Tag: interview

A stitch in time

A stitch in time

Crafting stories around everyday moments

Embroidery is an intricate art form that is both strenuous and elegant. Its early origins go way back to prehistoric times, and despite being an age-old tradition, it has quickly become an integral part of the contemporary world. Many artists around the world have found a way to express themselves through this art form. One among those artists is Anuradha Bhaumick, who channels her love and appreciation for everyday moments into her work, and weaves little joys of life in colourful creations. At IKKIVI Zine, we spoke to her about her love for embroidery, her approach toward her projects, the different perceptions people have toward this art, the role of sustainability in her creations, and more.

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We deeply admire your beautiful and intricate work. We would love to know how your journey as an embroidery artist began and what was your inspiration behind pursuing the art form.  

I was taught embroidery at the age of five by my mother. I had chickenpox and was a hyperactive kid, which is a daunting combination, especially for the guardian responsible for isolating the child. I would wait for playtime every evening. My mom did not know how to quarantine me and did what she knew best. She gave me a handkerchief and taught me running stitch, chain stitch, and lazy daisy. Little did she know that she would have to spend the next three weeks trying to wean me off of it. I had forgotten about playtime even though I had recovered fully. I found a different kind of joy in embroidery. But my mom eventually did manage to make me go out. Between swimming lessons and growing up, embroidery took a backseat for me. However, I always had embroidery stuck in the back of my head. My mother’s Kantha sarees and her salvaging old sofa upholstery, raggedy pieces of denim, and faded school uniforms into unique jackets and other types of clothing really inspired me. I pursued fashion design for my bachelor’s and once again was reunited with my love for embroidery in the course material. But between having design jobs where the design direction is set in stone by international fashion forecasting agencies, I never really got to fully explore embroidery. By November 2019, I gave my resignation and started pursuing embroidery full-time.

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Most of your work portrays everyday life in a myriad of colours and details. What made you want to make this your signature style? 

I find myself drawn to people living their best lives in their own safe spaces. Seeing people blossom without fear and gnawing worry of validation and criticism makes my heart twinkle. I admire and respect this feeling and want to shield it in any way I can. All my embroideries are mood boards for me. Everything I make, I aspire to be. As for colours, I draw inspiration from my garden I have grown from the ground up. The flowers, leaves, and fruits that grow in Olive’s garden are my inspiration, named after my pug, Olive. We were recommended this book called Colour Harmony when we were in design school. My mom bought it for me and reminded me repeatedly to milk every inch of it as it was pretty expensive. I only brushed through it once and felt like if you have to assign rules to colours, it steals the joy of it. Colours should represent current emotions, nostalgia, and what we want from the future. Not what someone else says is correct. That’s the wrong use of colour. And that’s pretty much my colour theory.

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Could you tell us what your creative process looks like and how much time it takes to create the lovely embroideries for your clientele?

My creative process is a lot of notes on the Keep App, segregating bunches of different colours of thread together (adding and reworking my colours), mental sketches, and handwritten notes in my diary. I don’t make rough sketches. I have only made it thrice on request for clients, and it’s not something I enjoy. Once I have made up my mind, I go straight for the kill or the muslin, to be more precise. I draw with a black ball pen on muslin. And I draw with a washable marker for the parts I’m unsure about. But I only draw portions of my artwork. I always begin with the main subjects, such as people, their four-legged family members, furniture, sentimental objects, plants, and other items. I build as I go as my work is very intuitive. I can’t stick to one sketch. Even I can’t predict how my artwork will turn out until the very last hour. It takes me anywhere between 20 – 150 hours to create my pieces. The time is dependent on many factors, such as the number of details, intricacy required, type of stitch, number of colours, the number of times I would need to thread my needle depending on these variables, the size of my canvas if I need to paint or appliqué.

Is there any artwork that is special to you, and if so, can you tell us about the story behind it? 

All of my artwork is precious to me, but my ongoing series ‘Comfort Collages’ is appliquéd with fabrics that people have sent me from all over the world. Some fabrics belong to a mother who passed away. I am humbled by this kind of blind trust, when people give me their heirlooms. After all, who said fabric isn’t an heirloom? To say I am grateful would still not be enough. These acts of kindness remind me I am on the right path.

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Your embroideries have made it all across the world. How is your artwork perceived in India and abroad? Is there a difference between the two spaces?

There is a huge difference in my audience in India and the rest of the world. Here, to bluntly put it, embroidery is looked down on. A lot of it is rooted in misogyny and misinformation. In India, embroidery, knitting, and fibre arts are perceived as women’s work and a sign of subservience. This is preposterous because the origins of embroidery have been recorded since BC and have been used by women to record history, reinforce clothing from royal robes to the armour of warriors, and even in acts of resistance by the women of Palestine through the Tatreez. These are just a few examples I can think of at the top of my head. If one would take the time to dive deep, one would know the history of embroidery is a story founded on empowerment, emancipation, and an essential life skill. People are so used to seeing the people in their homes do needlework, knitting, and crochet as unpaid labour that they equate it to busywork. Embroidery, knitting, and all kinds of fibre arts we so often see in India require expensive tools, fabric, and other supplies. It is a beautiful art form that needs to be held with respect and power. I want to see this change in real time in India. Not only for me or my contemporaries but for all the people working in ateliers, in the corner tailor shops, in homes, everywhere.

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How does sustainability play a role in your projects? Are there any particular fabrics or materials you use to encourage the same? 

Sustainability is the core value of my practice. 99% of the fabrics I use for appliqué are from my mother’s kurtas. Why her kurtas, you must wonder. Because she is 4’11”, and store-bought kurtas never fit her. I have been collecting these residual fabrics for years from her tailor, post alterations. All the fabric you see in my art is from her kurtas. I have everything I need, from Jaipuri Indigo cotton to Thai silks and ikats, all from my own house. Over the past 2 years and a half of my existence on social media, I have been receiving bags of heirloom fabrics from all over the world and even deadstock fabrics from fashion brands. I am thrilled to receive these and figure out how they shape my art in the future and currently through my collection called ‘Comfort Collages’. Besides that, I believe all objects have a life of their own. Objects are treasure troves of memories, hurt, pain, nostalgia, romance, and a thousand more emotions to travel back in time. This belief dictates my work and life, and I only spend on what I know I will not be able to discard. In my opinion, Toy Story is not an urban legend but a documentary. Call me silly, but I love the things I own, and they are irreplaceable.

What advice would you like to give aspiring artists from your experience? And tell us about your plans for the future, as we are very excited to know more and support them.

From my experience, I would like to say experiment, don’t try to be neat, be messy, and emote! It is the advice I am giving to myself. I hope it’s good enough for someone else too. And most importantly, price your work well!

And I will be participating in exhibitions next year. I am dreaming up many silly embroidery dreams in my head, and if I make them, it will be mind-boggling. Unconventional embroidery placements are time-consuming, maybe which is why I am still procrastinating. If I make them, I will be very happy, and it will be a new chapter in my embroidery life or LIFE!

CREDITS

THE ART OF UPCYCLING

THE ART OF UPCYCLING

From scraps to style statement 

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Upcycling is a way to transform old worn-out pieces into something new. The damaged clothes, scraps, or waste fabrics could easily be repurposed as your next wardrobe staple. It is an inventive process that significantly reduces the adverse effects of waste production and the constant demand for new clothes if done on a large scale. To get an insight into the art of upcycling clothes, we spoke with Kanika Jain, the founder and creative head of our label Kanelle, about her journey in the sustainable fashion space, the philosophy behind her work, and the brand’s one-of-a-kind upcycled collection ‘Scrap to Rack’.

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When and how did you decide to set up a sustainable fashion label? 

A few years into the business, we decided to pivot towards sustainability and adopt new practices. It led us to start a new journey towards being a more eco-conscious brand. The sole reason was to be a responsible business considering that truly is the need of the hour and of the future since fashion is one of the major industries that exploit the environment, and we wanted to be wise about the carbon footprint our business leaves behind.

What is your philosophy behind Kanelle? 

Kanelle is an easy-to-wear fashion label created for the free-spirited woman of today. With the use of handcrafted indigenous textiles, Kanelle embraces wardrobe staples that are luxurious and feminine while being unique and wearable.

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We would love to know about your new collection ‘Scrap to Rack’, your motivation behind it, and how you think it will bring a change in the sustainable fashion space. 

The Scrap-To-Rack collection arose from the rising need to induce the drive of sustainability and dazzle it with the creative and free spirit of Kanelle. The sole reason to have this edit as a constant over the years is only to repurpose the waste, as we call it, that the production process leaves behind. We make sure to use the surplus, small scraps, or sometimes even unsold stock to reuse and create the collection and repurpose the materials that are left behind. I feel if all businesses think in such a manner, then there would be no need to keep utilising additional materials. All things will be in use fully, leading to lesser waste.

Where do you source waste materials or scraps to create clothes? What are the fabrics that you usually enjoy working with?

All our materials for scrap to rack collection come from our production waste which at times are smaller scraps or surplus materials left over from previous collections. We enjoy working with cotton, linens, silk blends, sustainable viscose, etc.

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How easy or complicated is the art of upcycling? What are the challenges that come with this method of creation? 

According to me, the art of upcycling is complicated but in a beautiful way. It is the most challenging collection that we create out of all others we work on because there are limited possibilities that we have to work with. The major challenges that we face while working on the collection are with respect to material availability and the type of design we can create out of that, and deciding what size that can be made into. Since we cater to many sizes, we can’t just create specific types of sizes, so we have to make sure we are fully size inclusive across the collections in various styles.

How have people responded to your brand’s upcycled collection? 

The collection is very well received by our customers, as they truly appreciate the story, effort, and design behind it.

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How does the label keep up with the ever-changing fashion industry? Is this something you take into consideration when designing your new collections?

Yes, absolutely! Any business must keep evolving with the changing times and try multiple things in their working and design process while maintaining its signature and sensibilities as a brand. If you don’t cater to the need of the hour, then things start to be more challenging.

Can you share with us any other plans or initiatives Kanelle would like to pursue in the future? 

As I mentioned above, there are many things we keep trying as a business and try to become ever-evolving to have a fresh perspective with such changing times. We have started collaborating with other brands, and I am sure in the future, you will see many more collaborations coming from Kanelle.

CREDITS

MARIA TOP
SARA BLOUSE
FIONA SOLID DRESS
EVELYN EMBROIDERED TOP
MARGO BLUE SOLID DRESS
EVELYN ABSTRACT CO-ORD

The making of timeless fashion

The making of timeless fashion

A look into the intricacies of minimal and versatile silhouettes

Garments made using quality materials go a long way in protecting us and our environment from harm. Timeless and mindful fashion is the way forward as a sustainable practice, unlike fast fashion that eventually ends up in landfills. At IKKIVI Zine, we had an inspiring conversation with our designer Khyati Pande, founder of Itr by Khyati Pande, about her journey of building a sustainable brand and the creative process of making timeless apparel, and the challenges faced in the process.

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How did your journey of creating conscious fashion begin? 

The creative seed was genetic. As an introvert, visuals have always been my first language of communication. From summer holidays spent witnessing my grandmother draped in crisp Jamdani sarees, hand embroidering and home stitching home linens to inheriting my mother’s collection of timeless handloom silks and Banarasi fabrics, textiles have always been my point of fascination. These led to me pursuing my graduation from NIFT Mumbai and my master’s from NID Ahmedabad.

 

What does your everyday production process look like, and how does the label master its timeless style? 

My design process is very organic. The starting point is always the textiles. With every new collection, we try to add a weave, cluster, or hand skill to the brand design vocabulary. These are shaped into timeless silhouettes, finished with finer details that don’t superimpose the human effort that has gone into handcrafting that piece of textile. These textiles are the basic building blocks of every collection. As a made-to-order brand, the production capacity is increased based on the organically growing demand. It has been slow but sustainable and stable growth, which doesn’t lead to overproducing or piles of dead stock.

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How do you find and translate the phrase ‘comfort in chaos’ in making mindful apparel? 

Itr is not a trend or season-specific brand. The idea is to craft stories because stories are timeless and transeasonal as they bring a sense of comfort and ease, just like our clothing.

The three top areas of our minimal and handcrafted essentials lie in:

Comfort: It should bring effortless ease to the wearer, whether the setting is home or work.

Textiles: The silhouette is designed keeping in mind the nature and character of that piece of fabric. To be mindful of resources, embrace the simplicity that doesn’t overshadow the skill and effort in crafting that one piece.

Functionality and Utility: The garment should have the ability to adapt according to the occasion, space, or time zones.

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Can you tell us about the artisans you work with and how they have helped shape your vision of sustainability for your brand? 

Every year we try to add a new craft cluster on board. Working with artisans comes with its own set of challenges, which is why I visit the cluster in person to understand the resources and scope of their skill set better. We usually begin with a small pilot sampling which helps build a rapport with the artisans and an understanding of the timelines.

Today we are working with three different clusters. 80% of the textiles we use at Itr are woven on handlooms, hand block printed, and hand embroidered. So far, we have been working with extremely fine and lightweight Bengal khadi muslins, airy Katan silks from Benaras, coarser cotton from Karnataka, and block prints from Rajasthan.

Whether it’s the hands involved at every step in making the brand or the women who have consistently made us a part of their wardrobe, it also matured us to be more compassionate towards each individual. As we grow slowly and mindfully, I hope we support more craft communities and reach out to more wardrobes.

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What are the challenges you face in the process?

Itr started in 2014 without any blueprint. With a small budget in a room on the roof of my home with a team of two. Today we have grown into a cosy studio with a small but ever-growing in-house team of 15.Coming from a nonbusiness background, whether it was restricted capital or human resource, the brand has organically bloomed and learned to be self-sustained within the limitations. The humble beginnings taught me to be mindful, to have an immense amount of patience and empathy, and to be compassionate not just to the people who help us build our basics but also towards the people who have constantly made us a part of their wardrobes.

The brand has purely grown through word of mouth and positive consumer experience. It perhaps helped the brand hold its foundation even in current times.

What does the future of the label look like, and what would you like the future of fashion to look like? 

Time is the true luxury now. To slow down is the need of the hour in every aspect, not just fashion alone. It is a conscious choice to grow towards being a mindful brand. To be sustainable in any field of work can’t be achieved in a day, it needs to be an everyday practice.

While it is often perceived that slow or sustainable comes with a heavy price tag, the cost is always a crucial point in conscious fashion. It is, however, never disproportionate to the time and effort that has gone into making that garment.

As a designer, I also believe that it is important to make handwoven handcrafted luxury more accessible. To truly bring change, it needs to be relatable to more people.

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What is your process to design a collection? How has it changed over the years, if so? 

Being a small brand built from scratch, one has a lot of emotions invested in everything you make. Every collection I have done has taught me something new, either about the trade itself or life.

What advice would you give to a young brand starting out in the sustainability space? And what is something you wish you knew before embarking on this journey as a designer? 

It requires never-ending patience and being honest to yourself and the people you work with.

There is no rule book or defined method for building a brand/business. We all have our own unique journeys.

SCILLA SHIFT DRESS
LILAC WRAP DRESS
LAVENDER TIERED MAXI
POPPY PAPERBAG PANTS
ORCHID SUMMER TOP
PANSY PEASANT SKIRT

CREDITS

How ‘Fast’ Can We ‘Slow’ Down?

How ‘Fast’ Can We ‘Slow’ Down?

A Glance Into the Problematics of Change

With slow fashion trying to change the dynamics of the fashion business, our designer Neha Kabra from our sustainable brand Maati by Neha Kabra, speaks about the contradictions the trailblazers of the ‘slow’ industry are recurrently met with in the face of the insatiable demands of fast production and consumption.

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What does a fashion revolution mean to you, and how does that play a role in the way the brand keeps evolving?

A fashion revolution is where we address the real problems, the core matters, and not just use it as a fad word or keep it as a trend. It’s where we talk about the raw material problem and the landfill problem, and how to tackle it.

What are some of the problems that you’ve seen come up in these everyday processes of sustainability?

Each process has its own problems. And when we talk about slow fashion, when we talk about sustainable brands,churning four or five collections, a year is practically not possible. I mean, there’s nothing slow about it. And in fashion, I think each process, say even if the fabrics are produced, the weavers I work with, it takes nearly two months to produce 50 meters of fabric.

One loom only produces around 12 meters of fabric in one go. And that takes nearly a good one month. So there are multiple looms working to do that and if the fabric only takes two months to come and then the actual production takes place. So it has its own timeline and the constant need in fashion to have something “new” constantly has unfortunately become a cultural practice. That we see something and we want it and to produce that design immediately is something beyond my imagination as production takes such a long time. And to bring that change I think is more of a challenge at the moment. Yes, people are aware about sustainability, people are aware about the story and where it’s coming from, but still, constantly wanting something new is a very, very big challenge.

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 Do you feel that that’s a change that might be coming soon? Or do you feel that it’s gonna be a really slow shift where we’re actually able to become accustomed to or understand that we need to consume more mindfully? That it’s not just that production needs to be slower, but the rate of consumption needs to be slower.

I don’t want to sound pessimistic but sometimes pessimism is what supports us to reaching toward that goal. But I do feel it’s far away for everybody right now. By the end of it, everybody looks for business. For everybody, it’s easier to produce at a larger scale  money wise. They say it’s easier to produce 50 pieces in one design than producing one of 50 new designs. And the constant need of needing new, new, new – how do you let that go completely? The culture we are living in is a very fast culture. So it’s not only fast fashion, but fast lives we are living in. With the social media impact, I’m not saying it’s all bad, always, but by now in our culture, there’s so many other brands which are even expediting fast fashion. Even if you want to reverse the phenomena, there are a lot of brands on the opposite side. So while we are actually running into the direction of slow fashion, there is also a lot of expedited fast fashion. I don’t see it happening, fast, but I’m hoping that the change will come because this is exactly like when I started – people were not aware about what sustainable fashion is. Especially in India, I think four or five years down before the word was just becoming a trend. But now I think most people, after having been affected by Covid – 19 are much, much more aware about it. People have become wiser on their spending. They’re not just buying for the sake of it. So I think change will come. It’s taking its own sweet time, but it will come, it has to.

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When you’re exploring new fabrics or materials, what kind of input do you get from the artisans? Do they often already know about it or are they also exploring them with you? 

It’s both. So when there was a fabric like bamboo, there was still awareness that the fabric is being made. We get the samples, we all touch, feel, see what works for us, what doesn’t work for us. But in bamboo there are so many weaves that are coming in. And when we get those and when we all sit together that’s what amazes them and where we all explore together.

They sometimes really can’t believe that our world has so much technology that is a boon. That’s what strikes them. They feel that this is going to be for the better. And at the same time, it’s slightly worrisome for them too because they are concerned that if people will shift to different styles given the state of fast fashion. There are pros and cons of both. But you have to constantly tell them that “no, (y)our practice is completely different”. You still have to make them [artisans] believe that what you are doing is absolutely fine because they’re growing everything organically. For example, kala cotton is a wild cotton grown naturally without any pesticides and insecticides. So you have to constantly assure them that what you are doing, your process is good and it’s not going to go anywhere. But of course, they (and all of us) do have to accept some of the changes we see coming in fashion – whether for better or worse.

CREDITS

For the Love of Fabrics

For the Love of Fabrics

Telling Tales of Threads

High quality materials and craftsmanship are the cornerstone of all our brands. At IKKIVI Zine, we spoke with Aarushi Kilawat, Founder and Creative Head of The Loom Art about her deep connections to fabrics, what a revolution means for her, and how she believes we can cooperate in the face of competition.

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What does a fashion revolution mean for you and The Loom Art?

A fashion revolution is a larger word with a lot of weight. From when we started to where we are now, we have mellowed down with the word and how we use it – sometimes a revolution doesn’t have to be put out in such big letters. As people, our own journey with a fashion revolution is one where we are trying to understand what it means in which context. But for us at The Loom Art, what a fashion revolution really means is that we need to keep re-doing ourselves and the ideologies we have been working on. What we see is that post the pandemic, people are more aware of slow fashion and slow living, and how we can sustain ourselves with bare necessities. Our challenge now is to see how long we can sustain that lifestyle.

None of us can always do the right thing in every direction, and so with a fashion revolution, it’s important for us to find our own direction. For The Loom Art it’s about people who work with us. I am someone who loves being involved with my people, not just professionally but also emotionally. The whole essence of people who work at the ground level – our artisans – are our backbone. It’s about being able to offer them a livelihood, and encourage their younger generations and communities to pursue careers and be part of this craft.

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Have you been working with the same artisans for the last 5 years?

Yes, the team I started with is still with me. We’ve grown ofcourse. And we’ve all been very emotionally involved in the growth of the team. There’s a different high to that altogether – we’ve gone from a team of 3 to 25 now. And all of them know what we (The Loom Art) are about, even though they weren’t all from the same background when we started.

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What are the fabrics you work with and why do you choose them?

Until 3 years ago, we primarily used only khadi as it is a fabric that can last a lifetime. Now we’ve expanded our range, but only to include other handwoven fabrics. Along with khadi, we now do a variety of silks and linen. I love to hold and smell the fabric and I love how India is so rich in craft. Each of these fabrics has a tremendous amount of potential to be made into different silhouettes, and with each, the pieces would still be gorgeous.The fall, the texture, everything comes through with these fabrics. I also choose to work with them as the garments made from these fabrics are exceptionally durable and each piece of clothing can be passed on from generation to generation. I like the feeling that it travels a journey and passes on to another person, to have another story.

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There is a general notion that sustainable businesses should stay or be small; that when they scale up too much it becomes harder to maintain sustainable practices. Do you think there is some truth to this idea?

Yes, but not completely. You need to be able to follow certain practices and maintain quality over and above everything. You never want to lose our essence due to the pressures of quantity, and if you get too wrapped up with the numbers game, you might lose your ground. The middle ground is always there where you can do your thing, offer it to others at a growing scale domestically and internationally, and still stay sustainable. That middle ground is key.

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Customers and consumers were limited to shopping online during the pandemic. We consequently see a lot of competition for attention in the digital space for lower price points from customers over what may be sustainable. Does this ever have an impact on your work?

Yes, sometimes there is a fight for attention. But what we are trying to do is create a conscious community, not force anyone to do something. Keeping up with trends works for some people, and that’s okay. There are people who love what we do at The Loom Art as well as in sustainable fashion, and want to know more. Those are the people we want to work for and are working for. People have lost the idea of touching and feeling and knowing the garment and understanding why it costs what it costs, especially when made ethically. It becomes a challenge and I have also struggled with it. But we have been able to create a valuable section of consumers who know what we are, see our brand value and support our work. For them and for us, it’s not just about sales. It is about having  a conversation and narrating your story, as well as building a community through physical interaction. What I think is most important to understand is what you do and why you do it.

CREDITS

ROUGE CORAL DRESS
HOLLOW MOON CHOKER NECKLACE
ICY RUST
SUMMER BLOOM
ROSE PUNCH
GALAXY CHOKER NECKLACE

Creating Honest Change Through our Individual Paths

Creating Honest Change Through our Individual Paths

Why Being Who We Are Matters

Our sustainable brand Ahmev started out in 2019, unaware of the pandemic that was to strike us all. Finding their ground in the midst of uncountable challenges, they’ve carved a unique place for themselves as an ethical fashion brand in the last couple of years. We, at IKKIVI, spoke with co-founders Kanchan Sharma and Manish Garg about what revolutionizing the fashion system looks like, issues that small ‘sustainable’ brands face, why standing our ground and following our hearts matters, why they work the way they do, and the many things they are exploring.

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What does a fashion revolution mean to you?

Kanchan: The fashion industry has played a major role in impacting the environment. In the world of fashion, everyone has done their part – they’ve shown the different meanings and definitions of sustainability and slow fashion. We have too. We recycle and make different things from scraps as well as waste material. However, an important part of what a fashion revolution means to me is showcasing Indian heritage and supporting different artisans by being personally involved in each part of the process. Whenever I create a collection, I personally involve myself by connecting deeply with the inspiration of every collection, working with organic fabrics, supporting women and karigars, and amalgamating modern and Indian sensibilities together. This makes a big difference for us, and being able to now have an international presence is a milestone for us. We only aim to go upward and impact more lives through our work.

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What is a challenge that you see conscious fashion brands are likely to experience over the next decade?

Kanchan: People have attached sustainability with restrictions too. Nearly everyone requires certifications that are expensive and processes that are long, and are not clearly marked or very straightforward. We ourselves have had to change our terminologies and how we speak about a fabric because they are patented. An example of this is khadi.

Manish: For small businesses that are actually sustainable and committed to doing more, this presents quite an issue right now, as this is not a one off case for when you are establishing your brand’s name and its credibility. Whenever you want to apply for B2B or competitions, certifications have become a preliminary requirement.  Each country has their own certifications, and they don’t always connect across the world as there aren’t always standardized guidelines. We think this is a large challenge that we expect conscious businesses will continue to face in the coming years and will have to find ways to overcome.

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How has the last year been for Ahmev as a brand? 

Kanchan: We started Ahmev in 2019, and I was never a dreamer. Manish pushed me to pursue my dreams and showed me what I can do, and having worked on them consistently, we are glad that the last year has been a very successful one for us. I have enjoyed the process – working with the karigars and my business partners Manish and Anchal. Our karigars are growing, and with them, our brand. We’ve been partaking in the making of each garment ourselves, and being involved in the small everyday practices has been so therapeutic. That’s really been the beauty of our enterprise being a start up.

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The color white has been so important to you and to your brand Ahmev. How has your relationship with the color developed in these years, and how do you feel about adding other colors to your collections? 

Kanchan: I still face the issue of people asking me to make the same design in a different color. Even Manish used to suggest that we should make our garments in other colors if there is a demand for it. But people have come to accept it, and so has our team, as this is our brand’s USP. I have never used color, and I have even been afraid of them. Over time, I have been coming to understand color a little more and really worked on it with this new collection. But white is still our trademark, and we want to see that forward.

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We’d love to know of some of the new things you’ve been doing at Ahmev

Kanchan: We’ve been doing more capsule collections as our customers enjoy them a lot. We’ve also been experimenting with menswear and doing trials on Manish!

Manish: I too have been exploring myself more through this, and hand painting some of our clothes with Anchal and Kanchan. In fact, I think I’m now becoming quicker at it than them!

CREDITS

ELIZA CROP JACKET
ELIZABETH SHEER PLEATED DRESS
MARIANNA MANDARIN SHIRT
JULIA NOODLE STRAP TOP
CHARLOTTE YOKE DRESS
CATHERINE SHEER ANGRAKHA
+ HANDPAINTED SLIP

With Team IKKIVI

With Team IKKIVI

Conversations on Who We are Becoming Together

This last year we’ve been pleasantly surprised to see how alike yet different we all are at IKKIVI. Not only through our commitment to making fashion more sustainable and living intentionally but also in exploring what a conscious lifestyle means and looks for us, eating together and discussing the dynamics of the human condition, we’ve become a close knit family. This week, we sat with each other to understand the impact working at a slow business has had on us, the personal values that mould the way we want to work, share some funnies, and learn about where we are heading as a team.

NIVI MURTHY

1. Has this been your first time being with a small business? What about this experience has been distinctive for you?

Prior to IKKIVI, I had started a fashion data analytics platform to support designers with data to help them with the problem of overstock. We are now slowly integrating the ideas we had in the previous business with IKKIVI in order to further support the 50+ designers we have on board at IKKIVI. Building and growing a passionate team has been very rewarding and I am excited for all that we plan on doing together.

2. During the pandemic, we were all working from home for over a quarter of the year. In what ways did this change re-shape your style of working? 

Working from home initially was a challenge for me along with the uncertainty of the situation we were all in. Other than the initial few weeks, I don’t think it really changed my style of working. With a family and a dog living in close quarters of each other it sometimes was a challenge to set boundaries between personal and professional time but as time progressed and we were expected to do it for longer I was able to get into some sort of a rhythm.

3. What is an advice you received about work ethic that has stayed with you?

Timeliness.

4. What do you love to do together with the team?

We’re all at different ages in our lives with different experiences and perspectives and I love having conversations with each one to understand how they think and where they’re coming from.

5. A personal value that informs your work at IKKIVI?

Kindness. A value that truly describes what we do at IKKIVI, encouraging kindness to the environment and its people. It is also a value that is part of the culture at IKKIVI, in interaction within our team and stakeholders.

6. The silliest person in the team, in your view?

Malini 🙂 Her personality and perspective never fails to amuse us all!

7. What are some skills or values you have learnt from each other that are now important to you?

The biggest learning I have had is to give ideas time, sit with it and then make a plan to achieve it. There always seems to be a million ideas but the key is to really focus on prioritizing, planning and executing to actually move forward.

8. Can you tell us about a project you are excited to work on over the next few months?

I am excited for us to start offline pop ups again in 2022! I am also thrilled with the response we’ve had with our Podcast on mindful living and excited to make a larger impact with it over the next months and years.

RHEA GUPTE

1. Has this been your first time being with a small business? What about this experience has been distinctive for you?

Over time I have worked with several different small businesses in varying capacities but IKKIVI is the one I have worked on for the longest duration (almost four years!) It has shown me the importance of long term commitment and the impact it can have in affecting change. When we began, slow fashion was something very few people knew of. With time, our audience has grown with us in numbers and well as in information, which allows us to delve deeper into addressing issues of consumerism and the systemic problems in the fashion industry.

2. During the pandemic, we were all working from home for over a quarter of the year. In what ways did this change re-shape your style of working? 

Being a freelancer all my life, I have always worked from home, so it didn’t impact my work habits-wise. However, the political climate in India before and during the pandemic has been heartbreaking to deal with and taught me to fortify myself, get involved in things I could be a part of and trust the power of community.

3. What is an advice you received about work ethic that has stayed with you?

This is something I have cultivated on my own and swear by, be honest about deadlines and have clear, honest communication with the people you work with.

4. What do you love to do together with the team?

Since we put the team together during the pandemic, I have been staying in touch over video calls, which have already allowed me to get to know everybody a little bit. But, I’d love to meet everybody on the team in person in the near future.

5. A personal value that informs your work at IKKIVI?

Our commitment to re-imagining a future for fashion and consumption which is rooted in supporting small business, ethical practices and a mindful, reflective way of living.

6. The silliest person in the team, in your view?

I know Nivi the best in the team since we have worked together for so long, so I feel honoured to have developed a genuine friendship to the point that we are both extremely comfortable being silly in each other’s company.

7. What are some skills or values you have learnt from each other that are now important to you?

Having worked with a few different startups and in a bunch of team structures, I have learnt how to give productive and clear feedback, how to think of the growth of the people I work with and how to creatively problem solve and at times accept limitations that come with a small team.

8. Can you tell us about a project you are excited to work on over the next few months?

I am excited to put together our invitations and press packages for our upcoming pop ups, it is going to be very ‘IKKIVI’ in its essence, slow and mindful, and I hope people enjoy them as much as we are enjoying planning them.

VEDHIKA HV

1. Has this been your first time being with a small business? What about this experience has been distinctive for you?

I have worked with startups before but my experience with IKKIVI has been unparalleled. I love the environment and work ethic. I appreciate that we plan things well in advance and are able to be flexible with our schedule as long as our work gets done within the planned timelines. We are clear about our responsibilities and able to collaborate with ease.

2. During the pandemic, we were all working from home for over a quarter of the year. In what ways did this change re-shape your style of working? 

Since I worked as a freelancer for a while before I joined IKKIVI, I was quite accustomed to the idea of working from home. I had a separate room, at home, as a dedicated work space which helped a lot. In fact, I had gotten so used to working from home that the idea of coming back to the office was terrifying and took me a while to figure out. Now that I have found my rhythm with it I enjoy working from the office and having my work and rest spaces be completely separate.

3. What is an advice you received about work ethic that has stayed with you?

A piece of advice that I received from my father has always stayed with me – He said that no amount of talent, skill or intelligence would matter if I couldn’t be a loyal, dedicated and reliable worker. People work with people they can trust so being honest would take me a long way and that has helped me along my journey.

4. What do you love to do together with the team?

Since it’s only been a few months of us coming together as a team it’s always fun to talk and get to know each other better  . We share stories and our different perspectives on topics and we always end up having a good laugh.

5. A personal value that informs your work at IKKIVI?

Honesty. It is one of my core values and it informs almost all of my choices. I try my best to be true to myself and honest with the work that I do. The environment also plays a big part in helping me stay aligned with this value. My colleagues support my honest expression and I’m very grateful for it.

6. The silliest person in the team, in your view?

I’m afraid I might be the silliest one in the team!! But, if I had to pick another person it would be Esha. She has the funniest stories and the most bizarre experiences to share with us.

7. What are some skills or values you have learnt from each other that are now important to you?

There is so much that I am learning, consciously and subconsciously from everyone on the team but one thing that I’m actively learning and practicing is managing my time and organizing my tasks better. Other than that, I’m also learning not to dwell on things that don’t work out the way we envisioned them to. I’m able to move on more swiftly to making improvements or to testing out new ideas.

8. Can you tell us about a project you are excited to work on over the next few months?

We are approaching the new year with so many new ideas and truly, I am excited about all of them but if I had to pick one it would be the monthly shops that will be curated by different influencers on our website. I’m really excited to work with different creators and see what they put together!

ESHA VISHNOI

1. Has this been your first time being with a small business? What about this experience has been distinctive for you?

Yes, this is my first time working with a small business and I truly enjoy how inclusive the environment is. We have the freedom to ideate, tweak things based on our instincts, there is room to make mistakes and learn at every step while we move forward with the business.

2. During the pandemic, we were all working from home for over a quarter of the year. In what ways did this change re-shape your style of working? 

It was my first time working from home and although work from home comes with its comfort and advantage, I really enjoy working in the office. There are innumerable miscellaneous tasks that get completed while we are in the office which adds a lot of value to the business overall and I feel this would not have been possible otherwise.

3. What is an advice you received about work ethic that has stayed with you?

One thing I’ve picked up myself by observing the people I look up to is, always communicating!! Communication goes a long way.

4. What do you love to do together with the team?

The first thing which comes to my mind, to my surprise, is our monthly meetings. I guess I love our meetings because we come together and help each other plan and organise our tasks. For me it’s fun to know how each one of us is so different with respect to the style of working but at the end our goals align perfectly.

5. A personal value that informs your work at IKKIVI?

Integrity.

6. The silliest person in the team, in your view?

Malini & Vedhika. :p I honestly don’t have a specific reason to support my answer because I just enjoy my time at work when I’m around these two. Just a small conversation lights up my mood and we always end up having a fun time together. 🙂

7. What are some skills or values you have learnt from each other that are now important to you?

One thing I’ve learned from everyone in the team is how to organize my work to have a good work – life balance. This is one thing I’ve always struggled with for the longest time but I feel I’m getting better by the day and I have no one to thank for it but my team.

8. Can you tell us about a project you are excited to work on over the next few months?

I am super excited about our Pop-Up!! This would be my first time handling an offline event which makes it even more special for me. We would love to see you guys at our Pop-Up so please do drop by and say Hi to us.

MALINI MATHUR

1. Has this been your first time being with a small business? What about this experience has been distinctive for you?

Yes, this is my first time working with a small business. Something that has been distinctive for me about this experience is working with a close knit team and multiple people on a single project and the collaborative ethos that we have here. I’ve mostly worked independently before, and I love being able to see the range of beautiful things we can create when working together.

2. During the pandemic, we were all working from home for over a quarter of the year. In what ways did this change re-shape your style of working? 

I really struggled with time management, for months on end. A couple of weeks into working together, we all had to work from home. I was still trying to understand the nature of the work as well as know my colleagues a bit and everything felt a little scary as I didn’t know where to start. After rushing to meet timelines multiple times (and failing frequently) at the start, things (organically) began to synthesise and I was able to visualise how I can work in a way that feels enjoyable and cohesive for me. Over the course what I discovered (and am still fine tuning with each month) was that I love working with fluid schedules – so that I have my work charted out, but am not bound by any rigidity with it. I’m also really excited to see how this develops in the long run as we experiment with different verticals at IKKIVI!

3. What is an advice you received about work ethic that has stayed with you?

From my Sociology professor – “Don’t be in a hurry to ace anything. Commit to the process of  learning each thing properly and spend your time exploring things you’re least likely to do.”

4. What do you love to do together with the team?

I feel that language is all I have (and am!), so I really love talking to them, about everything – work, our fears, our experiences, our peculiarities. And ofcourse, stealing food from each other’s lunch boxes!

5. A personal value that informs your work at IKKIVI?

I wouldn’t want to necessarily ‘claim’ it as a value, but I think sincerity – about projects that I love a little less than others, things that feel scary, some days that feel really exciting and some disorienting. I try to work with that flow and knowing, because that helps me build myself from a space of being human. And I honestly feel that it’s the primary attribute that is helping me grow and open up to doing new things.

6. The silliest person in the team, in your view?

Ms. Vedhika! She can be so witty even without trying. And I love how she can switch so smoothly between different kinds of conversations. Also her sweet laugh cracks us all up 🙂

7. What are some skills or values you have learnt from each other that are now important to you?

Over the months, I think, I’ve learnt different things from everyone in our team. But I’d describe them more as values than skills. I’m just listing them below because that’s how my mind works 🙂

Ms. Nivi – the value of progress (and completion) over perfection

Rhea – the importance of revision and discipline

Ms. Vedhika – honest dialogue about any conflict that may arise when working with each other

Ms. Esha – opening up to try new things, even at the risk of them feeling scary

8. Can you tell us about a project you are excited to work on over the next few months?

Our Podcast! We’ve been running it for half a year now, but the conversations we get to have with people are so valuable that I’m excited to see what we’re going to do in the coming months with it. Ohh, and the IKKIVI pop up that we are having in February.

CREDITS

AHILYA CHOKER
ANTHEIA DRAPED DRESS
EAR CAPS
MIKA JUMPSUIT
DINNER PLATE
AHUA SHIRT WITH TROUSERS

With Nivi Murthy

With Nivi Murthy

Conversations on Exploring Diverse Business Values

Working with our Founder, Nivi Murthy, we at IKKIVI, spend a lot of time together on different themes, ideas and intentions. In the everyday hubbub of our projects, we’d been missing out on some conversations we’ve wanted to have with her for a while – conversations around the heart of her inspirations, experiences over the last couple of years, and the processes she sees entrepreneurs and ethical businesses need to be a part of. We got to meet with her this month and have a heartwarming dialogue about all this and more, and even learn about what she has planned for our newest vertical – ‘The IKKIVI Podcast’.

1. IKKIVI is now 6 years old. Does the business look different from what you had envisioned when you first started out?

The business has definitely evolved over the last 6 years into also being a voice for conscious fashion and mindful living. But what has stayed with us right from the beginning is the vision and passion to support and promote Indian contemporary designers globally by being a trusted curated online shop. We are ever evolving and constantly learning to be better and all-encompassing, but our vision is clear and we look forward to making a larger positive impact on our planet and its people.

2. What key quality has helped you sustain and build your business over the years?

Perseverance and passion.

3. What does ‘business’ mean to you? Did you ever think you’d be a business owner?

Business to me is the ability to create something new for the benefit of the people and the world we live in. I have always been passionate about solving problems and finding solutions but the first time I knew with more certainty that I wanted to create something of my own was during an internship while studying at the Fashion Institute of Technology. I was exposed to the supply chain and its inefficiencies leading to the problem of overstock and harmful impact to the environment with little being done about it. That’s when I felt the need to create and build something of my own that would have a positive impact.

4. You’ve had a full time team join you this year. But everyone had to work remotely for several months right at the start, due to the pandemic and lockdowns. What was that like for you? As a Founder and business owner, how did you navigate through all the changes and hiccups that came with that time?

I am grateful for the dedicated team we have at IKKIVI. I personally enjoy working with people and understanding them so I would say it was difficult that we had to work remotely almost immediately but we made Zoom work for us. We set up some processes right in the beginning so we could work towards our weekly and monthly objectives and tried to just put our heads down and go with what we could do considering the situation we were dealing with together.

However, now, I am more than happy that we get to work together in the office, we enjoy each other’s company, laugh more than required (haha) and are most importantly able to create so much more together in person.

5. What is a challenge you think every ethical and small business faces, and how do you think one can stay grounded and steady through it?

The idea that everything must be perfect. I think as small ethical businesses we put a lot of pressure on ourselves to be perfect in all areas of the business and forget that it is a process of learning and evolving. I believe in the idea of progress over perfection and feel that one small step in the right direction is a start and those many steps over a period of time will only have a larger and larger positive impact. It is important to be kind to ourselves and commit to the idea of constantly learning and improving.

6. You launched a podcast this July and it’s been so refreshing to hear one on conscious living. What can we expect with it in the next few months?

I am so excited about our podcast! I thoroughly enjoy meeting people, having conversations and understanding the choices they make in their lives. This podcast has conversations with some very cool and interesting people on living very intentional and mindful lives. We hope through this podcast we can continue to encourage and empower our listeners to live more fully and craft the lives that they want to uniquely live. We have artists, entrepreneurs, activists and change makers lined up over the next few months and we’re really thrilled for you to be a part of this journey with us.

7. Any book or podcast recommendations on running a business that you can share with us? 

This past year I enjoyed listening to ‘The Farrynheight Podcast’.

8. A quote that you live by?

“Dripping water hollows out stone, not through force but through persistence” – Ovid

CREDITS

CHRISTIAN AUJARD MIDI DRESS
STELLA TOP
APRICITY ALLY REGULAR
THE BASIC SHIRT
END OF THE WEEK TOP
TEA DYED ERI SILK JACKET

THE CHALLENGES OF SUSTAINABLE BUSINESSES

THE CHALLENGES OF SUSTAINABLE BUSINESSES

Conversations on Steering Alternative Models of Design

As a movement committed to the balancing and re-designing of our ways of living, sustainability has come to bear marked significance in contemporary commercial ventures. From innovating with new materials to working through old goods and waste, sustainability and sustainable development objectives are transforming business practices across different industries. But prerequisite to each advancement in this sector are many untold challenges which underpin their inception and engineering. To understand the challenges that can encompass the establishment and operations of sustainable businesses, we had a conversation with Kriti Tula, Creative Director and Co-Owner of the ethical fashion label Doodlage. Speaking about her brand, she discusses with us the ways in which the state of the industry propelled her work, the degree of ad-lib changes and responsibilities in the field, the key(s) to ushering success in a sustainable business, and the value of observing the linear and fast fashion space to identify complexities and reconstruct the course of the fashion practices.

1. Could you tell us of your background and your relationship with fashion and design in your early years?

I am a trained apparel designer from Pearl Academy and studied Design Management at the  London College of Fashion. Very early on in my career I got more inclined towards alternate material and upcycling. My first internship was in a large export house and it was appalling to see heaps of fabric waste, rejections, fast moving garment production – there was no appreciation for the art of making clothes. I wasn’t sure if this is the kind of industry I want to be a part of. So I spent my time researching more about sustainable fashion and the need for it after I graduated.

2. How did you come to start Doodlage?

There were limited options in sustainable fashion in India during the time we started Doodlage. Most sustainable brands were working to convert  trash like juice cartons into wallets or brands like Anokhi or FabIndia working with natural fabrics, Indian-wear silhouettes and supporting numerous artisan clusters at scale. But none of them catered to the millenials and their changing style statement as they travelled more, who were born with access to computers and fluidly adapted social media. It was around this time that Doodlage was created and started looking at alternatives like upcycling large quantities of fabric wasted in factories into short desirable collections. Our aim was to start conversation around the need for sustainable fashion and explore alternatives to fast fashion.

3. What does sustainability mean for you?

Looking at things holistically keeping the end of its life in sight and how you can prolong the life span of what you make or buy.

4. What were the kind of challenges you experienced when setting up the business?

I had no idea where to start and since I started the brand quite early in my career I had limited vision of its potential. There was also no brand with a similar vision that we wanted to follow in the footsteps of. From figuring out our own raw material to training the artisans to upcycle and not waste resources were challenges unique to what we were doing. Other more common challenges were finding the right places to sell, managing funds etc.

 

5. Doodlage is one of the widely known brands in India to create recycled fashion and clothing. Could you share with us why it was/ has been of significance to you to establish this concept in the Indian market?

It resonates with who I am as a person and as I matured as a designer it became more clear that either I would work with a sustainable and ethical  brand or create one.

 

6. Could you tell us a little bit about your design and creation process? Where do the materials come from, and how are they designed to create the unique pieces you make?

We work our design process backwards. It starts with first collecting raw material and then creating designs around it. Each material and every lot comes with its own defects and have to be checked and handled at every level. We collect wastages in larger lots from bigger factories to be able to replicate styles but each piece might have details that vary.

7. What has your experience with marketing for an ethical business been like? Have there been any specific aspects of sustainability or messaging you have needed to focus on more to encourage people to buy sustainable wear?

We were not so aggressively communicating what we did when we started. The market was young and we were still working to build awareness for the need for sustainable fashion. A lot has changed since, people are a lot more – not enough, but a lot more aware than they were six years ago. We promote three key areas of our work – made from factory waste – mainly our upcycled collections; made from consumer waste – recycled garments; made to be zero waste – everything made from our waste. We focus on building conversation around working with material that is already created and the importance of creating better paying employment.

 

8. Did you face any challenges when putting together your messaging and communicating it to an existing audience or while building your audience. If so, how  did you navigate them?

Not so much. Our communication has mostly been received well by both old and new audiences. There are always some people who would come back to question what we do and why our products are expensive or is it sustainable to create etc. The best way is to communicate to the best of our capacity. We don’t claim to know it all, and most brands are just working hard to learn themselves and provide solutions through their products while creating better employment.

9. Is it costly to produce recycled designs over fresh pieces? If so, have you seen if that plays a role in the kind of production choices businesses tend to make?

Recycling and upcycling are labour intensive processes and when you work with fair wage vendors to create these pieces and fabrics, it all adds to the cost of production.

 

10. Do you think there is a certain (social) stigma in the Indian fashion industry to work with recycled waste, materials and fabric?

Certain segments of the society still look down upon hand-me-downs, repairing, recycling. But many millennials and generations after are quite open to the idea of doing what they can to support a more sustainable lifestyle.

 

11. There is often some skepticism in people’s minds toward sustainable fashion brands. In your experience, what are the things consumers are typically liable to feel wary about with sustainable and ethical fashion? And, what do you think conscious businesses can do to change this?

In my mind this skepticism is usually around green washing and sustainable brands being unaffordable. In both cases the only thing has worked for us is communication.

12. What have been some of the greatest challenges for Doodlage as a slow business since the Covid 19 pandemic?

Things have gotten slower, operations are more difficult, logistical delays, fashion is not a priority product so people end up spending less and several other challenges. We have spent this time testing many new things including trials for brand collaborations.

 

13. Despite the challenges that come with running an ethical business, what are some of the most rewarding and inspiring moments of being in this line of work for you?

Working with social enterprises to create happier places for artisans to work and knowing that you have been able to inspire more brands to work on sustainable fashion has inspired us to keep working.

 

14. Is there any word of guidance you would like to give to emerging sustainable brands and entrepreneurs?

Research more, don’t start a label too early, spend enough time working with the linear fashion and lifestyle industry to know more about the problem or circular fashion brands to understand better the solutions before you start.

CREDITS

With Mianzi

For Sustainable Development

Conversations with Mianzi on the Potentialities of Experimental Design

As a form of creativity and contemplation, design has become a central instrument in disentangling complex social and environmental crises of our age. In the last decade, it has come to play a particular progressive role in augmenting ethical and sustainable production practices. Industrially, artists and conscious businesses are ushering a social revolution with sustainable design through two key areas. One, at the foundational scale of designing, that concentrates on the innate possibilities and impact of a design and object at the level of its inception. The other, at the technical scale that centres on the practices, materials and modes of production of a design.

 

Innovating on both these aspects, Mianzi is a pioneer in designing superior sustainable home furnishings using a simple and natural material – bamboo. Questioning deleterious models of production and translating experimental materials into novel wares, they are heralding new ways of understanding design and products, and our relationships to them. At IKKIVI, we had a conversation with the co-founders of Mianzi, Shashank Gautaum and Ananta Varshney, on their journey into the venture, and the conceptual, material and social features that underlie their (sustainable) design initiative.

 

Could you tell us of your background and interests through your foundational years? How did you come to feel connected with art and design? Have you been pursuing them for a long time or has it been a more recent initiation?

S: Since a young age, I developed an interest in the engineering aspect of a simple design, when I used to accompany my granddad to his cycle repair shop.

While designing a building with a Zero Carbon Footprint, for a design competition in 2009, (which later got awarded by Indian Green Building Council), I realized the true potential of Bamboo. I then designed a bamboo bicycle and prototyped several bamboo-based furniture and accessories.

After my Bachelor’s in Architecture (from SPA Delhi & Masters in Industrial Designing from IDC, IIT Bombay), I established MIANZI with the desire to revolutionize the way bamboo is seen and used in today’s world.

A:  During my graduation as a Bachelor of Architecture,  I became more and more fascinated with product design and how sustainability can be more than what it is believed as. Being associated with “going without” sustainability is always belittled, so we came up with products that attain both competitive edge for similar wood or plastic-based products whilst reaping benefits for the environment.

With a drive to build green products, I co-founded Mianzi, to manufacture products that are not only sustainable or aesthetic but economically viable. I reckon that every raw material has a story with nuance and complexity, which, if translated right can bring the most unique products.

 

What does design(ing) mean for you? Is there something, in particular, you like to showcase through it?

We believe that designing in its essence is a polygamy of different elements to accomplish a particular purpose, in a sustainable eco-friendly approach, and with futuristic minimalism.

 

MIANZI is a unique home furnishing brand with bamboo as a base material for almost all its products. Could you tell us how you realised that the material would become valuable for experimental design?

Bamboo, as raw material, inspires and challenges us to bring forth products that go beyond the accepted parameters of product design and bring life to fresh ideas that previously seemed improbable with bamboo. 

That sense of exploration and giving back to the environment has always been a big influence and inspiration behind Mianzi.

MIANZI is one of the foremost brands in India to exclusively offer bamboo-based furniture and accessories. Could you share with us why it was/ has been important in your view to introduce this idea in the market?

India has a rich cultural and economical tradition of artistic craftsmanship with Bamboo as a raw material – a material that is sustainable, futuristic, and has a vibrant cultural heritage. Despite this, the Bamboo craftsmanship is dwindling and is almost extinct in several tribes.

With Mianzi, we sought to redefine and exhibit the contemporary, elegant, and chic front of traditional craftsmanship. We need to understand that sometimes the greater good can be achieved economically by sticking to your roots.

 

Could you tell us a little bit about your design and creation process? Where the materials are extracted from, and how they are molded together to construct the intricate details on the pieces?

While experimenting with bamboo, we have and are still in the process of discovering it’s different inherent properties. With a distinct fascination to observe probable design possibilities, we created our own methods by tweaking existing industrial machines and integrating the traditional hand-craftsmanship of adroit artisans. 

To make the process as realistic as possible, we developed a few industrial machines dedicated to the work of bamboo bending and molding. The machine is based on existing industrial technology; it is an assembly of different systems to create an efficient tool.

 

Are there any challenges encountered in marrying together ethical, artistic, and business practices through the design process?

Working with natural material is always challenging especially when we compare it with similar existing products in the market that are made out of wood or metal or plastic. These raw materials have been available commercially for a longer time and a lot of research has been already done, in terms of design and manufacturing. In comparison, Bamboo still needs to be explored more to discover its several properties and innovate. Further, finding a balance between aesthetic freshness, quality, and affordability is quite challenging.

 

Are there any specific intentions MIANZI holds to generate an impact for the wider Indian and design community – both its artisans/ workforce and consumers?

As we were discussing before, we want to expand Indian craftsmanship and give it its deserving centerstage by proactive collaboration with local craftsmen, bringing high-tech industrial advancements to them, and to substantially increase productivity and nurture their skills. We can introduce substantial growth in this industry on an artisanal and economic level, and at the environmental front.

What are your subsequent aspirations with, and for MIANZI?

With a deliberate and equal focus on expertise research on bamboo, we want to competitively revolutionize the way bamboo is seen and used by the masses, introducing it to the construction and mobility industry, discovering its resilient composition with a breakthrough through an economically viable and sustainable approach.

 

Is there anything you would hope for, or expect, clients, to discover and take from MIANZI?

In general, people consider sustainability as the latest trend rather than considering it as an imperative choice for our environment and future. Understanding the consumer demand we need to make a conscious effort to market products that are contemporary yet sustainable.

Mianzi with its fresh designs and functional approach expects that more and more people and designers understand that the purpose of sustainability is not to greenwash with yet another eco-friendly material, but rather to rethink industrial production and product conception in a realistic way.

During the last one and a half years, Mianzi has been recognized and awarded by esteemed design fraternities. The acknowledgment of their work from both practitioners in the field and their clients has lended them working opportunities with renowned architects and interior designers across the country, inspiring them to continue to experiment with bamboo and sustainable design.

If you would like to explore and shop their designs, you can visit their catalogue on our shop.

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