her sabbatical in 2022 – spent exploring Odisha with her friend Anshu Arora, who now designs for Boito. “One thing that struck me was everyone’s ability to weave their own cloth.” she continues. But what really framed the cornerstones of Boito was a familiar warmth and a first-hand experience of textile-making with the tribal communities.“There are centuries-old tales and folklore within each of Odisha’s tribal communities, beautifully preserved in their textiles. And even though they have endured for generations, there is a purity to each of these. The kind of weaving that you see on the western border of Odisha will not be visible on the eastern coast, or vice versa. The communities are very proud of what they have, and it’s their internal drive that keeps these craft forms alive.”

But to preserve craftsmanship is one thing and to prolong its relevance through the coming decades is another. “You see, I, myself don’t wear sarees today and with more and more people leaving the outfit behind we can’t sustain the crafts and textiles solely through stoles and sarees, right?,” asserts Maheshwari and continues, “So, it is important to reformat this art form and someone needs to bring in beautiful storytelling and simplify the textiles and crafts for the world to absorb. That is exactly what Boito is trying to do. We want to allow these to prosper so that the next generation takes pride in what we have.”

For this reason, Botio’s collections -each hosting over a dozen indigenous crafts from Odisha including the Bomkai, Khandua, and Kotpad amongst others—can be found in formats of outer layers and jackets, “which become slightly more size agnostic and can be passed down to generations too.” However, these outfits retain the traditional motifs and weaves from Odisha. And while innovation is currently being encouraged amongst artisans today, Maheshwari explains, “There’s little need for us to intervene in nurturing their creativity. And honestly, I believe that art cannot be commissioned. For instance, Odisha’s Ikat weaving uniquely depicts human figures, unlike the geometric motifs found in other states. Our artisans can translate complex figures from graphs into tie-and-dye patterns on sarees or stoles, achieving so much despite the limitations that come with tie-dye as an art form.”

But for a country so mulled with creativity and coveted for its textile legacy across borders, Richa points, “Art and crafts are undervalued in India and are often seen as items that you can just pick up from a stationery store. I think it’s because of the lack of appreciation for handwork and the way we have presented it. An engineer using their brain is compensated a lot more than somebody who is very skilled and adept at using their hands and creative skills.” she asserts. “But it also could be a situational thing because we are still a developing nation and there are tons of other struggles that we need to leave behind before we can start appreciating art and life, so there is a sort of rewiring that we need to see.”

So, eventually for Boito–whose customer base is quite evolved; bracketing prominent, well-accomplished designers, custodians of art and history or perhaps somebody who has been running a vintage furniture store for 35 years –shining light on the workmanship that goes behind each craft becomes a key aspect. “Because it’s all a visibility game,” she explains. With the younger generation migrating to metropolitan cities in search of better financial opportunities, this effort comes as a relief in safeguarding the legacy of Odia crafts. And the key lies in understanding the next generation. “With them, it’s all about getting noticed on social media. The more we talk about crafts and popularise them and see people appreciate their work not just within the village but also on wider global platforms, the more it gives them a lot of validation,” an aspect that Boito is successfully honing. “Every time we make a garment, we photograph it in the specific cluster where it was made, collaborating with local villagers as models. This boosts their motivation and shows the next generation the value of their work. Visual storytelling has a huge impact, it attracts more engagement and this is more visible to the next generation.”

To build on this momentum, however, a fundamental shift is needed to move away from the norm that has often prioritized power looms over handlooms. “It’s like the difference between packaged food versus the ones that your grandmother makes for you at home.”, emphasises Richa metaphorically, and continues, “The moment the textile industry rejects the machines and instead nurtures creativity and human potential, they are rejecting consumerist behaviour.” Eventually, “Patience automatically gets introduced into the consumers’ minds and this shift has to be created slowly. When something is thoughtfully made, it makes us appreciate the product even more,” points Richa, and continues to explain the key reasons why Boito, despite the future, tugging closely between faster demands and meticulous traditional weaving, takes a different course, “You won’t find us using words like ‘efficient’ because we are not here to spoil the unhurried lives of the weaver communities,”critiques Richa at one of the many popular terminologies that currently masked as sustainability jargon but disrupt the authentic artisanal processes that convey the textile’s beauty as it is. “We are not in the business of change, we are in fact the antithesis of that. We are in the business of prospering what exists as living traditions,” she concludes with an afterthought for many more labels to come – that while it is important to adapt to modern relevance, it shouldn’t come at the expense of uprooting tradition.

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.

Written by Manica Pathak

Share this article:

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.

by Avani Thakkar

Share this article:

What’s the first thing that comes to your mind when you hear the word ‘street style’? Is it ripped jeans? Hoodies? Shoes from Supreme’s latest drop? Street style’s appeal lies in the fact that it represents different things to different people, but the thread of similarity binding it together are pinnacles of freedom, individuality and youth subcultures. In 2023, street-style is as much a state of mind as it is a state of fashion – no longer restricted to Vogue photo albums published online during fashion month starring models, influencers and celebrities sashaying to the **insert show** in an edgy outfit that turns heads.

But forget the streets of New York, London, Paris and Milan for a second – what does streetwear look like for an 18-year boy in Thane, Mumbai who is in the throes of discovering his personal style? Or for that 25-year-old sneaker-head living in Bangalore who religiously follows Hypebeast but doesn’t have that kind of access to popular brands such as BAPE, Yeezy, Off White or Stussy? A few years ago there would be little to no options for this set of consumers within the country’s borders, but today the landscape is a lot more promising. A crop of homegrown brands such as Almost Gods, Dhruv Kapoor, Jaywalking, Huemn, Capsul and NorBlack NorWhite are stepping up to cater to this segment. Having one of the largest youth populations in the world that is only set to increase – India’s Gen Z and millennial population is expected to reach 50% by 2030 – it’s only natural that the demand for street-style fashion is set to skyrocket from here on.

“The streetwear market is very nascent in India. It is still a year or two away from exploding, the way sneakers have. Over the past couple of years, we have seen over a 100 brands start up in this domain. Expressing your art on sleeves has never been easier; the best part is that the Indian consumer has embraced this sort of fashion with open arms”, says Bhavisha Dave, co-founder of Capsul, one of India’s first multi-brand streetwear retailer established in 2018 that stocks every ubercool designer under the sun. Dave, along with her business partner Meenakshi, are ex-members of PUMA marketing team who noticed increasing interest in streetwear culture’s ethos by youth collectives around the country. They pooled their extensive knowledge, relevance and experience within the domain to build their own business from the ground up – testing the market as they went and representing the niche intersection between sports, music and fashion.

In addition to being a melting pot of cultures, what differentiates India’s streetwear presence to its Western counterparts is the way it’s been adapted. The concept of street style is very much foreign – igniting images of a cis male in head-to-toe Off white walking on the streets of some European country. However, Indian creatives have taken the essence of this far-flung, ‘foreign’ spectrum of fashion and given it their own spin by working with local talent – think bomber jackets fused with local textiles, sweatshirts splashed with some irreverent tie and dye and handcrafted shirts with embroidered sequins that took someone 200 hours to bring to life.

“Graffiti artists like Left Hander, bboys like Andy Stylo and sneaker customization artists like Che have their own incredible labels which have received a lot of love and appreciation. Gen Z and younger millennials in India are increasingly dropping their own merch. Artists like Yash Pradhan have collaborated with giants like Adidas to bring amazing drops to life, not just in India but at global levels in partnership with football giants like Real Madrid & Juventus”, says Dave.

Other drivers that elevate India’s street-style in comparison to its global counterparts is the intricate patchwork of silhouettes and textiles that makes each purchase a distinct one. Rest assured, there are no ‘dupes’ or questionable copies to be found for a hoodie concocted out of an upcycled Banarasi sari – this is a one-off piece designed to make a statement.

“Asia, in general, has a lot of street-style to offer. Forget sweatpants, even lungis, blouses, saris and ganjis count as street-style fashion but haven’t been explored as much. By contemporarizing Indian textiles or silhouettes, we can reach a wider audience because the world treasures our beauty more than we do our own. For example, think about how the South-Indian Madras checks went global when the British East Indian Company stumbled upon the impressive fabric and decided to trade it”, says Jayeta Rohilla, founder of Delhi-based Mae that describes itself as an indie clothing label synergising diversity. And how does it do that? By giving us sequinned fuschia pink bomber jackets fit to wear to an Indian wedding and bright orange puffer jackets interspersed with embroidered silk patches that will set you apart from the sea of black ski suits on the slopes.

Safe to say, these are exciting times to venture into the street-style game – be it as a designer or a consumer.

by Avani Thakkar

Share this article:

The inauguration of the Nita Mukesh Ambani Cultural Centre (NMACC) saw the likes of Zendaya, Tom Holland, Gigi Hadid, Penelope Cruz, Nick Jonas, Law Roach and more descend to Mumbai for its grand gala reception. The star-studded affair also celebrated the opening of the ‘India in Fashion’ exhibition at NMACC, curated by Hamish Bowles, that takes its viewers through the extensive (and often undermined) journey of Indian craftsmanship, textiles and design.

Befitting the occasion, celebrities joined hands with household names in the Indian fashion industry designers to grace the red carpet; Gigi Hadid wore a resplendent chikankari sari and a bejewelled golden blouse by Abu Jani-Sandeep Khosla while Zendaya stunned in a sweeping custom Rahul Mishra design that sparkled like the midnight sky.

While the representation of Indian fashion at the NMACC is an example closer to home, last year’s Navratri and Diwali celebrations were also witness to the best of Indian fashion – albeit outside the subcontinent. There is a widespread adoption of our festivals in the US, UK and other European countries, by members of the Indian diaspora, international celebrities and politicians alike. US Vice President Kamala Harris turned hostess to bring in Diwali at her official residence with prominent Indian Americans in attendance; Rishi Sunak attended a Diwali reception at Downing Street, London just days after becoming the first Britain Prime Minister of Indian origin. 2022 was a turning point for Indian representation in positions of power and influence across the world; the domino effect of which has led to greater demand and relevance of our country’s fashion assets.

Add to that – desi celebrities making waves in the US entertainment industry such as Priyanka Chopra Jonas, Deepika Padukone, Lilly Singh, Mindy Kaling and Liza Koshy. All these opportunities combined have led to an uptick in the showcase of Indian fashion – Manish Malhotra, Papa Don’t Preach’s Shubikha Sharma, Gaurav Gupta and other designers are now household names and on speed dial when it comes to sourcing requests for many celebrity stylists in the US. A-listers such as Paris Hilton, Naomi Campbell, Chrissy Teigen and more are opting for bold, vivid lehengas, sarees or Indian fusion-wear to don at festive celebrations and for promotional events.

But what does this often ‘one-time’ representation really signify in terms of Indian fashion’s progress in the global space? Is an international celebrity choosing to don an embellished saree with motifs on 1 out of 365 days in a year doing enough to create a new narrative or is it feeding into the colourful clichés that often dominate this conversation?

“Fashion’s relationship with celebrities is a complicated one. They both feed off each other, yet can often offend each other. I think anything that highlights the creative talent of Indian design is welcome, especially now as Indian designers look to set up flagships on foreign shores and more Indian labels are being included in the schedules of international fashion weeks. And when attending Diwali functions or Indian weddings, I feel it is also respectful that attendees wear clothes that are appropriate to the function”, says Sujata Assomull, a Dubai-based fashion journalist and author.

However, weighing in on the cons, Assomull further adds – “There are times when international celebrities wear Indian designer clothes, and it almost seems like a costume which is an issue – when they make India seem like the country of Maharajahs and snake charmers. I also wish that the celebrities would not just wear Indian designer clothes for “Indian” functions, that they re-wear the pieces at other events, perhaps styling them in a way that has a global feel. Indian fashion is where cultural dressing thrives and also moves with trend, and this is the story that needs to be highlighted. That Indian clothing is not just for function but can fuse into an everyday wardrobe.”

While the word ‘representation’ in this case may seem like two sides of the same coin, these brief appearances of international A-listers in South Asian clothing is more momentous than clout for the respective brands and designers – particularly those looking to expand internationally in the midst of what is a competitive market.

In Netflix shows such as Never Have I Ever and the Bridgerton series, the costume designers, stylists and the cast work in tandem to ensure an apt showcase of South Asian brands to celebrate their heritage. In Poorna Jagannathan’s (Devi’s mother on Never Have I Ever) InStyle interview, the actor is particularly vocal about wearing different textiles, prints and styles from the likes of new-age brands such as Raw Mango, Ikai and Bodice to display the versatility of Indian fashion.

Manish Malhotra, veteran Indian couturier with decades of experience in the fashion and film industry, is of the opinion that this sort of representation can go a long way than fifteen minutes of fame when propelled and sustained in the right way. “I represent an India that’s all about the people, progress, and a strong purpose to protect and preserve the craft and its artisans. Our origins are so strong that globalising the Indian handloom does not necessarily mean propelling it to conform to modern times but instead merging the traditions, the refinement, and the impact of the handcrafted creation with the identity of today’s globalised generation. The endless love of our patrons across the country and extended border has called forth for more demand, and our brand yearned to fulfil every demand, desire, and dream to wear an Indian couture brand on the international borders. We already have an established clientele in the US and have expanded even more through our e-commerce and recently launched a virtual store medium. However, we’d love to foray into the country’s market by strengthening our physical reach through timeless, classic, and responsible collections that tell the authentic stories of Indian craft and artisans.”

Kardo

Samaaj Studio

Indigene Crafts

The Ikat Story

Hindostan Archive’s Sahil Meenia and Shaoni Ray unravel how their shared cultural roots and personal journies evolved into a label that honors the ancient textiles of South Asia.

Morii Design’s Brinda Dudhat on how a deep reverence for Indian craft and a taste for contemporary design, has driven them to create textile artworks at their design studio in Gujarat’s Gandhinagar.

A Closer Look at Richa Maheshwari’s Boito: An Ode to Odisha’s Textile Legacy

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

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

Decoding street-style in the desi context

Is there a ‘right’ way to represent Indian fashion?

Post Appearance: IOTM Featured

BTB Speaks to

Kardo

”When I discussed it with my wife, she said, “Sure, you could do that, but then you’d just be like every other brand. And that’s when I said, I’m going to be unapologetically from India.”

BTB Speaks to

Samaaj

BTB Speaks to

Indigene Crafts

BTB Speaks to

The Ikat Story.

BTB Speaks to

Day & Age

BTB Speaks to

Hindostan Archive

BTB Speaks to

Morii Design

BTB Speaks to

Richa Maheshwari

What is the story behind naming your brand ‘Boito’?

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?”

Thoughtful Curations, Coming Soon

Sign Up To Stay Updated.