ELLE Exclusive: Pankaj S On Revival, Legacy, & The Mumbai Moment With Aashni + Co

Designer Pankaj S., speaking about craft, comes with a refreshing reverence usually seen in remarkable art historians and culture theorists. For those unacquainted with his work (time for some homework), the expanse of his contributions traces India’s varied textile legacy, one that is now refined and future-facing. The good news is that his vision is coming to Mumbai through a curated residency at Aashni + Co, the UK-born concept store known for its culturally curated edge.

“There’s an electric duality in Mumbai,” expresses Pankaj. “On one end, you have the connoisseurs—those who still seek out the Parsigara, the Patan Patola, and the purest real zari weaves. On the other hand, the new generation, open to experimentation, wants tradition wrapped in futurism. That’s exactly where I want to be,” he states. Aashni Shah herself echoes the sentiment. “Pankaj’s purist approach to craft, combined with a globally evolved aesthetic, aligns with everything Aashni + Co stands for. This residency is about offering couture in a way that feels personal, something that is beyond the rack, beyond the runway.”

While 'revival' has, to quite an extent, become something of a buzzword in fashion circles, Pankaj treats it with deeper purpose. “Revival is the backbone of Indian civilisation. You cannot build something of value without knowing where it came from. For me, it’s about sustaining craft clusters and bringing forgotten techniques into today's context without diluting their soul.” To which Aashni adds, “To revive is to make something meaningful now. Not just preserve, but translate craftsmanship for the present moment.” 

Unfortunately, so much of our heritage is locked abroad in museums. Building on this sentiment, Pankaj strategically touts the sartorial translation he offers as cultural reclamation, not aesthetic mimicry. “Khadi, Jamdaani, Bafte-Hawa aren’t simply relics. They’re living luxury. They deserve more than just glass cases.” Cultural figures like Kamaladevi Chattopadhyay and Laila Tyabji earn a near-spiritual admiration from him as he says, “They didn’t just advocate for craft—they shifted its place in society. They made it visible. They built a bridge between artisans, often confined to the margins, and modern consumers. That bridge inspired me, even as a student. And it still does.” 

So it’s no surprise that his design philosophy rejects trend-chasing. On a lighter note, we ask him what musical instrument he’d associate with his craft, to which he replies, “A flute. It’s hollow. It lets the air move freely. That’s how I see my work—fluid, unobstructed, never locked into a single format.” Funnily apt. 

While bridal fashion in India has long been synonymous with maximalism, he senses a shift. “I think we’re seeing the end of excessive exhibitionism. The overworked lehengas, the bling, the spectacle, it’s all fading. People are now asking better questions: What is this weave? Who made it? Where does it come from? There’s a hunger for the finer things, for authenticity, for provenance.” 

Also, sweeping generalisations aren’t his jam. Fibre counts and loom techniques, oh yes. “I’m secretly obsessed with Mul,” he muses. “Especially the version once called Bafte-Hawa. It was like weaving air. And Jamdaani—it’s a meditation.” What this residency in Mumbai makes clear is that for Pankaj, craft is never static. It breathes and adapts. “Mumbai just feels like the right place at the right time,” he says. “There’s a pulse here. People are ready to listen again. Not just to fashion, but to story, to history, to soul," he concludes. 

As for textile fanatics, there's a new pitstop in Kalaghoda. Time for some shopping. 

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