Fashion Watch: North East's Coolest Designer Is Honouring The Traditional Mizo Puan With Rock Music

In case you didn't know, inboxes of those working at a fashion magzine reek of chaotic clutter—a gazillion emails and plummeting storage, all thanks to every single soul on this planet vying for a feature. Editorially. Once in a blue moon, something catches your eye, you hurriedly press save and bookmark what beckons a larger feature. This is how I stumbled upon designer Hannah Khiangte's visually-pleasing genius, honouring Mizoram's textile heritage, one stitch at a time.

Shot in collaboration with stylist James Lalthanzuala, the synergies of both their friendship and creative flair melded seamlessly to give us ‘Rahbi Thar,’ a contemporary collection spotlighting Zo craftsmanship and conversation around culture. Here's our conversation with the talented designer.

ELLE: Your collection ‘Rahbi Thar’ blends traditional Zo craftsmanship with contemporary design. How do you ensure a balance between heritage and modernity in your work?

Hannah Khiangte (HK): My collection represents ‘Rahbi Thar’ is my attempt at trying to forge a new path and trying to share the joy of Zo textiles with the world. We really wanted to place the product in the right context because the puan is such a versatile piece of clothing. In this new era, I want to show how relevant and expressive it can be. I try not to force the balance between tradition and modernity. Instead, I let the puan speak for itself. Its beauty lies in its adaptability. The weaving technique, the motifs, the stories, they are all rooted in heritage. How I interpret and present them is where modernity comes in. I see it as a conversation, not a compromise.

ELLE: ⁠The imagery and campaign for this collection are striking and beautifully shot. Tell us more about the same.

HK: The team really understood the vision. Human connection is so important. When your spirits are aligned, you just get each other’s messages without needing to say much. When I spoke to James Lalthanzuala, who styled the shoot, he immediately got what I wanted to do. We’ve been friends for years, and as a senior stylist, he really had the vision for the brand. Paired with my ideas, we created something that felt so right. It was like watching my thoughts come to life, only better and more polished. This was the first time I worked at this scale. The models, makeup artists, photographers, every person brought something valuable to the table. It was a true team effort and our hope is that we’ve done justice to Zo textiles.

ELLE:⁠ ⁠Tell us about your beginnings as a designer and what made you delve into the creative realm.

HK: I’ve always been a dreamer. When I started out, people weren’t very familiar with the term ‘fashion designer', especially in my community. But our culture has always embraced fashion. I was one of the first to start a fashion brand in Mizoram with very limited resources. I worked with what I had and soon I realised it was more than enough. Creativity multiplied the more I explored. It’s just the law of nature. When you pour yourself into your work, the universe sort of conspires to meet you halfway.

ELLE: ⁠Your designs reflect a fusion of Mizoram’s heritage with global influences. How do you make these cultural elements resonate with a global audience?

HK: The cultural elements of the puan, which is a wrap-around, have in some form existed in other cultures too. In South India or even in Burma, people wear sarongs or similar silhouettes. So the puan, in its essence, already has a global familiarity. But what we bring to the table is distinct. The craft, the looming style, the way the puan is worn, the colour combinations, and the stories it carries. These are our unique offerings, but they follow a thread that people around the world can connect with. It’s about finding that sweet spot between resonance and originality.

ELLE: We see a mix of earthy tones and bold prints in this collection. How did you decide on the colour palette; what emotions or stories do you hope it evokes?

HK: When people say they love nature, they often refer to flowers and fauna, the pretty side of it. But for me, it’s always been about the raw, untamed parts of nature. Rocks, sand, earth, wind, minerals. That’s where this collection’s palette comes from. I love taking something that’s rough or unpolished and transforming it into something graceful. Playing with those opposites, something soft with something sharp, brings out a duality I find really powerful.

Agyness Deyn was my idol. I loved her androgynous style. ‘No Doubt’ was my favourite band. Their whole vibe really influenced me. At the same time, I come from a very conservative and institutional background. That contrast between rebellion and discipline is something I carry in me, and naturally, it shows in my designs

ELLE: ⁠The collection also draws from the rebellious energy of British rock. How do these seemingly contrasting influences come together in your designs?

HK: I grew up in an era where being a backbencher was cool. Agyness Deyn was my idol. I loved her androgynous style. ‘No Doubt’ was my favourite band. Their whole vibe really influenced me. At the same time, I come from a very conservative and institutional background. That contrast between rebellion and discipline is something I carry in me, and naturally, it shows in my designs. I love putting these energies together. It creates a kind of friction that feels alive.

ELLE: What do you hope ‘Rahbi Thar’ will achieve in the fashion world? Are you looking to spark a conversation about identity, culture, or something else entirely?

HK: I hope this collection brings new hope for myself and for my culture. It’s bigger than me. This is a new era for the Zo tribes, one that unlocks our true potential. We’ve been on the margins for too long. Now is the time to connect with the rest of the country and the world. We are part of the voice of diversity that India is so proud of, and it’s time we’re seen and celebrated for that.

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