In conversation with Textile Enthusiast Deepshikha Khanna
Deepshika at the Sindhu Collection Showcase, 2019 wearing a Kediyo and a Khadi sari from the Sindhu Collection designed by Akshay D Singh
Archives from the SINDHU COLLECTION by GOODEARTH
Manju Sara Rajan and Prarthna Singh in FLOW by Goodearth
Finding a balance between intricate embroideries and maximalist Indian attires celebrating the grandeur of motifs and colours in contrast to minimalist textural delicate weaves for everyday wear is a task only some designers are able to master. Staying true to both these schools of Indian textiles, Deepshika Khanna creates clothing that is versatile and timeless.
Her recent project as the Creative Director of Flow by Goodearth introduced a range of practical clothing for the working women, using sustainable Indian handmade fabrics composed in modern silhouettes. I have been intrigued by Deepshikha’s keen eye for colour and textures since she last worked on the Sindh presentation for Goodearth.
We spoke to her about her love for textiles, crafts, process and journey.
When did you know that textiles will be the driving energy in your life?
My journey with textile began when I joined the Delhi Crafts Council in 2012. I was lucky to work with incredibly knowledgeable and dedicated women who set the tone for how I would engage in this world of textile and craft from early on. From day one, it was always about sustaining and recognizing the depth of our textile tradition, especially how it ties into our history and culture.
How did this journey start? What have you learned the most from this experience?
I hit the ground running. On day one, a craftswoman from Nathdwara came to see us at the Kamala store in Connaught Place. She brought an antique six by eight-foot Pichwai which was entirely embroidered and looked like a painting from a distance. The quality of workmanship was beyond exquisite and could only have been done by someone with a generational history of craft in their blood.
The second and most important lesson I learned is to question everything. Dr. Jyotindra Jain who was teaching a course on traditional textiles taught me that. When I delved deeper into the Pichwai, I learnt the significance of an entire community and their devotion to Lord Krishna which was expressed through textile painting and embroidery. Each devotee gave it their best as it was an offering of love and deep devotion and for someone to part with it meant that they were in great duress and need of money. I learnt the significance and importance of Radha, the metaphoric and spiritual side of Krishna’s teachings. The learning is endless.
This sounds lovely. So can you tell us what fascinates you about textiles and textile as art?
When we encounter a piece of period art like a sculpture or painting, if we just observe the way a cloth is draped, it should tell you which era in history it’s from, which community or country, and what class of people it represents. As you go deeper you learn about the natural resources of a place, about trade, about its various uses, stories about legends will pop up, how it crossed cultures and was adopted elsewhere, a continued story into how it changed and what history had to do with the change. Textile is truly the fabric of society.
Textiles have taken me on a journey back in time, exposed me to different cultures, to people and places that I may never have had a chance to go to because they don’t exist anymore. Goodearth’s fashion presentation “Sindhu” was exactly that, we went back in time and rediscovered Sindh which was a melting pot of textile and crafts. We showcased silhouettes in rich textiles using Ajrakh motifs and embellishments that brought back glimpses of that history but through the Goodearth lens. We expanded the show into a museum so that the rich heritage and history of Sindh was captured and shared for all to indulge in. These experiences are nothing short of spiritual, when your consciousness is raised to this level it ceases to be a craft and becomes a practice worthy of worship.
I have had the privilege of working with some master weavers who shared not only their exquisite creations and love for the craft with me but also some precious values they live by without which this tradition would cease to exist. It is a very humbling experience to be in the company of these geniuses who are so devoted to their craft. Their skill matched with immense humility is a sign of true greatness.
It has taken many turns since you first started, where are you now? Can you share some groundbreaking moments you have had ? What were your early projects?
My training began in Bombay with denim in 1994-95 where I started India’s first denim label for women called ‘Jealous Jeans’ It was a pre-existing menswear brand and was started by Prem Gupta who gave me my first break despite having no formal education in fashion. Those six years led to my next job as a Fabric and Finish specialist at Levi’s Strauss in San Francisco which was again an incredible opportunity.
During my time as the Apparel Head of Sustain, Goodearth’s in-house traditional apparel brand, I was constantly exploring ideas for a contemporary offering that was inspired by handlooms. There was a growing opportunity to create wardrobe classics for the discerning Indian woman who is conscious about buying with intent.
“While sustaining our textile tradition by using handlooms, we also sustain traditional Indian silhouettes by interpreting them for a modern lifestyle.” - Deepshika Khanna
It makes me very proud that India is one of the few countries that still wears our traditional Saris, Farshi’s and Kurta’s but our lifestyle also requires something that is more global and that is how FLOW came about. I wear the sari on the go as much as I wear my drop crotch pants, I need them both. While sustaining our textile tradition by using handlooms, we also sustain traditional Indian silhouettes by interpreting them for a modern lifestyle. For instance, the drop crotch pant is essentially a dhoti converted to a pant and the elasticated cuff shirt is a kurta that meets a shirt. These were styles meant for an Indian body and they continue to be relevant.
A patron of FLOW, Manju Sara Rajan, the Editor of Beautiful Homes, put it very well when she spoke about FLOW clothing;
“If our legacy fabric knowledge becomes something that is only part of traditional wear then it will soon become costume. To save itself it has to become part of anytime clothing. FLOW pushes that narrative forward by showing the simplest practical contemporary adaptation of our legacy textiles.”
I couldn’t have said it better myself.
What are your thoughts about 'Indian Textiles now' ? What do you envision from here on?
Indian textiles will always be celebrated and will outlive all of us. I hope the next generation will start tapping into their roots, leading to a revival within a revival. In the meanwhile, home and fashion are meeting midway and sharing ideas and I think these collaborations happen when ideas, philosophies, and intents match. It’s articles like these that highlight and bring forth an education of craft and textile which lead to an appreciation followed by adoption. When the circle of knowledge, appreciation and adoption is closed, craft and textile will survive and thrive.
All Images by Deepshikha Khanna
Follow her textile travels at https://www.instagram.com/dailystylematters/