Cut From A Different Cloth: The Designers Reweaving India's Fabric Story

We did not arrive at today’s renewed interest in textiles by accident. More than a decade ago, a group of Indian designers quietly committed themselves to working with craft at a time when the industry was focused on speed and global trends. They placed textiles at the centre of their practice long before it became a talking point. They built systems with artisans, studied processes from within communities, and created design languages shaped by patience, continuity and collaboration. 

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Across every conversation with them, one consistent idea emerged. Working with Indian textiles is not an act of nostalgia. It is the most future-focused decision they could make. Their commitment is not about saving heritage. It is about strengthening it, reshaping it and ensuring it remains relevant for decades ahead.

KARISHMA SHAHANI KHAN, KA-SHA

Shahani-Khan’s approach to textiles is practical and built through ongoing collaboration with artisans. Her studio focuses on embroidery, appliqué, dyeing, quilting and macramé, choosing techniques that strengthen skill and keep makers at the centre of the process. As she explains, “When a designer’s values are rooted in artisanal techniques, a slower, more intentional rhythm naturally emerges.” 

Her approach challenges the timeline-driven nature of fashion. For Shahani-Khan, supporting makers and nurturing a thoughtful ecosystem matter as much as the finished garment. “It’s time to question the industry’s tempo,” she says. “Who sets the pace, and why must we all follow it?” Her belief is clear. Designers are participants in a shared craft economy, and meaning grows through collaboration between maker and wearer.

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SHANI HIMANSHU, 11.11 / ELEVEN ELEVEN

Himanshu’s approach to craft is defined by depth. His work across Bandhani, Jamdani, Shibori, Ikat and natural dyes comes from long-term study. “We do not use a craft unless we have understood its lineage,” he says. “You have to know what has been lost before you can decide what to create.” His Bandhani research, which spans nearly fifteen years, involved reviving processes and re-establishing value chains that had faded over time. His perspective on expertise is clear and uncompromising.

“Deep understanding takes  years, even decades,” he explains. He treats textiles like a living science, studying how fibres behave and how makers’ decisions shape the final textile. For Himanshu, craft requires rigour and responsibility. “These techniques are thousands of years old,” he says. “If designers enter this space, they must give the work the time it deserves.”

RIKKI KHER, KARDO

Kher sees Indian textiles as a system of regional languages. Each season, KARDO works with a specific cluster, exploring traditions ranging from Naga weaves and Himachali wool to Phulkari, Kantha and Ikat. Recently, the brand’s focus has been on extra weft weaving. “These crafts draw us in for their beauty, and because they expand our language, they keep the work sincere, challenging and experimental,” he says. 

Kher approaches menswear through the logic of material and technique: “Our inspiration lies in vintage functional wear, and we want to reimagine it through the lens of Indian textile craft,” he explains. “These traditions are not separate from our work. They are the work,” he says. The community behind the textile forms the foundation of how the brand defines identity and storytelling.

RICHARD PANDAV & AMIT VIJAYA, AMRICH

Pandav and Vijaya work across Ikat, Bandhani and diverse handloom clusters, building a design language grounded in weaving and resist-dyeing. They describe craft as their creative anchor. “Craft-based work feeds our souls,” Vijaya says. They thrive on discussions with master craftspeople and on pushing technical boundaries.

“The thrill on the faces of the traditional artisans when they develop something new is unmatched.” Their respect for handmade processes shapes every decision. “We love the imperfections that hand-made offers,” Vijaya explains. Working in small batches allows them to maintain quality and intention. They believe young designers should enter craft out of genuine passion. “It must be something the heart desires and not because it is in trend.”

MOHAMMAD ANAS SHEIKH, 23°N.69°E

 

Sheikh works deeply with Kala cotton and Ajrakh, drawn to the honesty and legacy embedded in these processes. “Everything is still done in the old, honest way, with no shortcuts,” he says. His time with artisans has shaped his understanding of patience and trust. “You learn respect. You get humbled and grounded,” he explains. “Building trust with artisans takes time. You have to show up again and again.” For Sheikh, craft is a commitment. “Once you learn the authentic way of making clothes, there is no going back,” he says. He believes younger designers must engage more with textiles: “Craft cannot rely only on nostalgia. It needs to stay relevant,” he notes, emphasising that there has to be a balance between the legacy of the textile and the designs of the new world.

RICHA MAHESHWARI, BOITO

Maheshwari works exclusively with Odisha’s textile traditions, from Bandha and Kotpad to Pipli applique and Dongria Kapdaganda. She is drawn to their rawness and character. “They possess a quiet beauty that comes from imperfection, patience, and the human touch,” she says. 

Her work embraces the slower rhythm of craft. “Craft does not keep up with changing trends, and that is its superpower.” Her practice extends beyond textiles into livelihood systems. A key part of her mission is supporting reverse migration so artisans can work with dignity within their communities. She cultivates a culture of patience through intentional production cycles.

“Meaningful work takes time,” she explains. “You receive a Boito piece only if you truly want it.” What unites these designers is a clear and confident belief. India’s textile traditions are powerful design systems that can lead fashion forward. Craft carries knowledge, sustainability, innovation and identity. Their work signals a shift in Indian fashion where textiles are the blueprint. In their hands, craft becomes a conversation in culture and creativity, proving that the future of Indian fashion is strongest when it is built from the ground up.

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