Latest news with #Khadi
Time of India
7 days ago
- Business
- Time of India
Khadi mall in Purnia likely to be ready by Oct-end this year
Patna: In order to give a push to the Khadi industry and help weavers and artisans working in this field, the work related to the construction of a Khadi Mall in Purnia is progressing at a fast pace. Officials said this mall, which will be the third one in Bihar, is expected to be inaugurated by the end of Oct this year. Once operational, it is expected to boost the local economy and provide employment opportunities to people of the region. As per the official press release, this third Khadi mall is being constructed at Bhatti Chowk in Purnia a, with a total cost of Rs 6.64 crore. This mall will serve as a robust platform for Khadi weavers, artisans, and rural entrepreneurs. The mall will be a three-storey structure with an area of 14,633 square feet. "Approximately 60 percent of the construction work is completed, and there are plans to open it to the public soon. Construction is progressing rapidly, and preparations are underway to complete it soon," read the press release. A senior official added they are stressing to get it inaugurated this Oct-end. While this Khadi mall will offer a rich collection of Khadi garments, it will also offer handmade products, village industry-based items, natural cosmetics, herbal products, and artworks by local artisans for sale. This will not only provide a market for local products but also increase the reach of rural products in urban areas. Notably, two Khadi malls are already operational in Bihar — one each in Patna and Muzaffarpur. The Purnia Khadi mall is being developed as a model for eastern Bihar, benefiting artisans from neighbouring districts as well. The state govt's aim is to provide self-employment opportunities to the youth through Khadi malls and to strengthen the branding of Khadi products.
The Hindu
15-07-2025
- Entertainment
- The Hindu
Coal on paper
The Ojas Art gallery in Mehrauli is anchored around a banyan tree associated with many renowned folklores and quite aptly mounts the artworks of contemporary indigenous artists. Currently, the artist featured is 61-year-old Lado Bai, a member of the Bhil tribe, whose exhibition 'Paper Whispers' offers the urban population an opportunity to reconnect with nature and the nuanced social life of tribal communities. Lado Bai's work is not only a window to tribal lives, folklores, and festivals, but also a reminder of how critical natural resources such as forests are to these artists. The exhibition focusses on Lado Bai's work using coal. She explains how the dye is made — by grinding charcoal, or burning wood, and mixing it with Dhavda resin. Her art captures birds, animals, tribal festivals, and the changes she sees around herself. With age, her art has evolved too. From paintings mainly consisting of animal motifs and trees, she now includes tractors and school buses too. She paints on paper, cloth, and walls. One of the paintings in the gallery is on Khadi demonstrating how tradition converges with modernity. Says Anubhav Nath, director of the art gallery and the exhibition's creative curator, 'During a conversation with Lado Bai years ago, she mentioned that as a child, she often worked with charcoal; but over the years she stopped because they had no takers.' Anubhav says, the exhibition acknowledges the struggles and battles of Lado Bai and how she adapted and retained her curiosity about cultural beliefs and practices of her community as well. In one of the paintings, she depicts the Bhagoria festival celebrating the love of young couples who run away from homes and hope to wed at the festival to legitimise their union. It is a glimpse into the social structures of tribal communities. Another painting is the artwork depicting Gondna tattoos; Gondna painting is part of the Bhil legacy and a testimony to the passage of time. She also talks about Pithora, is a form of celebration for the community, who sing devotional songs, pray through the night and paint motifs such as the peepal tree, horses, snakes, the sun, moon, and lizards on their walls. It is the Bhil community's way of expressing gratitude to their deity. The gallery has curated some of Lado Bai's finest works. Lauding her artistic legacy, a message from Shaleen Wadhwana, independent art researcher and MAITRI Project Curator for Indian Ocean Craft Triennale, Australia, has been displayed at the venue. The message highlights how Lado Bai's journey shows the urban people how the tribal communities live. At Ojas Art Gallery, 1AQ, Near Qutb Minar, Mehrauli; Till August 1; 11am to 7pm (Mondays closed)
Hindustan Times
08-07-2025
- General
- Hindustan Times
NIN to establish ‘Living Gandhi Memorial' at Nisarg Gram
In a first-of-its-kind tribute to Mahatma Gandhi, the National Institute of Naturopathy (NIN), Pune, will establish a 'Living Gandhi Memorial' at Nisarg Gram. What makes the memorial 'living' is its aim to embody Gandhi's philosophy through action, encouraging people to imbibe his values—particularly his emphasis on naturopathy and self-reliance—in their daily lives. What also makes the memorial 'living' is its strong emphasis on real-world applications. A living laboratory will offer hands-on training in organic farming, Khadi production, natural building techniques, community health practices, and non-violent communication—efforts aimed at making Gandhian thought relevant in a contemporary context. Spread across 5,000 square yards, the memorial will be a dynamic space for learning, reflection, and practice; and will feature a museum, and facilities for immersive workshops and training. Tenders for the project have been awarded, and work is set to begin soon, officials said. The museum will house rare letters, photographs, and Gandhi's writings as well as interactive displays to engage visitors across all age groups. (HT) One of the key features of the memorial will be the Mahatma Gandhi-Dr Dinshaw Mehta tunnel; a specially designed light-and-sound experience using artificial intelligence (AI) to recreate the voices of Gandhi and his close associate, Mehta. There will be a narration of milestones from Gandhi's life, the freedom struggle, and his naturopathy practice as part of this experience. Professor Dr K Satyalakshmi, director, NIN, said, 'We want to bring Gandhi alive through technology. A visitor walking through the tunnel should emerge with a deeper understanding of Gandhiji's values and his naturopathy principles. Behind the museum, we will also have a 'Gandhi Prerna Sthal' with 11 large pillars, each inscribed with one of his vows.' The museum will house rare letters, photographs, and Gandhi's writings as well as interactive displays to engage visitors across all age groups. It will highlight how Gandhi's non-violent philosophy influenced global figures such as Martin Luther King Jr., Nelson Mandela, and others. Dr Naina Athalye, coordinator of the 'Gandhi Fellowship Programme' at NIN, said, 'Gandhiji's teachings are more relevant now than ever. Health must be understood not as disease treatment but as a state of wellbeing. Peace and harmony must be our natural way of life. As Gandhiji said, 'Be the change you want to see in the world' and remember, 'There is enough for everyone's need, but not for everyone's greed'.' The memorial will also promote Gandhi's 18 Constructive Programmes, which he envisioned as the building blocks of a self-reliant and equitable India. These include promotion of Khadi, communal harmony, removal of untouchability, village industries, sanitation, women's empowerment, economic equality, and revival of traditional health systems like naturopathy. A Centre for Excellence will offer interdisciplinary courses and certificate programmes aimed at students, educators, professionals, and social workers committed to sustainability, social justice, and Gandhian thought.
Fibre2Fashion
06-07-2025
- Lifestyle
- Fibre2Fashion
Archana Chaudhary Fashion Designer & Co-founder
Our goal is not to chase fashion trends, but to create heirlooms In an era where fast fashion seeks the spotlight, Pomcha Jaipur stands apart—quietly powerful, deeply rooted, and refreshingly authentic. Founded with a vision to preserve the soul of Indian textiles while making them accessible to the modern wardrobe, the brand blends regal Rajasthani heritage with thoughtful, wearable silhouettes for the contemporary Indian woman. Whether it is hand-blocked kaftans, mirror-work angrakhas, or pastel-toned bridalwear crafted from cosmos silk and glazed cotton, Pomcha's collections are shaped not by trends, but by memory, meaning, and mood. In this exclusive conversation, Fibre2Fashion speaks with Archana Chaudhary, Fashion Designer and Co-founder of Pomcha Jaipur, to explore how the brand balances heritage with innovation, emotion with utility, and softness with strength—redefining couture and craft for a new generation. Pomcha's collections often blend regal tradition with relaxed silhouettes. How do you decide which artisanal techniques or regional inspirations to spotlight each season? At Pomcha, we do not just make clothes—we tell stories. Every season, my process involves an immersion period. I reconnect with the many layered forms of traditional art, explore regional fabrics, and absorb the mood and sensibility of what women want to wear today. Our collections are shaped by the deep-rooted regal history present in Rajasthan, but I always ask myself, 'How do we allow this legacy to breathe in our modern wardrobes?' As I decide which artisanal traditions or inspiration to feature, it is between what speaks to me emotionally and what I want to articulate. Sometimes it is a forgotten block-printing cluster from a small town that will inspire me. Other times it is a certain motif from Mughal architecture or the elegance of a vintage phulkari that will inform a whole line. We also listen to the fabric itself—what sort of story does it want to tell? Be it hand block prints on soft cottons or delicate Gotta work reimagined on wind-swept silhouettes. I find it important that each piece feels recognisable yet new, like a muted echo of traditional forms softened by time. Our goal is not to chase fashion trends, but rather, we want to create heirlooms—pieces that feel both personal and poetic as well as unapologetically rooted. Your use of fabrics like Chanderi, Khadi, and Banarasi silk is distinctive. How do you approach textile sourcing and innovation, particularly for bridal couture? Fabric is our mother tongue—it informs everything we create. Couture is often perceived as heavy silks and brocades, but we are working to redefine that through materials like glazed cotton, cosmos silk, cotton silk organza, and taffeta. These fabrics allow us to explore bridal couture in a way that feels lighter, more fluid, and deeply personal. Our textile sourcing process is both intentional and thoughtful. We source textiles including woven pieces and artefacts from weavers and artisans who understand our mentality around combining tradition with ease. For example, a cotton silk organza might be handblock printed in soft heritage motifs and layered with a sheer dupatta with handcrafted details. This kind of layering creates depth without adding weight. Innovation for us often means creating new perspectives on how being able to take everyday textiles and see them in ceremonial light. How can glazed cotton feel regal? How can we create a structure in a cosmos silk without restricting its breathability? These are questions we are asking in our design lab. Couture should be more than just drama; it is about emotion. Our fabrics feel like skin, move like memories, and feel like poetry. We want each Pomcha bride to feel both grounded and elevated. The modern Indian bride is seeking both nostalgia and novelty. How does Pomcha balance the romanticism of tradition with a sense of newness in pieces like voluminous anarkalis or sheer dupattas? The modern Indian bride has begun to rewrite her own story—and at Pomcha, we are listening. She wants nostalgia in warmth, tradition in romance, and the ability to create an identity for who she is today. Our design process is inspired by this dichotomy of past and present: to reimagine old-world charm through a fresh perspective of today. Take our voluminous anarkalis. Yes, they resonate with Mughal silhouettes, but we redesign them to feature softer fabrics like glazed cotton or cosmos silk, delicate details in block-printing, and easy, flowy ways to wear them that allow for movement and lightness. The concept is to deliver some of the splendour without the weight. Our sheer dupattas are another example. They are not solely accessories; they are like airy canvases, where we experiment subtly with tradition and innovation—consider the possibilities of scalloped Gotta edging, hand-printed borders, or layering sheer over sheer for depth. Part of our craftsmanship engages with textures that feel heirloom-inspired but are styled effortlessly. It is subtle storytelling at its finest—a preserved motif, a silhouette that lingers in memory, a finish whispered through generations—all worn with a sense of now. At Pomcha, we are not merely creating bridalwear; we design emotional couture that feels timeless, tactile, and uniquely personal to every bride. Corset blouses and structured silhouettes have seen a resurgence. How does Pomcha reinterpret these contemporary elements while staying rooted in Indian heritage? At Pomcha, structure is never solely about silhouette—it is about form as a means of storytelling. The return of corset blouses and more structure is exciting because we have new words to describe the confidence and gracefulness of Indian women as they exist today. Yet, our interpretation meticulously weaves together that contemporary form with craft and culture. We take corset structure, and soften it with Indian nuances, (i.e., hand block prints that are delicate compared to stiffsolids, traditional piping and dori instead of metal boning). The corsets we create breathe and reflect the human touch, unlike machine-made, hastily cut shapes. For us, this is not about mimicking Western forms; this is about Indianising them. A choli-inspired neckline, a hint of Gotta along the bust line, and a structured blouse paired with a voluminous lehenga in heritage prints—all are ways to bring juxtaposition to life, blending the sharp with the soulful. At the end of the day, our structured silhouettes empower, without over-empowering, whilst celebrating female form regardless of the soul of Indian craftsmanship. At Pomcha, tradition is never with limits; it is where the path of reframing begins. Metallics are having a couture moment beyond gold and silver. How is Pomcha embracing this shift—in both bridalwear and festive collections? We understand metallics as a mood, not merely a trend. While gold and silver have always been part of the bridal lexicon in India, the new wave of metallics (rose golds, burnished coppers, antique bronze, and even muted pewters) hold a strong feeling of understated opulence, which aligns beautifully with our vision. In our bridalwear, we embrace this shift by weaving metallic threads more subtly into handblock motifs, layering dull gold with earthy tones, or playing with shimmer more sparingly, creating an intimate glow rather than a loud one. We also enjoy layering textured metallics on cotton silks or Chanderis to create a soft light reflecting sensation that is regal without being ostentatious. We play with metallics more overtly in our festive collections. You will find foil block prints in totally unexpected hues like lavender-gold or rose-bronze, and mix these with contemporary silhouettes such as wrap tops, flared skirts, or corset blouses. The concept is to create light dancing on the fabric rather than in a flashy way, as we want it to be elegant yet playful. In the end, remember that at Pomcha, metallics do not symbolise theatrics—they represent quiet luxury, imbued with heritage, for a woman who values craft as deeply as she values celebration. Capes are emerging as the go-to festive layer for 2025. Is Pomcha exploring this silhouette in its upcoming launches? Capes are such a brilliant vehicle of drama and grace—and yes, they are very much on Pomcha's radar. As we look towards the future, particularly 2025, we are really embracing capes for not only a trend, but as an organic continuation of storytelling through silhouettes. What we love about capes is their magical inherent ability to elevate a look with little (to no) effort. A simple layering piece over a lehenga, anarkali, or even a co-ord set gives a look instant elegance while still being free moving, covering, and empowering! Of course, the Pomcha version would always be tooled with craft. The capes will be seen in sheer organza with hand block-printed borders as well as delicate zari threadwork and fluid cosmos silk with traditional tassel detailing. We have also dipped our toes into the world of detachable-cape blouses—whether worn by the bride or a spirited festive dancer, both can transform their look with a simple cape swap. After all, versatility and beauty go hand in hand. At Pomcha, we do not see capes as a simple add-on, but rather, a tool for innovation, grounded in tradition. A cape is regal, it is useful, and it makes complete sense with the changing wardrobe of an Indian woman. The boho-desi aesthetic—mirror work angrakhas, hand-blocked kaftans—resonates with your audience. How do you maintain this 'effortless' look while ensuring each piece is detailed and deliberate? The 'effortless' look is often the most intentional—and at Pomcha, that is our magic. The boho-desi aesthetic—mirror-work angrakhas with matching juttis, or lounging in flowing hand-blocked kaftans—has become a love language between us and our audience. But behind that ease lies a thoughtful process of editing, history, and creativity. We begin by grounding each piece in authenticity—our kaftans are cut for movement, and our angrakhas are draped with a nod to royal Rajasthani silhouettes, then softened for modern wear. We use airy fabrics like cotton, cosmos silk, and organza to ensure comfort, while handpicked mirror accents, subtle tassels, and wooden block prints are added with restraint and care. The formula is balance. Nothing should feel overdone, yet every element must feel deliberate. That is where styling comes in—approaching desi wear with a fresh eye. A printed kaftan with juttis, a mirror-work angrakha worn with loose hair and no dupatta—each look says the wearer owns the outfit, not the other way around. We do not chase the 'effortless' aesthetic—we create for it. Every drape, motif, and trim is quiet, considered, and meant to feel like second skin. With consumers craving joy and whimsy, are 'feel-good' elements—such as playful details or pastel hues—becoming more central to your design language? Our community has responded most to pieces that make them feel something—light or comforted, nostalgic or quietly happy. That has been how our design language has naturally shifted, towards softness, playfulness and an almost childlike delight in detail. We have always been partial to pastel hues, not just because they are currently fashionable, but because they seem to exude calm and quiet beauty. Whether it is a pistachio green kurta with handblock florals, or a blush pink angrakha trimmed with mirror tassels, these palettes have a softness that feels like a small act of self-care, something our brand also stands for. We also love what we call 'feel-good' flourishes, like a hidden hand-embroidered motif on the inside hem, scalloped edges, little, playful Gotta dots, or wooden block printed hearts and florals that simply make someone smile without being overpowering. These would not be considered embellishments as we do not add details just for decoration—the feelings associated with a garment practically supplant the intention of decoration. Rather, they are reminders of how clothing can still be emotionally connected, intimate, joyful and above all else, bring good feelings. We design for the feeling, not just for the eye. Because in troubling times, there is nothing more luxurious than wearing something that brings joy to you, moves with you, softens you, or simply makes you smile. As a homegrown brand, what does 'power dressing' mean in the context of Pomcha's interpretation of co-ords, sarees, or dhoti sets for the millennial Indian wardrobe? At Pomcha, 'power dressing' does not mean sharp lines or shoulder pads—it means dressing with presence. For the millennial Indian woman, power lies in authenticity, ease, and the freedom to express tradition on her own terms. Our co-ords, sarees, and dhoti sets are designed to celebrate exactly that. A block-printed co-ord in glazed cotton becomes powerwear not because it is bold, but because it lets her move through her day with comfort and grace. A dhoti set with a structured blouse or cape channels heritage with an edge—it is tradition made wearable, powerful without shouting. Even our sarees speak this language: unstitched, fluid, and rooted in craft, but styled for the woman who might pair it with sneakers or drape it over a crop top. It is not about rebellion—it is about reclaiming identity in a way that is elegant, easy, and deeply personal. Power dressing, to us, is about choice. The choice to be soft, to be rooted, to be bold in your own way. And as a homegrown brand, we are proud to dress women who define strength on their own terms—quietly, beautifully, and unapologetically. In a landscape increasingly driven by visuals, how does Pomcha navigate the tension between maintaining an aesthetic and offering authenticity and craft transparency? Although we live in a visual-first world, at Pomcha, we cherish the element of what you do not see. An Instagram grid may draw you in with a palette or silhouette, but it is the authenticity—the human hands, the time, and the process—that builds lasting trust with our audience. Maintaining an aesthetic has never meant compromising on craft. In fact, our aesthetic is our craft. Our colours, textures, and backdrops stem from the very spaces where we dye fabrics, press blocks, and shape our story. This work is not curated for social media—we document it with honesty and intention. We also make a conscious effort to show the behind-the-scenes: our artisans, our printing tables, our imperfect perfects. From explaining our handblock process and embracing creased cotton to sharing slightly varied dye tones, it is all about helping our audience connect with the realness of handmade. In a fast fashion world, transparency is a quiet revolution. Our aesthetic may be soft, but our message is strong: beauty needs no filter when it is rooted in integrity. Luxury brands are investing heavily in red carpet visibility and celebrity endorsements, often overshadowing emerging designers. What challenges does this pose for fresh talent entering the market? The spotlight is bright—but often too narrow. While red carpet moments and celebrity endorsements undeniably shape perception and create aspiration, they can also create an uneven playing field—especially for emerging designers who are building from the ground up, not from front-row access or influencer budgets. As a fresh voice in fashion, the challenge is not just visibility—it is validity. When luxury brands dominate every feed, every award show, every campaign, it becomes harder for young or homegrown designers to have their work seen as worthy—even when it is original, deeply crafted, and emotionally resonant. There is also a perception barrier: that luxury equals legacy, and that newness must prove itself through association. But what I have learned with Pomcha is that the truest connection often comes from the non-celebrity moment—a bride who wears your cotton-silk lehenga and feels like herself, a customer who messages saying, 'I have never felt more beautiful.' That is a different kind of red carpet. Of course, visibility matters. But so does vision. And I believe the future belongs to brands that can build loyal communities—not just viral moments. For emerging designers, the challenge is real—but so is the opportunity to rewrite what aspirational fashion looks and feels like. Fast fashion is attempting to reinvent itself through aesthetic rebranding rather than deep operational changes. What are your thoughts on this trend and its implications for the wider fashion ecosystem? Rebranding without responsibility is just surface-level storytelling. As a designer and co-founder of a homegrown brand that values slow processes, I see fast fashion's aesthetic pivot as a clever marketing move—but not a meaningful one. A warmer tone, a softer palette, or a heritage-inspired campaign can create the illusion of consciousness. But unless it is supported by ethical production, fair wages, and sustainable practices, it remains just that—an illusion. The danger here is dilution. When fast fashion borrows the visual language of slow, artisanal brands without embracing their values, it confuses the consumer and undermines the integrity of genuine craftsmanship. It makes handwork look like a 'trend' rather than a legacy. It commodifies culture instead of preserving it. At Pomcha, our approach is the opposite. Every piece is rooted in transparency—where it is made, who made it, how long it took. We are not chasing seasonal drops; we are creating pieces meant to be lived in, reworn, and remembered. This trend also signals something hopeful: that consumers are seeking more meaning from their clothes. But the onus is now on brands—not just to look slow and soulful, but to be it. And that is where true transformation begins. Delayed payments remain a major hurdle in the fashion industry, with many retailers extending payment terms significantly. How sustainable is this model for small and independent fashion businesses? Delayed payments are not just a cashflow issue—they are also a creative and emotional burden. For a small or independent fashion business, especially a homegrown brand like Pomcha, each collection represents an investment of time, fabric, labour, and love. When payments are delayed by months, it affects more than just operations—it stalls our growth, agility, and, most importantly, our morale. The unfortunate reality is that this model is fundamentally unsustainable. Large retailers may have the scale or preferred stock to buffer delays, but emerging designers—who strive to uphold artisan payment cycles, offer product sampling, maintain inventory, and plan future collections—cannot afford such elongated payment terms. This creates a ripple effect that impacts everyone from the tailor to the textile dyer. Meanwhile, the creative calendar does not slow down. There is constant pressure for newness, digital presence, and regular drops—yet the payment ecosystem lags far behind. Designers are expected to keep expanding their vision or risk fading into obscurity. If we truly care about supporting independent fashion, this is where it begins. Payment terms are not just a financial detail—they are a reflection of respect, ethics, and the kind of fashion culture we should be striving to build. Tariff fluctuations and trade barriers are increasingly shaping sourcing and pricing decisions. How do you see these developments impacting global fashion supply chains? Tariff shifts and trade barriers are no longer background noise—they are shaping the rhythm of fashion supply chains. As a homegrown brand that believes in mindful sourcing and pricing, we have seen firsthand how these changes ripple through even the most rooted operations. What used to be a creative decision—choosing a fabric for its texture or fall—is now increasingly influenced by access, affordability, and regulatory landscapes. Import duties on certain raw materials, shifting bilateral trade policies, or logistic constraints can delay production timelines and impact price points, especially for small to mid-sized labels like ours who do not operate at mass scale. But this evolving scenario also brings a silver lining: it pushes us to look inward, to rediscover the richness of our own supply ecosystem. At Pomcha, it has encouraged deeper collaborations with Indian weavers, printers, and local fabric suppliers. It has led us to explore alternatives like cosmos silk or glazed cotton not only for their beauty but also for their traceability and availability. In the long term, I believe these barriers will spark a more resilient, localised, and transparent supply chain culture. Fashion will be less about chasing margins across continents, and more about investing in meaningful, regional ecosystems. That is where true sustainability lies—not just in fabric, but in framework. AI-driven tools, such as those that scrape online consumer data for insights, are becoming more prevalent. What role do you think technology will play in shaping design and buying behaviour? Technology is no longer just a backend tool—it is becoming a quiet collaborator in how we design, connect, and create. AI-driven insights, especially those drawn from consumer behaviour, are undeniably powerful. They tell us what people are searching for, how they style pieces, and what colours resonate seasonally. But at Pomcha, we believe the key is not to let data dictate design—but to let it inform it. We are a brand built on emotion—on memory, nostalgia, and feeling. That cannot be measured by scrolls or clicks alone. What technology can do is offer context: what silhouettes are empowering women right now, what tones evoke joy, and what kind of craftsmanship people are gravitating towards. These insights can help us serve our community better, without losing the soul of our creative process. From a buying behaviour standpoint, I think AI will continue to push personalisation—predicting what customers want before they know it. But here too, I believe consumers will crave a balance. Yes, they want relevance and ease, but they also want surprise, story, and human touch. In the end, technology can spotlight patterns—but heart, history, and handmade detail will always shape what feels truly timeless. At Pomcha, we will continue to evolve thoughtfully, using technology as a guide—not a compass. DISCLAIMER: All views and opinions expressed in this column are solely of the interviewee, and they do not reflect in any way the opinion of
Fibre2Fashion
04-07-2025
- Business
- Fibre2Fashion
Ayesha Pervez The Hiranya
Our goal is to make craft part of daily wardrobes As fashion undergoes a shift towards sustainability and cultural consciousness, The Hiranya stands out as a quiet yet powerful voice in the Indian design landscape. Founded by Ayesha Parvez in April 2022 in the hill town of Kalimpong, the label derives its name from the Sanskrit word Hiranya, meaning 'made of gold'—a reflection of its commitment to excellence, integrity, and heritage. Blending traditional Indian textile crafts with contemporary silhouettes, The Hiranya creates pieces that are mindful, elegant, and deeply rooted in purpose. Beyond aesthetics, the brand's mission includes ethical sourcing, artisan empowerment, and initiatives like 'Wear One, Clothe One', which provides climate-appropriate clothing to underserved communities. In this interview with Fibre2Fashion, Ayesha Parvez shares insights into building a brand that honours both people and the planet. From reviving crafts like Jamdani and Khadi to embracing slow fashion principles and feminist storytelling, she opens up about the journey behind The Hiranya, the significance of collections like Meeras, and the challenges and responsibilities of being a sustainable fashion entrepreneur in today's India. With the rise of slow fashion, what strategies can emerging designers adopt to stand out while maintaining ethical standards and high quality? Focus on storytelling, traceability, and genuine craft. Instead of mass scaling, build strong micro-communities around your brand. Use social media not just to sell, but to educate. Authenticity resonates, and over time, becomes your greatest differentiator. How can Indian fashion brands better integrate traditional textile crafts into modern silhouettes while still appealing to a global audience? By designing from the fabric up, not the trend down. Let the textile speak, then tailor it with simplicity and function. Clean lines, comfortable fits, and versatile wearability make traditional crafts more accessible to global audiences without diluting their essence. What role do digital platforms and social media play in shaping narratives around conscious fashion today? They are crucial. Social media gives small, ethical brands a voice to tell stories, share processes, and connect directly with conscious consumers. Transparency has become a strength, not a burden, and platforms like Instagram and Threads are helping shape that shift. How do you see consumer awareness around sustainability evolving in the Indian fashion market, especially among younger shoppers? Young Indian shoppers are asking more questions about origins, impact, and transparency. While price still plays a role, there is a clear shift towards valuing stories and sustainability. With better access to information, we are seeing a more conscious and curious consumer base emerging. What are some of the biggest infrastructural or policy-level changes you feel are needed to support a more sustainable fashion ecosystem in India? Stronger support for artisan clusters, incentives for sustainable material sourcing, and improved waste management frameworks are essential. We also need clearer labelling and certification systems to help consumers make informed choices. Additionally, integrating sustainability education at the design school level can shift the industry's mindset towards long-term, responsible thinking. What inspired the founding of The Hiranya? What does the name 'Hiranya' represent for you, and how does it influence the brand's identity? The Hiranya was born from a desire to bring Indian textile craftsmanship into everyday, modern luxury. 'Hiranya' in Sanskrit means 'golden'—not just in material but in spirit. It reflects the quiet richness of our heritage and the inherent value of slow, thoughtful design. It influences everything we do, from our fabric choices to our design language and our deeper commitment to sustainability and community. What does responsible fashion mean to The Hiranya in both practical and philosophical terms? Practically, it means sourcing responsibly, designing mindfully, and avoiding excess. Philosophically, it is about creating with integrity—honouring people, process, and the planet. We believe fashion should feel good not just on the body, but also in its making. How does your initiative 'Wear One, Clothe One' operate, and what kind of impact has it had so far? For every garment sold, we contribute to stitching and distributing a garment to someone in need, often through NGOs or local networks. It is our way of ensuring that fashion can be an equaliser, not just an indulgence. The impact is tangible not just in clothing bodies, but in creating dignity and warmth. How do you approach blending India's traditional textile crafts with modern silhouettes for a global audience? We begin with the textile; understanding its strengths, limitations, and the stories it holds. Then we design silhouettes that are contemporary, comfortable, and relevant, without erasing the identity of the fabric. It is about respecting the past while responding to the lifestyle of today's global citizen—fluid, mobile, and mindful. How do you ensure that heritage crafts like Khadi, Jamdani, and handwoven linen remain relevant in contemporary fashion? By designing for today while honouring tradition. We interpret heritage textiles through a modern lens with cleaner cuts, purposeful tailoring, and versatile styling making them desirable for a younger, global audience. Our goal is to make craft part of daily wardrobes, not just occasion wear. Can you talk about the process of choosing materials and the importance of using natural fibres like pure linen, cotton, and silk? Natural fibres breathe, age gracefully, and decompose naturally, aligning with both comfort and sustainability. We choose materials based on climate relevance, tactile quality, and cultural grounding. Whether it is the crispness of Khadi or the softness of handwoven silk, every fabric has a reason to be there. Could you share how The Hiranya works directly with artisan clusters and the impact of those collaborations? We work closely with artisan clusters across West Bengal and parts of South India, sourcing directly and often co-developing textiles. These long-term relationships help preserve traditional skills while providing sustained income to the artisans. Many of our weavers have been with us since our inception—it has been a shared journey of growth, mutual learning, and respect. What are some of the challenges you face while maintaining sustainability and ethical standards in fashion? Balancing price points while working with ethical practices is a constant challenge, especially when fast fashion dominates. Logistics, low-volume artisan supply chains, and limited policy support also add friction. But we have learned to innovate within these constraints and grow mindfully. What makes the 'Meeras' collection special and what was the thought process behind its creation? Meeras means 'inheritance', and this collection is a tribute to what we inherit in craft, in culture, and in rhythm. It was created with the idea of dressing for every summer moment: sunlit travel, casual brunches, twilight gatherings using textiles that are breathable, luxurious, and rooted in heritage. Each fabric was chosen for how it feels against the skin and how it moves with you. What future projects or collections are you excited about at The Hiranya? We are deeply excited about our upcoming collection, Bougainvillea in the Dark. It is a handwoven manifesto combining raw, textural linens with poetic embroidery and feminist expression. Inspired by the resilience of bougainvillea blooms and the voices of feminist thinkers, the collection explores strength, softness, and subtle rebellion. Each garment pairs deep, grounding tones like forest green, French blue, and burnt amber with intricately embroidered bougainvillea vines and quotes by icons like Maya Angelou and Amrita Pritam. These elements are not ornamental, but they are intentional. They speak to the lived experience of women who carry their stories quietly but powerfully. DISCLAIMER: All views and opinions expressed in this column are solely of the interviewee, and they do not reflect in any way the opinion of
