In a wide-ranging conversation, prominent designer, educator and FDCI board member Shruti Sancheti discusses craft, teaching, global recognition and the responsibility of building a future-facing Indian brand.
By Nichola Marie
You launched your label in 2009, and today it stands as a globally recognised voice for refined Indian craftsmanship. What were the defining moments that shaped your journey from a young designer to an industry thought-leader?
I launched my label in 2009 from Nagpur, which at the time was not considered a fashion hub. I expected the journey to be daunting, but it turned out to be a classic case of being in the right place at the right time. Both in India and globally, there was a growing reawakening to textiles — a shift away from excessive chiffons, georgettes and surface embellishment, towards authenticity, materiality and craftsmanship. Having grown up in Kolkata, I was deeply exposed to textiles from an early age and carried a strong belief in the unparalleled legacy of India’s craft traditions.
That collective textile re-awareness — both at home and across the world — became the defining moment of my career. It shaped a journey rooted in craft, natural processes, handwoven textiles and the handmade. These values became the foundation of my practice and, to this day, remain the core identity and philosophy of my label.
Your brand is rooted in a “less is more” philosophy and a deep respect for Indian textiles. How did this design DNA evolve, and what personal influences shaped it?
I believe editing is far more powerful than adding. Clothes that are timeless, season-fluid and versatile always outlast trends. Easy separates became part of my design DNA instinctively, filling a space between couture and prêt that didn’t truly exist when I began.
Travel has been a strong influence — particularly a nomadic way of observing cultures, craft and clothing. Combined with my grounding in Indian textiles, this led to an aesthetic language that is contemporary Indian, global in its appeal and minimal in expression. The intention has always been to allow the textile to speak, rather than overpower it with design.
There is a clear and consistent appreciation for craft-led, handmade designs — especially when they are presented with a global sensibility. Indian craftsmanship is no longer seen as niche or nostalgic; it is increasingly viewed as contemporary, relevant and aspirational. The strongest response always comes when authenticity is paired with thoughtful design.
Alongside leading a successful label, you’ve spent years as a senior educationist. How has teaching informed your approach to creativity, leadership and innovation?
While my professional journey as a designer has been deeply fulfilling, my years in teaching were often even more rewarding. Teaching came without the pressures of running a business, and there was a unique joy in shaping young minds and watching their ideas evolve.
Being a faculty member meant I had to stay constantly ahead — both theoretically and technically. That responsibility kept me sharp. I was always revisiting fundamentals, upgrading my skills and refining my understanding. Even today, when I conduct masterclasses or visit design institutes, teaching remains a continuous learning process.
Young minds challenge you. They question assumptions, bring fresh perspectives and remind you not to become complacent. I see teaching as a two-way, almost therapeutic process — guiding students as they shape their futures, while learning from their curiosity and fearlessness.
I still tell my students: If you can’t do different things, at least do things differently. And I remind them that opportunity dances with those already on the dance floor — so stay present, stay prepared and seize what comes your way.
You’ve worked closely with weavers across India, championing Khadi and traditional clusters. What have been the most meaningful challenges and breakthroughs in this mission?
I’ve had the privilege of working with some of India’s most remarkable craft traditions and artisan clusters. My journey has taken me from West Bengal, where I come from, to Maharashtra — particularly the Vidarbha region, which has become central to my work.
Over the years, I’ve worked extensively with Khadi from Nagpur, Wardha and the larger Vidarbha belt, as well as Banaras weaves, Pochampally textiles, crafts from Jharkhand, and techniques from Rajasthan such as block printing, leheriya and mothra. I was also deeply involved in the Reinvent Banaras project under the Hon’ble Prime Minister’s initiative.
Khadi, in particular, holds deep meaning for me. It is naturally thermoregulating — warm in winter, cool in summer — quiet yet powerful. In India, Khadi is not merely a fabric; it is a movement, inseparable from our history and freedom struggle. If India had a national fabric, it would undoubtedly be Khadi.
One of the biggest challenges was addressing its traditional perception as coarse or rustic. While the weavers understood the fabric intuitively, my role was to introduce contemporary design interventions — refining thread counts, developing modern colour palettes and applying globally relevant treatments. These changes helped reposition Khadi without diluting its essence.
Presenting this work for Swadeshi at Lakmé Fashion Week in 2013 marked a defining moment in my career. The recognition from Shri Narendra Modi, who personally wrote to appreciate the collection, remains one of the most meaningful acknowledgements of my work — especially because it came from one of my most challenging projects.
‘Threaded Tales of Vidarbha’ documents textile heritage beyond the runway. What prompted this project, and what moved you most deeply?
‘Threaded Tales’ was never consciously planned. For over 13 years, I had been working closely with Vidarbha’s weaves — learning their properties, observing their natural hues and understanding their cultural significance. Each weave carried its own story.
During a conversation with Ms Beena (DC Handloom), I found myself narrating these stories. She suggested documenting them as a coffee-table book. The idea resonated instantly. The challenge was executing it within just 25 days for National Handloom Day.
With years of research already in place, compiling the content wasn’t difficult. The intention was to introduce the lesser-known textile narratives of Vidarbha — often overshadowed by Paithani — to a wider audience. The real challenge lay in design, printing and logistics.
The book was launched by Nitin Gadkariji, with Sunil Sethi hosting the event at the Taj. The atmosphere was intimate, celebratory and deeply meaningful. ‘Threaded Tales’ became my first formal attempt to visually and narratively document Vidarbha’s textile heritage.
As a Board of Governors member at FDCI, what changes do you believe are most urgently needed for the industry?
FDCI is the only organised body under the Ministry of Textiles created by designers, for designers. I feel deeply privileged to be part of the board — especially as the only woman member and a non-Delhi representative.
Under Sunil Sethi’s leadership, FDCI has consistently nurtured emerging designers, supported established ones and honoured industry legends. This balance — between the new, the established and the iconic — is what makes the institution truly holistic.
Its ethos, ‘Business Happens Here’, is reflected in the sustainable businesses and careers it has helped build. I strongly believe FDCI will continue to evolve with clarity and purpose, strengthening India’s global fashion presence.
What is the next chapter you envision?
My journey — from homemaker to educationist, designer, board member and author — has unfolded in ways I could never have planned. Looking back, I feel a deep sense of gratitude.
As I look ahead, my aspirations are rooted in giving back: Reconnecting with education, working closely with artisan clusters and continuing to champion slow, ethical fashion — especially at a time of increasing environmental instability.
“My vision is to build a pan-Indian brand that is global in aesthetic yet deeply Indian in soul.” My vision is to build a pan-Indian brand that is global in aesthetic yet deeply Indian in soul. A quieter, long-term dream is to contribute meaningfully to design education, perhaps through a practice-led design school.
Above all, I hope to expand thoughtfully — strengthening ethical practices, opening stores with intent and building a legacy rooted in craft, sustainability and education.
