‘We are witnessing a gradual disappearance of weft Ikat and double Ikat’

It's been 15 years of reviving and reimagining the Pochampally Ikat weave. How's the journey been?

The journey of working closely with the weavers and artisans from this rich ikat belt (Telangana) and building the brand has been deeply rewarding. In many ways, it feels like the craft found me. Contributing to a heritage tradition and helping carry it forward has been both a privilege and a responsibility. 

What has changed and what remains the same?

What has remained constant is the functionality of our garments, we create pieces that move with you and are meant to be lived in. What continues to evolve is our approach to ikat design. That’s the beauty and freedom this craft offers: the ability to experiment with colour, placement and interpretations. 

While we always design with the inherent limitations of the craft in mind, each collection becomes a collaborative process, where together we keep redefining what’s possible.

A lot of brands in India and even globally reimagined ikat weave. What makes your take on Ikat distinctive?

We work solely with the ikats of Telangana. This consistent, long-term approach has allowed us to go beyond surface-level reinvention and truly engage with the technique at its core. We’re not working with ikat as a seasonal trend, it’s the very heart of what we do. This dedication gives us the space to truly explore the craft, push its boundaries and evolve it together with our artisans. One of our key differentiators is moving away from traditional motifs and giving ikat a fresh, design-forward identity. Our creative process is intuitive and inspired by what moves us in the moment, and that spontaneity, paired with our deep understanding of the craft, is what makes the work feel honest and meaningful.

The label operates from a fully in-house studio in Hyderabad. How's been the process of partnering with sixth-generation artisan families?

These families carry deep-rooted knowledge of the ikat craft, passed down over generations and their expertise forms the backbone of everything we create. Having our own studio in Hyderabad means we stay closely connected to the process and the people behind it. Over time, we’ve grown together, experimenting, learning and pushing the craft forward while always staying rooted in its essence.

That constant exchange between tradition and innovation is what makes the work feel so alive, and it’s what continues to inspire me every day.

Is the younger generation of ikat artisans interested in practising and owning the craft?

Honestly, not many from the younger generation are actively choosing to continue the craft. A significant number have moved to cities in search of different opportunities, often in fields far from weaving. It’s a reality that many craft-led ecosystems in India are grappling with, the lure of urban life and the perception that traditional crafts don’t offer financial stability or social mobility.

However, we’re beginning to see small but meaningful shifts. Some young artisans are returning, especially when they see that there is respect and consistent income in the work, particularly when brands treat them as true collaborators. With the right support systems, design interventions and platforms that value craftsmanship, there’s hope.

With flagship stores in Delhi, Mumbai, and Hyderabad, what have been your key retail learnings?

One of our biggest retail learnings has been the importance of evolving continuously, both with the audience and the environment around us. What resonates in Delhi may not appeal to customers in Mumbai, and what works in Hyderabad might not translate the same way elsewhere. Each city has its own rhythm, aesthetic sensibility and mindset.

It’s crucial to truly understand what the audience in each location is looking for, from styling needs to seasonal timing, and to deliver that with sensitivity. Retail is not just about selling; it’s about building and nurturing long-term relationships with our ikat lovers in every city. Creating that emotional connection and trust is what sets the experience apart.

Let's talk about the brand's current collection, Kusubana. What informed your moodboard? 

Kusubana was born from a deeply personal moment during a recent trip to Japan, where I was gifted a beautiful bespoke fragrance infused with Sakura blossoms. The delicate scent and the soft, almost ethereal hue of the petals stayed with me and slowly, that memory started shaping the mood board for this collection.

We wanted to create something fresh and unexplored, a new direction for us in terms of colour placement and visual composition. Kusubana is our tribute to Japanese blooms, but also to the idea of quiet elegance and seasonal transition. Each piece is designed to be trans-seasonal, easy to wear in summer, perfectly suited for monsoons and ideal for layering as the year progresses. It’s a collection that moves with you, adapting to your wardrobe and your mood.

You've also established Anonym, a curated space in Hyderabad for handcrafted pieces that brings together homegrown talent under one roof. What was the idea behind it?

Back in 2005, when I moved from Delhi to Hyderabad, I noticed a significant gap in the market for artisanal clothing that went beyond the ceremonial and traditional. Personally, I’ve always gravitated toward an alternative approach to wardrobe staples, pieces that are versatile, eclectic and not bound by fashion norms. I envisioned a curation that transcends identities, blending contemporary aesthetics with a timeless, modern sensibility.

How's been the process of scouting the homegrown talent from across India? What attributes do you look for while scouting new designers?

Back then, it was quite challenging to discover emerging talent. I would often research through fashion weeks and was especially drawn to the freshness and expressive collections of Gen Next designers, their fearless and futuristic approach really stood out. I began retailing labels like Kallol Datta, Anuj Sharma, Maku, Pero, Rahul Mishra, 11:11, Metaphor, and many others whose work felt deeply Indian yet global in spirit. Even today, I continue to curate designers who are textile-led and bring something truly unique to the table.

A lot of brands claim to practise 'ethical fashion'. How challenging has it been to incorporate ethical production practices?

The term “ethical fashion" is often used loosely. Practising ethical production isn’t always easy, especially when working with traditional crafts like ikat, where the processes are time-intensive and artisan-led. It requires patience, transparency and a long-term commitment to the people behind the product.

The biggest challenge lies in balancing commercial expectations with the realities of slow, handmade production. But we’ve consciously built a system that prioritises fair wages, safe working conditions and respect for traditional knowledge. These ethical practices are maintained throughout the chain, from our master craftsmen and weavers to the cutters, tailors, finishers, and our in-house team.

It may not be the fastest or most scalable path, but it’s one rooted in meaning, responsibility and long-term sustainability. 

Do you plan to diversify into other categories?

We believe in evolving with time, and as a brand rooted in creativity and craftsmanship, we remain open to new opportunities.