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What does it mean to sustain a creative practice across different mediums? In this episode of The Creators’ Loft, Aniruddh Mehta and Tosha Jagad talk about creative discipline, evolving identities, and the everyday realities of working between digital design and handmade craft. From inspiration and creative blocks to business anxieties and long-term practice, the conversation moves between process, patience, and persistence.

What We Discuss:

00.00 Introduction

00.26 Path 1: Discovery

10:37 Path 2: Unblur

12:40 From studying Graphic Design to leading your own studios, how has your journey evolved?

26:14 Path 3: Perspective

29:11 Building a Network VS Building a Strong Portfolio

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

As always, thank you for tuning in!

Beyond Borders

How Collaborations With Global Brands Take Shape

Founders of five brands take us behind the scenes of their recent collaborations with global brands.

Aneeth Arora of péro

Kanika Goyal of KGL

Mriga Kapadiya of NorBlack NorBlack

Dhruv Khurana of Almost Gods

Harshit Agarwal of Pistabarfi

by Manica Pathak

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Over the last decade, India’s creative community has stepped firmly into the spotlight, with a growing number of artists and designers making their mark both at home and on global stages. Today, as momentum builds, the homegrown industry is not only finding new visibility but also being recognised for its unique design language and capacity for innovation—qualities set to evolve further rather than fade away as a passing fad. Along the way, this shift has also opened doors to large-scale collaborations with global names such as Nike, Puma, G-SHOCK, Hello Kitty, and Disney.

“I really don’t think there’s a one-size-fits-all formula. For us, it’s always been about doing what we genuinely believe in and having fun with it. That way, it never feels like we’re trying to impress anyone or follow a trend,”

– Harshit Agarwal, Founder- Pistabarfi

From First Conversations to Creative Synergy

While collaborations are quite well-known and mainstream for consumers today, for emerging brands and young creatives, it can still be a complex and layered journey to navigate. And in a landscape where both fresh brands and global players are becoming increasingly eager to partner, seeking fresh audiences, new markets and creative dialogues that push boundaries, the real question is what does it take for a brand to find the right partner, and enter a collaboration? Behind the scenes, where do the first conversations begin, who takes the initial steps, what are the key learnings along the way, and, in hindsight, what approaches could have been different? Blur The Border takes a closer look. Ahead, we speak to five founders: Aneeth Arora of péro, Kanika Goyal of Kanika Goyal Label, Mriga Kapadiya of NorBlack NorWhite, Dhruv Khurana of Almost Gods, and Harshit Agarwal of Pistabarfi, who weigh in on this with a unique insight shaped by their individual experiences. However, there is shared wisdom among all: building an unshakable identity of your own and recognising that shared values are the glue that holds a collaboration together.

As a first step, NorBlack NorWhite co-founder Mriga Kapadiya recalls the importance of taking time to build a clear brand identity long before their collaboration with Nike, which showcased the label’s celebrated take on regional crafts in a limited collection of sportswear staples. “We’ve spent 15 years building and rebuilding all aspects of our world, and it felt like the right moment to execute this collaboration without compromising our identity. It’s noisy out there, so be clear, so nothing can shake you,” she notes.

Founders Dhruv Khurana of Almost Gods and Kanika Goyal of KGL emphasise similar viewpoints on shared values as one of the cornerstones of any collaboration. “Start by aligning on values before anything else. Aesthetic synergy and amplified reach are important, but it’s shared belief systems that make the collaboration durable. When both brands are clear about what they stand for, the rest of the process feels intentional from start to finish,” says Dhruv, whose brand Almost Gods became the first Indian collaborator with G-Shock through a 250-piece limited-edition collection of watches inspired by the raw power of a volcanic eruption. In context to KGL’s collaboration with Disney, which gave Mickey Mouse fans worldwide a 114-piece capsule collection in the label’s edgy Indian spirit, Kanika shares, “The most important thing is choosing the right partner–whose values, ethos, and creative language align with yours. The synergy has to be genuine, not forced.” She continues, “Once that’s in place, the next big challenge is maintaining the integrity of both worlds without diluting either. It’s about finding that sweet spot where your vision and theirs can coexist in a way that feels fresh and cohesive.”

Aneeth Arora, founder of péro, builds on these insights. Reflecting on her label’s collaboration with Hello Kitty, which produced over 100 designs blending cottagecore and kawaii styles across womenswear, menswear, and kidswear, she emphasises that a collaboration must also be driven by deeper intent rather than market optics. She says, “Focus on creating something that tells a shared story. Invest time in research, understanding the collaborator’s world, and find ways to bring your unique craft or perspective to the table. When both brands connect emotionally and creatively, the result resonates far beyond the product.”

“Focus on creating something that tells a shared story. Invest time in research, understanding the collaborator’s world, and find ways to bring your unique craft or perspective to the table. When both brands connect emotionally and creatively, the result resonates far beyond the product.”

– Aneeth Arora, Founder-Pero

How Clarity and Authenticity Attract the Right Collaborators

Meanwhile, Harshit Agarwal, co-founder of Pistabarfi, offers a different take on this following their collaboration with Puma. It brought fashion and food culture together, pairing Puma’s Palermo sneaker launch with mithai packaging designed in the same colour palette. The result was a nostalgic yet contemporary collectable that spoke to sneaker enthusiasts and dessert lovers alike. For Harshit, it’s a reminder that collaborations don’t follow a linear path or a fixed rulebook. “I really don’t think there’s a one-size-fits-all formula. For us, it’s always been about doing what we genuinely believe in and having fun with it. That way, it never feels like we’re trying to impress anyone or follow a trend,” he says. But eventually, it is the foundations that quietly do the heavy lifting over time. “Be clear about what you’re doing and why you’re doing it. Even if you’re still figuring it out, enjoy the process.

When your work reflects something honest or original, the right people will find their way to you. That’s when collaborations feel real and exciting, not just something you’re chasing for the name.” After identity, values, intent, and authenticity are in place, it also comes down to how the collaboration is presented to the audience. Kanika points out further, “Never underestimate the power of visual communication. Your imagery, your storytelling, and your tone become powerful tools in helping audiences navigate and understand the collaboration. Building a strong visual vocabulary is just as important as the product itself. It’s what transforms a partnership into a narrative.”

But then, where does it all begin? Who takes the first steps? For many brands, it wasn’t born from actively chasing such partnerships. Instead, they took shape organically, with global names drawn toward each of their unique design language, a quality that has perhaps become one of the strongest suits of homegrown labels today. Aneeth recalls, “Sanrio approached us during Hello Kitty’s 50th anniversary, coinciding with Péro’s 15th year.” Similarly, Nike had reached out to NorBlack NorWhite in 2023. “They were interested in building a relationship and supporting our work,” emphasises Mriga. Dhruv looks back, too.

“G-Shock has been this voice in the cultural zeitgeist globally for the longest time; the idea ignited the 5-year-old in us,” says Dhruv. For Harshit, too, “It came about quite organically. We were working on a new drop for Pistabarfi, something fun, a little irreverent, rooted in nostalgia but designed in a more playful, accessible way. Around the same time, Puma was gearing up for new Palermo drops,” he shares, adding that the global activewear giant was looking to collaborate with homegrown brands that aligned with their ethos.

“The key was figuring out the story we wanted to tell. It had to speak to the brand, convey that sense of power and yet feel special in the context of G-SHOCK’s global catalogue and collaborations library,”

– Dhruv Khurana, Founder-Almost Gods

How Global Collaborations are Evolving to Engage with India’s Creative Depth

What’s equally fascinating beyond the initial steps and the broader arc of these recent collaborations is the clear shift in how global brands are now engaging with India. They aren’t just tapping into ‘Indian aesthetics’, but also acknowledging the multifaceted design, language, and storytelling that brands today have to offer. Although NorBlack NorWhite’s collaboration with Nike showcased the label’s celebrated use of traditional Indian dyeing techniques, its true intent was to explore something deeper. “Nike offered us the chance to collaborate on their first women’s collection coming out of India,” shares Mriga. “Before we even began designing, they took us on an incredible retreat to Australia with 30 other artists and designers from around the world who were also part of the Nike family,” signalling that more than just design, it was about building a creative community.”

Kanika Goyal Label’s collaboration took a more personal turn, rooted in the collective nostalgia surrounding Mickey Mouse, a character whose cultural resonance spans generations. “What excited me most was placing Mickey against the vibrancy and chaos of Indian craft and storytelling. For me, Mickey and his friends weren’t just animated characters from childhood—they were emotional placeholders, symbols of joy, mischief, and comfort. This collaboration was about creating something that feels visually unexpected yet deeply rooted in where I come from,” she shares.

Reimagining traditional mithai without being stuck in convention or altering its original essence is what intrigued Puma to approach Pistabarfi.“Both brands shared a similar spirit, taking something classic and giving it a fresh, cool spin.” Referring to their Mysore Pak in a can and Aam Papad strips for this collaboration, he continues, “Our products already existed. The only thing we adapted was the packaging to match the Palermo sneaker colours. That meant tweaking materials, finishes, and getting the visual tone right. “We’re building a new way for people to experience mithai. The Puma collab was just one example of how that idea can live in different contexts.”

Even then, what we see is only the surface of a much deeper creative exchange. While bringing a collaboration to life involves similar stages, including extensive research, concept building, design development, and constant refinement, the real advantage lies in knowing there’s no fixed playbook. Some may unfold over years, others in just a few months. But what makes them work is not speed; it’s the message you are putting out. “The entire process took about a year, from our first internal brainstorming sessions to getting final approvals from the G-SHOCK global team. The key was figuring out the story we wanted to tell. It had to speak to the brand, convey that sense of power and yet feel special in the context of G-SHOCK’s global catalogue and collaborations library,” says Dhruv. For Pèro, although the entire process spanned nearly two years, “A focused eight-month phase was dedicated to developing over 100 designs. We began with research and concept building, aligning Hello Kitty’s playful charm with péro’s artisanal ethos, perfecting details through embroidery and appliqué techniques,” says Aneeth.

Interestingly, the Pistabarfi x Puma partnership moved quickly, over 2 months, but with equal attention to detail. “Once we had a rough idea of the products, the packaging discussions began—bringing the Palermo colours into our design and figuring out the Puma x Pistabarfi logo in Devanagari, which went through several iterations,” says Harshit. “Then it was about refining the products and packaging—focusing on Aam Papad and Mysore Pak, perfecting the details from the paper and foil to how the pack opens, and finally, visually blending the ethos of Puma and Pistabarfi into something cohesive and fun.”

“There are a lot of different respective roles, a lot of time zones, a lot of regions to consider, as this was a global launch and the army of humans it takes to make all decisions from small to big. Overall, we learned the timeline challenges that can come with operating at such a large scale; however, the impact a project has because of its scale is unmatched.”

– Mriga Kapadia, Founder-NorBlack NorWhite

Scaling Creativity: Lessons from Going Global

For young brands aspiring for global collaborations, founders look back on what it takes to operate at scale. Kanika describes it as “a fascinating window into the inner workings of the Disney universe—its storytelling structure, its visual discipline, and its global resonance.” One of the key highlights for the founder was realising the emotional depth of the Disney brand across generations. “We weren’t just designing for die-hard fans, but also for people who had once felt connected to those characters and might have drifted away. We wanted the collection to speak to both—those who love Disney with all their heart, and those who remember it fondly but connect more with a modern reinterpretation.”

For both Pèro and Almost Gods, it led to fresh new insights about their respective consumer base. “It reaffirmed how much our audience leans into intention. The more we revealed about the story behind the design, the more it resonated. People didn’t just want to see the product; they wanted to understand it and connect with it,” says Dhruv. Echoing the sentiment, Aneeth shares, “We discovered how versatile our audience is, embracing both subtle and playful designs and learned to navigate strict brand guidelines while staying true to our creative voice. Most importantly, it reinforced that a collaboration rooted in shared values can create an emotional connection far beyond the garments.”

For Harsh, “The primary difference was the structured, multi-level approval process that comes with working with a large brand versus an individual,” he notes. But in the end, fundamentals should remain intact, “Clear communication, meeting timelines, and delivering a high-quality product. It’s about doing the basics well and staying consistent,” he emphasises. On a similar note, Mriga expands further, “There are a lot of different respective roles, a lot of time zones, a lot of regions to consider, as this was a global launch and the army of humans it takes to make all decisions from small to big. Overall, we learned the timeline challenges that can come with operating at such a large scale; however, the impact a project has because of its scale is unmatched.”

“The most important thing is choosing the right partner–whose values, ethos, and creative language align with yours. The synergy has to be genuine, not forced.”

– Kanika Goyal, Founder-Kanika Goyal Label

Beyond the Collaborations: Lessons in Hindsight

Even as the outcomes bring a sense of pride, hindsight naturally invites reflection on what might have been done differently. For some, it was about allowing more innovation and streamlining the process, while for others, it was prioritising marketing. “This would have given us more time to explore experimental craft techniques, like weaving or 3D surface textures, which we had to simplify due to tight timelines. It showed us the impact of creating an experience. Next time, we’d integrate interactive elements — installations, digital experiences, playful narratives — from the start, to push the creative and operational boundaries even further,” says Aneeth.

Dhruv reflects on this as an inevitable part of any meaningful project, “You’ll always look back and find things you might refine — whether that’s streamlining the process, building more touchpoints, or thinking bigger in execution. Overall, we’re proud of what both teams created together. The collaboration gave our community something that feels true to both brands. The love the collection received made it all worth it.” Meanwhile, Mriga shares that the importance of digital visibility matters more than ever “Spend more time on the marketing, PR, and distribution strategies,” she says.

What ultimately becomes clear through these conversations is that the new wave of collaborations is no longer about borrowing ‘aesthetics’ but about building shared worlds, and this is what will lead the way forward. They demand clarity of identity, patience with process, and an openness to experiment. For young homegrown brands, the message is unmistakable: when identity and intent are strong, the right partners and opportunities follow. These are encouraging signs of a community growing more confident, shaping collaborations that blur borders, carry India’s creative language onto a global stage, and leave us eager for what’s on the way.

BTB Speaks to

Yesha Sant

Founded on the principles of integrity, patience, and purpose, Yesha Sant works closely with generational artisans to create garments that are as meaningful as they are meticulously made.

Written by: Manica Pathak

When a brand is conceived, there is always a traditional lingering pressure, to scale quickly, to grow fast, meet demands and prove success through the numbers. When Blur The Border spoke to Yesha Sant who founded her eponymous label 6 years ago, she recalls grappling with a similar tension during the early days, trying to build momentum while remaining true to the artisanal pace of handmade textiles that are the central to her brand’s identity, “Overtime, I have learned to not see those as obstacles, but rather a part of my brand’s identity,” she says. Having worked with traditional crafts such as Bandhani, Rabari prevalent in the Kutch region of Gujarat to create contemporary clothing, Yesha elaborates on the intricacies involved, “Working with natural dyes has a lot of limitations in terms of consistency, volume, and lead times. So, if a certain technique doesn’t allow for mass production, I would rather extend the timeline than compromise on the brand’s values. That also means things are slower, like the growth, and the production batches will be smaller. I have had to say no to a lot of opportunities simply because our timelines were longer. But it’s a choice I have made peace with,” she says. But this didn’t come in the way of the brand’s website receiving consistent surges in traffic time and again. Yesha recalls one of the first such spikes, “We were completely overwhelmed. We didn’t have 2,000 or 3,000 pieces in stock, but the demand was for 7,000 through back-in-stock notifications, and all those pre-orders were sold out within just three days. The customer would receive their order two months later, and they were absolutely okay with that”

Yesha Sant

Bandhani artisans

But how does a culture dominated by instant gratification and rapid consumption create space to value the slower, more thoughtful processes of craftsmanship? “This wasn’t the case six years ago; people wouldn’t wait even seven days. But, when customers connect with the story behind a product—how it’s made, who made it, they are more patient. For example, every garment from our brand comes with a tag that says, “Who made your clothes?” It includes a photo of the weaver, their name, and on the back, a short story about the fabric and how it was created. Once we started sharing that on Instagram, the response was great, and the customers kept coming back. They didn’t mind the wait and are willing to understand how slow and intentional the process is,” she says and continues to add,” I think part of it is also the visibility. For instance, when Kareena Kapoor wore one of our pieces, it really boosted the trust and excitement.” While celebrity placement often acts as a powerful catalyst to brand visibility, for brands rooted in crafts, it can begin to spark a deeper cultural awareness. “It initiated conversations around handcrafted fashion. Many people didn’t even know what Rabari was. But we make it a point to name our products with the craft and the community behind it. This way it also validates the artisans’ work and the whole process behind each piece gets a moment in the spotlight,” says Yesha. She goes on to trace the story behind this particular, but though it’s worth noting that the journey truly began with the gap her label set out to bridge. “I noticed that some designers were simply sourcing shawls, fabrics, or embroidery patches from artisans and then using them in their garments without much thought. They were just lifted and pasted onto clothes. There was no narrative, no design story. I wanted to build something that would balance artisan involvement with thoughtful design, to reimagine these crafts rather than just replicate them, she says and continues, “I didn’t want to use traditional motifs in the same way. I wanted to take inspiration from things like their tattoos and reinterpret them into the designs. The Rabari women have tattoos all over their bodies, and each holds a symbolic meaning. We turned a few of them into hand-embroidered designs on the shirt, which later became one of our bestsellers,” says Yesha, adding that receiving messages from longtime customers and followers who instantly recognised the piece without any label or caption felt deeply gratifying. “That felt like home, like I have built something recognisable,” Yet, in the natural rhythm of highs and lows, it drew both positive recognition and critical feedback.” Some people said things like, ‘This is just Bandhani, it’s so cheap in Rajasthan.’ But that’s the point. What we work with is crafted by the Rabari tribe, who have been practising this for five to six generations. It’s much less known and far more intricate than what’s widely available and easily accessible in the market.”

“They are understandably very rooted in tradition. Design-wise, one of the biggest challenges was introducing a new color palette and reimagining motifs. For example, they typically mix two to three specific colors in a single dupatta, colors they have used for generations. But I began suggesting using a different, more contemporary palette and bringing new design ideas.”

While creative freedom allows for reimagining crafts beyond their traditional forms, working with artisan clusters is far from a straightforward process, let alone simply walking into an artisanal cluster and instructing a design. “They are understandably very rooted in tradition. Design-wise, one of the biggest challenges was introducing a new color palette and reimagining motifs. For example, they typically mix two to three specific colors in a single dupatta, colors they have used for generations. But I began suggesting using a different, more contemporary palette and bringing new design ideas,” says Yesha, referring to the artisan clusters she had already worked with before, during her six-month internship at NIFT, who also currently form the foundation of her label. Even then, “It was hard for them to accept, and they didn’t always agree; the artisans thought we were trying to alter their craft or compromise its authenticity.” But an idea with a strong sense of purpose is meant to lead somewhere meaningful, “It took time to build trust with around eight to nine months of observing and learning their techniques, visiting their homes, listening to their stories, and understanding their pace and approach to the craft—before I could properly start the brand. The goal was to help them see that we weren’t trying to change the essence of what they do, but rather to modernise it for today’s audience.” With time, things began shaping amicably. “Eventually, when they saw that there was demand for newer designs and color palettes, they were happy. It felt rewarding to see them embrace the change and feel confident in their work.”

With that in mind, today, when Yesha travels to Kutch once a year for 15 days, it’s more about nurturing a collaborative process together, “If I have an idea, I never impose it on them. I always ask, ‘What do you think about this?’ or ‘How can we adapt this?’ or ‘Is this possible with this fabric?’ Because honestly, sometimes a design looks great on paper but doesn’t translate well in silk—or it might not work with organic cotton. Involving their input is a key part of my design process. We work side by side, sampling extensively, and once we are satisfied, we move into production. I think they appreciate feeling heard—that we are not just using their craft, but actually involving them in the process.”

As next steps, Yesha set her sights on working with lesser-known crafts from Gujarat that aren’t getting the recognition they deserve, such as the Tangaliya weave. “It did quite well on our website, but scaling it was difficult. The weaver we were working with had two other jobs to sustain himself because Tangaliya alone wasn’t financially viable, including issues with timelines and availability.” Beyond logistical hurdles, the collaboration exposed a deeper tension—one that many brands grapple with, between staying rooted in their values and navigating the often harsh ground realities.“ I wanted to use organic cotton, but the weavers were mixing in synthetic threads because it was cheaper. That didn’t align with my brand values, so we had to drop it. We did try to work entirely with organic cotton, but it became too expensive for the weaver to sustain.”

So, it goes without question that while there’s been a welcome rise in appreciation for handwoven and artisanal textiles pioneered by homegrown brands, there’s a noticeable contrast in how traditional Indian crafts are valued at home versus abroad even today,” she explains. “When I have travelled to the US and Europe wearing my pieces, people often stop me and ask where the embroidery or fabric is from. I have found that international customers are patient and eager to understand the process, especially when they learn that the fabric is handwoven. They are also more willing to pay a fair price. But closer to home, the appreciation doesn’t run deep. I have seen people bargaining with weavers at Dastkar markets, and it’s disheartening. The same people wouldn’t bargain with a commercial fast-fashion brand, even though those products are mass-produced. I don’t understand the mindset of negotiating with a weaver who’s putting in weeks of work, but paying full price for a machine-made product. That attitude really needs to change.” Further, the challenges of sustaining these crafts run much deeper than visibility or market demand. Behind the textiles and their detailed techniques lies an ecosystem that is fragile and under-supported. “As a small, independent designer, there’s only so much I can do. We can place orders for a few meters, maybe 100 or 200, but that’s not enough for the artisans to sustain their livelihoods,” Yesha elaborates on the sobering reality that despite the best intentions of independent designers, the scale and sustainability of craft revival often hit a wall—largely due to systemic gaps in policy and infrastructure. “This is where the government could step in with skill development initiatives, such as financial support, subsidies, and grants, especially to help artisans purchase quality raw materials or access training programs for both themselves and their children. These efforts could help sustain their crafts and livelihoods, as we are working with the last generation of weavers practising this craft. Their children have mostly moved on to other professions, and I don’t think the next generation even knows how to weave.”

But on the brighter side, Yesha points to a positive development: “One positive initiative has been with the Handloom Mark. When I visited artisans, I saw that their products were tagged with this label, as well as the “ODOP” tag, One District, One Product.” She highlights ODOP as a flagship initiative by the Government of India aimed at identifying and promoting one unique product from each district across the country. Its goals include boosting local economies, supporting traditional and indigenous industries, improving market access for artisans and small producers, and generating employment opportunities. She adds, “While these initiatives help validate the authenticity of the product, they are still on a small scale. They need to be expanded through better funding and marketing support.”

While the growing call for greater government support continues, brands like Yesha Sant aren’t shying away from doing what they can to uplift artisans and preserve traditional crafts. “I want to deepen our impact, particularly by empowering women artisans. Right now, we are a team of twelve, and eleven of them are women, but I want to grow that number and build a stronger, more inclusive community of artisans.” As Yesha continues to strengthen the foundation of her brand locally, she’s also setting her sights on global expansion. The primary aim is to take the story of Indian craftsmanship to a wider audience.“ Our website is doing well, especially in the US and Europe, where people already shop with us. I’d also love to collaborate with retail stores internationally and position Yesha Sant in those markets.” And to further this, “We are collaborating with Flying Solo in New York to launch our next collection. It’s on Fifth Avenue, so we are currently in the production phase. It’ll take about ten to eleven months to bring it to life,” she concludes.

BTB Speaks to

Tilfi

Rooted in legacy but driven by innovation, Tilfi is reimagining Banarasi handloom from the ground up—preserving tradition while building a future-forward ecosystem of trust, dignity, and design excellence.

Written by: Manica Pathak

Many contemporary labels in recent years have emerged as natural extensions of textile legacies, handed down through generations. For Udit Khanna too, a legacy in a thriving Banarasi textile spanning over five decades and an inherent entrepreneurial spirit, seemed like a natural recipe for carrying the vision forward. His sights, however, were set on a different path initially. “The family business was something we’d occasionally advise on during our visits to India, because we definitely had a lot of bookish knowledge to offer—but that was it,”says Aditi Chand, Udit’s partner of over twenty years. While she built her career in investment banking, specialising in derivatives, M&A, and growth financing, Udit focused on founding an education company, later acquiring an international English-language school and expanding it to Mexico and Kazakhstan. Eventually, the two joined forces to prepare the company for sale and went on to pursue their MBAs at INSEAD in France.

However, a riveting conversation with a master weaver set them on a new path entirely, or rather guided them back to their legacy. “Every time we were back in India, we’d encourage the weavers to carry their skills forward. Then, during one of those conversations, a weaver turned to us—specifically to Udit—and asked, “You don’t want to continue your father’s trade, but you want me to convince my son to stay in this work? That really stayed with us,” both Aditi and Udit chime in, who later went on to become co-founders of Tilfi, a luxury handloom label dedicated to exquisite Banarasi weaves alongside Ujjwal Khanna Udit’s brother. With a deep appreciation for textiles and an innate understanding of the city’s intricate weaving ecosystem—honed through countless hours at the family’s traditional wholesale store—Ujjwal completed the trio of co-founders and the label’s vision. “It wasn’t about the three founders coming back to do something personal. We knew we wanted to create something that would outlast us—something enduring and institutional which eventually requires a completely different point of view.Our backgrounds in structured, global organizations helped us view this very traditional, often fragmented craft sector through a fresh lens. And because of these life experiences, distinct career paths, and the opportunity costs involved, we approached this with a long-term orientation and a deeper level of commitment,” says Aditi.

However, for a craft as ubiquitous as Banarasi weaves, “There is this idea that ‘there is too much of Banaras or ‘too many Banarasi brands’. But no one seems to be fatigued by Paris being the fashion or couture capital of the world,” says Aditi . “But the truth is, we need more from Banaras, and from every major craft cluster. We’re working within what is arguably one of the most skilled and vibrant craft ecosystems in the world, with a deeply rooted and highly skilled artisan base. It can’t be confined to a designer’s collection or boxed into labels like ‘traditional’ or ‘heritage’. The craft deserves to be valued for its ongoing evolution,” differs Udits and continues “People also often say that Banaras is stagnant and that there’s no design innovation,” adds Aditi. “But it’s not that they can’t innovate—it’s that it’s risky to do so. Innovation is an iterative process.” she notes and continues, “There’s often a romanticised idea that the weaver does everything, but in reality, the process is far more collaborative. There are several steps before the fabric even reaches the weaver. It begins with a flat paper illustration created by in-house designers, independent artists, and generational designers we work with. Translating that into a woven textile is where the grapher comes in— who plays a key role and interprets the illustration, adding depth and texture to ensure the design translates beautifully onto fabric––so when we talk about upskilling, it becomes about enhancing the skills of everyone involved in the textile creation process. Nothing should happen in isolation. It’s similar to giving ‘stretch assignments’ in the corporate world. You start with simpler weaves and gradually introduce more complex challenges to push boundaries. Early on, we faced a lot of hesitation. The weavers had become risk-averse over the years. Even when we assured them the risk was ours, they’d worry—for us. They’d default to safe choices.” Perhaps for this reason, while Tilfi’s journey has evolved from a modest network of 300 artisans to a thriving ecosystem of over 2,000 highly specialised craftspeople, entrusted with preserving and advancing centuries-old weaving traditions. Yet, this milestone did not come easily. “Many artisans were unsure even though handloom is the second-largest employer in India after agriculture.The hesitation wasn’t just about financial returns—it was also about evolving the craft, envisioning a promising future, and, most importantly, finding creative dignity and pride in their work, which is core to anything handmade. If you’re stuck repeating the same tired language, even if it’s financially viable, it can feel soul-crushing,” Aditi notes, hinting the fact that despite Banaras’ repertoire spanning a gamut of fabrics and weaves, the city is often associated with ‘silks’ and’ brocades’. “But the region is rich in technical specialties—some artisans work only with cotton jamdani, others with satin, koras, or organzas, and these skills have been passed down for generations. Understanding that ecosystem and bringing those specializations under Tilfi’s umbrella took time. We wanted to become a kind of epicenter that nurtured these diverse skill sets,” says Udit.

“Every time we were back in India, we’d encourage the weavers to carry their skills forward. Then, during one of those conversations, a weaver turned to us—specifically to Udit—and asked, “You don’t want to continue your father’s trade, but you want me to convince my son to stay in this work? That really stayed with us,”

So when the founders returned to India and officially registered the brand in 2013, it was about defining Tilfi and its artisans in a way that went far beyond surface-level branding. “One of the first things we wanted to change was the way textiles were traditionally sold,” asserts Aditi and continues, “Previously, the process ran entirely through a wholesale value chain where payments weren’t made upfront. If something was commissioned, traditionally, the weaver would bear the production risk. Whatever didn’t sell, or if a design didn’t work, it would be returned — sometimes 3–4 months later — with payment made only for what had sold. We found this model really untenable. This long value chain, involving wholesalers and retailers, added so many layers that the original story got diluted — like a game of Chinese whispers. Many times, even today, we see artisans create something, and others simply pick it up and sell it. So, by the time it reached the consumer, the narrative was often completely disconnected from the source. It bred mistrust and misinformation,” says Aditi, which led to a fundamental rethinking of the value chain and the relationship between creator and consumer. “We felt that whatever you create should reflect the creator’s voice, and one of the biggest decisions we made was to take on all the risk ourselves, rather than placing it on the weaver, because we believe the person who is most vulnerable in the process should not bear the risk. That’s why we wanted to build something standalone — with a distinctive brand identity and a strong value-based approach, both aesthetically and organizationally. And so, Tilfi came to be.”

Additionally, Aditi draws attention towards how an artisan’s work has historically been shaped by cycles of fluctuation, periods of recognition but often punctuated by long stretches of instability. She notes,“For instance, when a designer or brand places a big order during a particular season, suddenly many weavers get employed.They might even abandon other plans, like spring farming, to focus on weaving. But once the season ends and the collection is done, they’re left with unsold stock and no continuity. These sporadic efforts can be highly disruptive, you need long-term engagement if you want to work with craft ecosystems. Bursts of activity don’t work; the approach has to be intentional and sustained.”

Identifying existing gaps in the industry inspired broader, bolder steps — risky but a worthwhile chance to disrupt a sector that has largely stayed within familiar grounds. “We decided to work across the entire value chain—right from conceiving a textile, imagining what we want to make, to developing and iterating it. We collaborate with our family of artisans to commission and produce the textile, then handle the packaging, marketing, and ultimately place it on our digital and physical shelves.So we own the entire process,” says Aditi. To this, Udit quickly adds,“We also consciously chose not to work with multi-brand stores or resellers. Even though it might offer greater reach, we wanted to control the entire narrative and the story of our textiles—how it’s being told to the end” consumer.” Such an approach is quite telling of how labels like Tilfi are changing the narrative around textile and artisanal communities, “We made a commitment early on, whether or not a design works, the weaver is assured that we’ll off-take and come up with another design. So, the fact that the weaver’s livelihood is no longer tied to whether a design succeeds or fails means they’re more empowered to create and there is a greater willingness to innovate. It’s ultimately a collaborative effort. The trust we’ve built through this system allows for that,” says Aditi.

To put things into better context, Udit iterates some of the innovation that the ‘trust’ has allowed for in Tilfi’s creative process. “We created a twill weave in silk for the first time—that’s never been done before on handlooms and produces a very unique textile. Just last year, we wove pashmina along with silk.These are true innovations in craft and we’re actively pushing boundaries,” he says. Another defining milestone for Tilfi, ‘Yatra’ set a new benchmark in the evolution of craftsmanship while celebrating the unmatched artistry of Banarasi weavers. The work now stands as a permanent installation at the prestigious Shilp Deergha in the new Parliament House. “We created a massive, singular woven motif without any repetition — something unheard of in Banarasi textiles,” says Udit. Spanning 32 feet, the handwoven tapestry distills Banaras’ rich heritage, intricately depicting the city’s iconic skyline and landmarks of historical and cultural significance through contemporary Banarasi silk brocade weaving and fine zari embroidery.

As a result, the varying depths and complexities of the challenges faced by the artisan community came into sharper focus, and Tilfi’s mission evolved beyond merely preserving a family legacy. Leveraging their backgrounds felt like bringing together pieces that naturally aligned to address broader systemic gaps. Aditi elaborates, “From setting up communication structures to managing participants, the systems we’ve built internally have been crucial for our growth. Without that structure, I don’t think we’d be able to operate at the scale we do today. It required a lot of our training—maths, finance, our MBA education—it all came into play just to manage the systems and spreadsheets needed.Since everything is decentralized and most artisans weave from their homes, managing such a widespread network requires intentional design. Remote work in this context is complex—it’s challenging to monitor, engage consistently, and navigate the hierarchy. We have weavers and master weavers at different scales: a smaller master weaver might operate 4–5 looms at home, while senior weavers could manage 25–30 looms across entire village complexes. Mapping all of them—and their looms—at the level needed for craft intervention is intricate. One loom might produce satin, another tanchoi, and another something entirely different. We’ve had to map each loom’s exact capability. If we pause a design, we must immediately create a new one that matches both the weaver’s skill set and the loom’s specifications.”

Ultimately, the sustained efforts have yielded lasting rewards. “The economic shift is real, but what’s more rewarding is their desire to stay engaged with the craft. More broadly, thanks to the efforts of many brands, designers, and players in the ecosystem, there’s now a lot more innovation happening. When we started, the space felt stagnant. But today, there’s movement, and that makes us more optimistic,” she says. Along the way, Tilfi has cultivated a discerning portfolio of global clientele and earned the patronage of art connoisseurs worldwide. Yet, the true, holistic revival and sustained growth of the craft — beyond the efforts of individual brands like Tilfi — demands an enduring commitment at multiple levels. “If you search for “Banarasi” online—even though Banarasi has a GI (Geographical Indication)—you’ll still find sarees priced at ₹2,000 in other cities and online platforms being sold under the label ‘Banarasi’. We must protect the provenance of our crafts, and that’s where the government can really step in—by building stronger regulations around this and how they ‘enforce’ it,” says Udit, referring to the institutional framework–at the top of the ecosystem, whose decisions directly influence all stakeholders, from artisans to consumers. Aditi adds in this context, “If there are infringements or violations, there need to be consequences. Otherwise, anyone can label anything however they want—and that creates a lot of confusion for the consumer. In the long run, it’s actually harmful to the craft itself. And I want to be clear—I’m not a purist or traditionalist in that sense. I have no problem with machine-made saris or textiles. But they shouldn’t be misrepresented as something they’re not.” And for those on the receiving end of the process—the consumers, “It’s more about the perception about the craft.’Do you see it as something that needs uplifting and saving, or do you see it as something that’s akin to art?’ That perception makes all the difference.” says Udit and continues to note, “The most important thing to remember is that craft should not be treated as charity. Our artisans are not people who need sympathy—they need patronage, and more importantly, admiration. They are creative professionals, just like us, and like everyone else involved in bringing this work to life. What the craft ecosystem really needs are platforms to showcase creativity—not just support to sell or market access.”

Ultimately, the future of the craft also depends on how businesses choose to build within the ecosystem and the approach they take to sustain it meaningfully.“For me, it would be orientation. I feel like Indian businesses, especially in the D2C space, often focus on funding and fast growth. But when it comes to craft, the way we build needs to be different—it requires a long-term orientation. People need patience and a vision to create something of real value. My singular advice, especially for craft-based businesses, is to go deep—truly understand the craft until you gain a level of expertise. Only then can you innovate. So, it’s about building deep roots, thinking big, but staying grounded in the long term,” says Udit. “And that applies not just to craft, but to any kind of venture. The first and ongoing priority should be to develop a deep understanding. Without it, you’re just chasing something transient,” concludes Aditi.

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The way India experiences art is changing—broadening the walls of traditional galleries events and platforms like the India Art Fair, India Design Week, and Ajio Luxe Wkend are embracing experiential formats, fostering deeper community engagement, and tapping into the wave of cross-disciplinary collaborations. An evolution such as this is currently expanding the reach of art, connecting with a wider and more diverse audience than ever before. But what really goes into curating an event of such scale and diversity? In light of this, Blur The Border delved behind the scenes with some of the most influential voices— Jaya Asokan, Alaiia Gujral, Misha Bains and Shalini Passi, — who shared their curatorial approaches for the recent editions of India Design Week, Ajio Luxe Wkend, and India Art Fair, respectively. “Internationally, South Asian art is experiencing unprecedented momentum, with greater visibility at global platforms such as the Venice Biennale and major museum exhibitions, including The Imaginary Institution of India. At India Art Fair, this shift is evident in the robust participation of international galleries, underscoring shifting public perceptions and engagement. As cross-border collaborations flourish, they not only elevate the region’s artists but also create new possibilities and cultural synergies,” shares Jaya Asokan, Fair director of India Art Fair.

A ripple effect closer to home has sparked a more dynamic and interconnected ecosystem. “I think after 13 years, India Design ID is considered a landmark design event in India. We get to shape conversations around design’s role in society, culture and sustainability, and there’s immense joy in seeing the design community and everyday visitors engage in fresh dialogue around objects, spaces and systems. It has become a space for a much wider audience than just industry insiders. From creating interactive exhibits as part of ID Special Projects to inviting voices from architecture, interior design, film, fashion, tech etc. at the ID Symposium, to collaborating with schools, local artisans and neighborhood collectives to bring grassroot level participation into the fold, as the Design Week of India, it’s our prerogative to bridge audiences and make it a barrier free and inclusive experience for all,” says Misha Bains, Fair Director of India Design Week, highlighting how today’s events reflect a shift—where fashion, architecture, textiles, and design now converge in shared spaces. This evolution signals a broader, more nuanced understanding of what ‘art’ truly represents in our contemporary landscape. “The exhibition ‘Fragments of the Future’ celebrated art as a tool for reflection, emotion, and collective awareness. It bridges the gap between the past and the future, urging us to rethink art’s purpose in the modern context,” says philanthropist and art patron Shalini Passi, who curated a diverse roaster of artists alongside interior design and fashion showcases, curated by Ashiesh Shah and Anaita Shroff Adajania, respectively for Ajio Luxe Wkend 2025. On her latest curatorial project for India Art Fair 2025, Shifting Horizons, creative director, artist and designer Alaiia Gujral, further adds, “It wasn’t just a static exhibition; it’s a living, breathing environment that reflects where design is headed through the lens of contemporary Indian identity.”

Breaking barriers to entry and building lasting ecosystems that celebrate both established and emerging artists, these events go beyond mere showcases — they embody sustained efforts to uplift talent and offer artists the recognition they truly deserve. “The platform is designed not only to spotlight emerging voices in design but also to offer them tangible tools for growth. We’re building a long-term ecosystem—before the showcase, we provide guidance on contracts, help artists clarify and present their work, and open up conversations around pricing, storytelling, and audience engagement,” says Alaiia. Elaborating further, she says, “During the exhibition, the artists’ work is elevated, contextualised alongside peers, presented to collectors, press, and design institutions. We also facilitate direct conversations with industry leaders through walkthroughs and intimate networking moments. Post-show, we remain actively engaging and sharing their work across digital platforms, connecting them with future opportunities and documenting their contributions in a way that supports continued visibility.”

Although galleries will always retain value in their traditional formats, their current evolution is becoming more open and welcoming, encouraging audiences to move from passive observation to active participation. Such an approach adds back to the entire ecosystem, creating a more meaningful relationship between the art, its creators, and the viewers who engage with it. To this, Jaya adds, “A key priority has been ensuring that the fair, along with our year-round programming, remains inclusive and accessible to a diverse audience. This is reflected in our dynamic workshops, talks, and art tours that engage all age groups, as well as in our dedicated initiatives like the Inclusion Lab, and through partnerships with organisations such as Access for All and LAND (Learning through Arts, Narrative, and Discourse),” adds Jaya Asokan. Offering a more in-depth perspective through a recent example, Misha expands further on her latest curation for India Design Week’s 2025 edition.“The special exhibition TRANSITION explored 45 Chairs by 45 Designers as a mirror of the creator’s mind in a period defined by innovation, consciousness and experimental forms of expression. The idea of choosing a simple object (Chair) was to allow a much wider audience to connect and interact with this exhibition. We wanted the viewers to posit the various internal and external influences that shape each piece.”

Nothing is siloed in this process; it’s all about collaboration, where every voice and vision is to create something greater than the sum of its parts. “A huge part of the curation is also about dialogue with the designers and the audience. Many of the designers were involved in conversations as their custom pieces evolved, and that collaborative energy is core to how the show has taken shape.” Alaiia says, “I think collaboration is key, and thus I engaged in discussions with the artists and designers to understand their creative process and the story behind their work. For me, it’s important that the installation reflects their artistic vision while also enhancing the overall theme of the exhibition,” Shalini adds.

It ultimately makes one reflect on how curators play a pivotal role in shaping the narrative of art and design through today’s events, considering every detail — from selecting the works to crafting the experience itself, including the ambience that surrounds it. “The first step revolved around the theme of transitions in contemporary art in India. When choosing artists for the exhibition, I was focusing on those whose work offers diverse perspectives while aligning with the theme of the exhibition. I wanted pieces that challenged the convention, provoked thought, and provided a glimpse into the future of art,” says Shalini Passi on the overarching aim. On similar lines, Alaiia says, “We started by defining the conceptual framework—exploring how traditional materials and cultural techniques can be transformed into visions of the future.” She continues, “While each piece needed to resonate with the overall theme, it also needed to hold its own story. We were especially drawn to designers who are pushing boundaries with process or form, yet remain grounded in something personal or culturally rooted.” A crucial part of this process is also pushing boundaries. The curators aim to move beyond the status quo, opening dialogues that inspire new ways of thinking. “I wanted to select artists and designers whose body of work embodied innovation, challenged perceptions, and addressed societal shifts,” says Shalini. Similarly, “We sought out designers whose practices embody that intersection of heritage and innovation. We looked closely at materiality, how designers are experimenting with fibers, metals, wood, light, form and also at the narrative their work carries, adds Alaiia.

Additionally, it emphasises the creation of a unique environment—a space that is not only dedicated to showcasing these voices but also serves as a platform that reflects the collective energy and atmosphere of the event itself. For both Shalini and Misha, the challenges shared a common thread. “Each artist had their own requirements—whether it’s the size of the artwork or specific installation conditions—and it was essential for me to ensure that these elements came together smoothly,” shares Shalini, reflecting on the complexities of coordination. Misha echoes a similar sentiment, noting, “Coordinating across multiple brands and design studios, international participants, timelines, and installation requirements is a massive logistical challenge. From shipping delays to last-minute technical glitches, every detail requires precision.”

However, bringing together such a multifaceted community is no small feat, especially as it extends beyond its familiar stakeholders—galleries and buyers—into a more diverse network. “Aligning the visions and expectations of designers, sponsors, institutions, and the public demands constant negotiation and creative mediation,” she explains. Shalini adds, “We had to maintain the integrity and bring the exhibition together as a unit, while also accommodating the individual voices of the artists. I wanted to create a space where each work could shine, but also where the overall experience remains cohesive and tied together.” Curating such a platform also involves responding to evolving cultural and environmental demands. “Ensuring the theme is not just timely but also resonates globally while retaining local context is always a fine balance,” Misha reflects. “And lastly, incorporating eco-conscious design and practices—from materials used in installations to minimising waste—is not just an expectation now, it’s a responsibility.”

Despite the intricacies involved, the rewards in the end far outweigh the challenges. “I got the opportunity to work with many visionary artists and designers who are incredibly inspiring. Watching how the audience interacted with the exhibition and the conversations it sparked was truly fulfilling,” says Shalini. “All this becomes worth the effort,” Misha concludes with, “When you know that the platform we are building offers an opportunity to elevate emerging voices in design and showcase India’s creative leadership on an international stage.”

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.

Watch the full episode on:

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OTHERS

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

What We Discuss:

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

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

As always, thank you for tuning in!

BTB Speaks to

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.

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The globally recognized and highly anticipated Vogue ‘Forces of Fashion’ is back for its third edition in India taking place between 14th-16th October 2024. This year, the event features a fashion exhibition at the Galerie Mirchandani + Steinruecke in Mumbai, centred around the theme of “The Power of the Indian Runway.” A coveted space that has housed contemporary Indian art within its minimalistic ambience for years, will now pave the way for the burgeoning Indian fashion industry — showcasing a selection of archival pieces and installations from 40 remarkable designers.

Head of Editorial Content, Vogue India, Rochelle Pinto shares insights with Blur The Border on the vision for this global marquee event—one that aims to reflect each of the designer’s house codes, inspirations and a dialogue between tradition and modernity. “It was a dream to create something that would allow the audience to engage with Vogue and fashion beyond the magazine or seeing it on their phone screens,”she says, echoing a broader narrative of the exhibition.

Given that the audience has lacked access to such an experience since fashion has often been associated with exclusivity, it is encouraging to see how prominent editorial platforms are now taking the lead in offering audiences a deeper understanding of the craftsmanship that goes into designers’ work.

Curated alongside fashion and lifestyle journalist, editor, and writer Varun Rana, an exhibition of this scale required significant efforts, “We worked with each of the designers to hone their ideas and push the boundaries, and I could not be more grateful for their generous efforts. It’s a testament to the power of Vogue that so many designers gave us their time and creativity,” says Rochelle.

What’s particularly noteworthy is how this initiative has successfully brought together designers from various segments—both veteran and emerging—under one roof, suggesting that the fashion landscape is experiencing a significant transformation. “I believe firmly in inclusion and democracy,” says Rochelle referring to the dynamic roster including Anju Modi, Abraham & Thakore, Shantanu Nikhil, Tarun Tahiliani, 11.11, Huemn, Pero, and Rahul Mishra. “We wanted to give equal space to all participating designers. I’m grateful to the designers who agreed to work with us in this way. Selection is never easy when you have such a rich pool of talent to choose from, it’s like being invited to an Indian wedding buffet and being given only a quarter plate to eat from. We wanted to showcase different styles and techniques, including a mix of popular names and ones that people may not be as familiar with, and highlight designers who have a strong point of view.”

Events such as ‘Forces of Fashion’ have begun to foster a sense of community beyond what can be experienced online. Undoubtedly, while we have moulded our lives towards experiencing the world through reels and digital images, an intimate and in-person immersive experience becomes essential. “This allows so many people to experience the incredible creativity of our fashion community in real life,” Each designer at the exhibition will bring their own distinct vision—from a fashion-infused bioscope to miniaturised couture, hand-embellished artworks to fantastic dolls. For Rohit Gandhi and Rahul Khanna, “The installation is presented on a new aged gunmetal beaten bioscope and a matt pedestal, complementing the dynamic visuals and adding a touch of sophistication to this fashion retrospective. For a fully immersive experience, we have provided headphones for the viewers to be transported through the decades of style, creativity, and vision that define RGRK.” Such immersive experiences promise an engaging day-long event for the audience.

‘Forces of Fashion’ represents more than just an exhibition. With each designer honing different mediums to represent their respective house codes, it reveals a pivotal intersection between art and fashion, blurring borders where history informs the contemporary, the purveyors of fashion and their audience. Events like these bring together the industry, allowing us to gain a deeper understanding of the diversity and depth of the Indian retail landscape, and help us champion all the international growth opportunities coming our way, collectively.

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.

How three female founders are uplifting women through textile and craftsmanship

by Manica Pathak

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An empowered woman assumes multiple roles today – yet their common visualizations center around glamorous and assertive figures commanding boardrooms in their power suits. By discovering stories of craftswomen from the diverse and rural corners of India, a shift in perspective follows- that empowerment encapsulates not one but many definitions. And in their journey, three distinct and inspiring female founders of social enterprises have played pivotal roles. Through reviving traditional handcrafting techniques with a modern context and leveraging their diverse professional backgrounds, these entrepreneurs are not only elevating the works of female artisans from the grassroots to global platforms but, along the way, also reshaping our traditional perceptions – of what it means to be an empowered woman today. In an insightful and fascinating conversation, Blur The Border delved into the compelling journeys of the founders of Saheli, Sirohi, and Samoolam, and the driving forces that have transformed the lives of countless women. Here, at one end of the spectrum, are women who have been denied education and work opportunities, while on the other, stand three female founders whose roster boasts of extensive experience and education. And yet, they are equally empowered, forging a powerful synergy that uplifts each other along the way.

“I was struck by how the women in my village were making agarbattis at home for 4-5 rupees per day and engaging their toddlers in the process too.”

– Usha Varia, Founder-Samoolam

Before a steadfast journey as the founder of Saheli Women – a non-profit social enterprise founded in 2015 in the village of Bikhamkhor, Rajasthan – Madhu Vaishnav spent three months at the University of Berkeley in California, studying international human rights and social work practice. Today, while teaching age-old techniques that stand at the core of Indian craftsmanship to the women in their centers, Saheli crafts ethical and sustainable contemporary garments for over 22 international brands. While doing so, the enterprise fosters a space for rural women and their children, underscoring the need for gender equality.

Gauri Malik was dabbling in a lucrative career in finance and consulting before she founded Sirohi in 2021 -a sustainable and luxury home decor and lifestyle brand that has today become a family of 550+ women artisans who are economically independent. Using traditional Indian hand-woven and craft techniques, and employing organic materials such as jute and cotton, the women of Sirohi, who come from marginalized backgrounds, furnish world-class charpais, stools, and other essentials that turn homes into havens.

Meanwhile, before Usha Varia – a graduate of the National Institute of Design -founded Samoolam in 2009, a self-sustaining grassroots social enterprise empowering women through crochet lifestyle products, she was conducting workshops on sustainable design across South Asia. At a time when crochet as jewelry was considered an unusual concept, Usha established an enterprise that is not only redefining the traditional perception of jewelry but also creating sustainable livelihood opportunities for economically disadvantaged rural women in Gaya, Bihar. But, as these three women leverage the power of textile and age-old crafts, to uplift women from conservative communities and take the artisans’ labor onto prestigious platforms including several international ones – it all began with a compelling personal journey.

“While there is considerable poverty in the village, I didn’t encounter a single person resorting to begging”

– Madhu Vaishnav, Founder-Saheli Women

Photo credit: Robin Hooybergs at Indigenius

While each of the founders has made a significant impact through their enterprises, what led up to the inception of Samoolam, Sirohi, and Saheli was shaped by profound personal encounters. Usha was struck by the stark disparity between the expensive coffee in her hand and the women of her village making ends meet with a meager income. “They were making agarbattis at home for 4-5 rupees per day and engaging their toddlers in the process too”, she continues, explaining how the incident left a lasting impression on her and became one of the founding reasons for Samoolam’s existence.

Meanwhile, Gauri recalls a horrifying incident, “I personally witnessed weddings of girls aged 13-15 years, in the village of Haryana without being able to do anything about it. These young girls were not educated, and their parents were scared to send them to school, because of the crime in the area. That’s when things turned around and I took a step back to understand more about the development sector.” says Gauri, addressing how the experience led to Sirohi, an enterprise that has transformed the lives of more than 500 women today – including ones who would have been subjected to child marriage otherwise.

For Madhu, however, the experience was remarkably distinct, which left her deeply moved during her visit to the village of Bhikamkhor. “While there is considerable poverty in the village, I didn’t encounter a single person resorting to begging”. Madhu explains, further elaborating on how, despite their limited resources, the villagers extend their hospitality and generously share what they can amongst themselves. “There is a lot of confidence and dignity, and I loved that about our culture”, she concludes explaining how she wanted to build on their innate humility and went on to establish Saheli.

“Growing up, I was constantly grappling with this dichotomy that I was living two distinct lives. At school, where we were free from the notions of gender inequality but I returned home to a stark contrasting reality.“

– Gauri Malik, Founder-Sirohi

In addition to this, even traditional gender roles and societal constructs didn’t spare Gauri and Madhu. Both the founders, found themselves entangled in personal struggles, that may have brought minor hindrances but played detrimental roles in shaping their journeys. Throughout her life, Gauri had witnessed the financial dependence of educated women in her own family. “My school and home were two different worlds and growing up I was constantly grappling with this dichotomy that I was living two distinct lives. At school, we were free from the notions of gender inequality but I returned home to a stark contrasting reality.”, says Gauri, interpreting how this made her question her own path, whether to pursue the career she had chosen for herself or to follow her passion to empower women and promote development.

Meanwhile, for Madhu, it meant resisting the judgments of her own family, battling skeptical thoughts of how her actions, to establish a social enterprise might invite shame. “I was asked to wear a saree and cover my head while visiting Bikhamkhor, and even today, I still cover my head,” she reflects in acceptance and ponders on how she found a balance. The dupatta gracefully draped over her head today serves as a symbolic nod to traditions and customs, while her rebellious spirit finds its purpose in empowering women and enlightening their families about the immense value of self-independence.

As Usha’s career advanced, and her travels took her to various countries, she was startled to encounter the enduring presence of caste hierarchies in her village. Originally, she had planned to explore textile jewelry crafted from discarded saree scraps and involve the women in her community in this craft. However, she later shifted her focus to crochet, avoiding the use of recycled clothing due to concerns about traditional perceptions regarding caste and untouchability.

Today, as dedicated craftsmanship and empowerment emerge out of Sirohi, Samoolam, and Saheli despite the obstacles and resistance from societal constructs, it is not only the personal journeys of Madhu, Usha, and Gauri that are noteworthy but also the profound impact they have had on the female artisans who have become an integral part of the enterprises driving transformative changes through empowerment – they are not considered employees but rather a family and a community. With this perspective in mind, our upcoming article shifts the spotlight toward the transformative journey of the artisans, unveiling a chain reaction of change and exploring how textile and craftsmanship have evolved into catalysts for empowering women and more.

by Avani Thakkar

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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.”

by Neharika Manjani

Last year, as we slowly emerged from the COVID-19 pandemic, I found that my Instagram feed was populated with images of street style influencers sporting jeans that were intentionally left unbuttoned. While, at first, this looked like an attempt to breathe new life into a staple silhouette, upon closer examination, I couldn’t help but wonder whether there was more to this trend than meets the eye. Was what seemed like a simple sartorial experiment actually a silent, subconscious protest against the rigid waistbands of jeans? Was it our way of saying that we aren’t quite ready to leave behind the stretchy, spacious bottoms we’ve lived in during the last few years? Would we ever be able to wholeheartedly welcome jeans back into our wardrobes? Armed with these questions, Blur The Border reached out to six industry insiders, and here’s what they had to say.

The roomier iterations are back

“People don’t want restrictive silhouettes or fabrics anymore, there’s a want for looser iterations.”

– Nishika Bhagat, Co-founder, Osé Studios

Nishika Bhagat | Co-founder, Osé Studios

Raksha Tated | Founder, Reverce

Karma Dhingra | Style influencer

With social commitments crowding our calendars again, it’s only natural to assume that sweatpants and joggers have taken a backseat in most closets. However, Nishika Bhagat, co-founder of Osé Studios, shares that this is far from the case for two key reasons: (a) The loyalties of Gen Zers and millennials, who now form a large portion of most brands’ customer base, continue to lie with loungewear, and (b) Even when it comes to shoppers from older generations, there seems to be a growing aversion to clothing that doesn’t prioritise comfort. “People don’t want restrictive silhouettes or fabrics anymore. Loungewear detailing is increasingly being brought to a range of separates including jeans, and there’s a want for looser iterations such as mom jeans or boyfriend jeans,” says Bhagat whose label stocks both athleisure wear and a slouchy take on denim essentials.

In addition to this, the popularity of baggy bottoms, whether its joggers or jeans inspired by them, is fuelled by another key factor. “People, irrespective of their size, want their clothes to make them feel good. Roomy, comfortable bottoms are more size-inclusive, and therefore tend to appeal to a broader audience,” says Raksha Tated, founder of streetwear label Reverce.

Style influencer Karma Dhingra seconds this, explaining that jeans, especially the skinny kind, are unable to adapt to diverse body types. “In the past, when I used to wear skinny jeans, I had to get them tapered because my thighs are heavier than my calves. Additionally, it was always a struggle to get into them, and after a few hours of wearing them, I would notice that the stitching left marks on my skin. I’ve transitioned out of the joggers that I wore during the pandemic, and I’m back to wearing jeans regularly but I tend to opt for more comfortable styles. I frequently wear this baggy Calvin Klein pair that my dad bought when he was in his thirties,” says Dhingra who now veers towards softer, more breathable jeans and also keeps on-trend alternatives such as cargo pants on standby.

All kinds of jeans are welcome

“I found it easy to go back to wearing jeans, and I don’t think I can now wear sweatpants regularly”

– Khushnaz Ashdin Turner, Influencer

Khushnaz Ashdin Turner | Influencer

Isha Bhansali | Celebrity Stylist

Madina Kirpalani | Off Duty

For Khushnaz Ashdin Turner, influencer and mother of two, wearing sweatpants brings back not-so-fond memories. “I found it easy to go back to wearing jeans, and I don’t think I can now wear sweatpants regularly–they remind me of the last few years, which so many of us want to leave behind. Of late, I’m loving being able to wear over-the-top and fitted clothes,” she says.

Like Turner, celebrity stylist Isha Bhansali was also eager to wear jeans again. A denim enthusiast, she slipped back into different kinds of silhouettes (including the oversized, Y2K-inspired ones) with ease. In her opinion, however, the success of the more accommodating options has less to do with the comfort that we got accustomed to during the pandemic and more to do with the cyclical nature of trends. In the world of fashion, everything old is ultimately new again. “Even before the pandemic lots of retro silhouettes, such as flared jeans, were gaining popularity and these styles will continue to resurface every few years,” says Bhansali. The buying behaviours that homegrown denim labels have been observing also suggest that the most sought-after jeans today don’t always reflect a longing for loungewear.

At Off Duty, a label that’s known for its wide variety of jeans, wide-legged styles are staging a comeback but the fabrics favoured, according to co-founder Madina Kirpalani, are still the same. “Given our lockdown habits, one might think that lightweight jeans are flying off the shelves. But, there’s an interesting phenomenon playing out. Heavy, thick denim is associated with durability and is seen as being premium, which is why it’s still in demand and unlikely to go out of style,” concludes Kirpalani, highlighting that while a shift towards breathable, and even sustainable denim is imminent, currently, a preference for jeans, which are crafted using sturdy fabrics, is still prevalent.

Conclusion

To sum up, for some, returning to jeans, even those which don’t feature the most flexible waistbands and fabrics, was easy, but for others, the switch hasn’t been quite as straightforward. Many still seek variations of the basic, which allow them to keep the lessons that they learnt during the pandemic close.

Where do you sit on this spectrum? We’d love to know your thoughts.

Discipline, Doubt & Doing the Work | The Creators’ Loft ft. Aniruddh Mehta & Tosha Jagad

Beyond Borders- How Collaborations With Global Brands Take Shape

Yesha Sant

Tilfi

India’s Creative Renaissance: A Look at the Country’s Evolving Dialogue Around Art and Design

Kardo

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

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.

Vogue ‘Forces Of Fashion’

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

Crafting Empowerment: Part I

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

Are we really willing to welcome jeans back into our wardrobes?

Beyond Borders

How Collaborations With Global Brands Take Shape

“I really don’t think there’s a one-size-fits-all formula. For us, it’s always been about doing what we genuinely believe in and having fun with it. That way, it never feels like we’re trying to impress anyone or follow a trend,”

“Focus on creating something that tells a shared story. Invest time in research, understanding the collaborator’s world, and find ways to bring your unique craft or perspective to the table. When both brands connect emotionally and creatively, the result resonates far beyond the product.”

“The key was figuring out the story we wanted to tell. It had to speak to the brand, convey that sense of power and yet feel special in the context of G-SHOCK’s global catalogue and collaborations library,”

“The most important thing is choosing the right partner–whose values, ethos, and creative language align with yours. The synergy has to be genuine, not forced.”

BTB Speaks to

Yesha Sant

BTB Speaks to

Tilfi

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

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