At Lakmē Fashion Week, Shruti Sancheti’s showcase, presented under the Navdhara Khadi special by Khadi India, struck a compelling balance between rooted craft and a forward-looking perspective.
Reworking khadi beyond its conventional narrative, she introduced a sense of ease and understated luxury to the runway. Layered separates unfolded with an assured fluidity, effortless, yet deeply considered.
Signature Nagpur checks were paired with richly textured fabrics like Nasi, Gecha, Dupion and Mulberry khadi, brought to life through block printing, kantha embroidery, and nuanced interpretations of Warli and Gond art. The collection felt tactile and expressive, honouring
tradition while embracing a lighter, more contemporary spirit – an evolved take on khadi’s enduring “livery of freedom.”
We caught up with Shruti to delve into the ideas shaping this shift and how she envisions taking it forward.
FL: “Across 29” feels like a natural yet distinct extension of your label – what sparked this new pivot?
SS: Across 29 feels like a new direction, but it really comes from where we started. We launched it six months ago, though our association with the weaves of Vidarbha goes back to the inception of our label in August 2011. Our debut at Lakmé Fashion Week with Zero Mile Legacy, along with our prêt line introduced in 2018, laid the foundation for this extension.
Across 29 is a revival of that philosophy. It is a line of handcrafted, handmade, easy separates created for the needs of a modern, global audience. The name reflects the 29 states of India, celebrating the diversity of craft, beginning with our own region, Vidarbha. We continue to work closely with clusters in Lodi Khera, Dhapewara and Sevagram, along with our in-house looms.
The collection brings together craft, sustainability and ethical practices in a way that resonates with a younger, more conscious generation. These are versatile, season-fluid pieces designed for ease, longevity and individuality, rooted in India yet relevant globally.
“For us, India is an endless source of inspiration, and even across all 29 states, there will always be more to explore.”
FL: With checks, stripes, Gond and Warli motifs, and script all in play – how did you hold on to clarity?
SS: Vidarbha has always been at the core of the collection for us, so the direction felt clear right from the start. The checks and stripes from Nagpur have a strong, universal appeal, yet remain distinct. They are finer, more closely woven, and lighter than what we usually see, which makes them perfect for easy separates. Gond and Warli art, rooted in Central India and traditionally centred around community life, have been reinterpreted in a more contemporary way. A Warli figure that once made rangoli now lounges on a sunbed with sunglasses, and a Gond tiger is imagined riding a scooter. We wanted to bring in a sense of playfulness while still staying true to the craft.
Through the collection, we brought all of these elements together through a restrained design language, resulting in season-fluid, versatile pieces that are easy to wear, handcrafted, ethical, and made to last. We kept the colour palette muted, with off-whites, beiges, rust reds, blues, and blacks to create a cohesive and wearable base.
FL: What part of the process feels most defining to you – material, motif, or the making of it all?
SS: As a designer today, especially post-COVID, I find myself thinking a lot about what I call the CPR approach. For me, cost, construction, colour and cut are fundamental, along with product, price, promotion and place. At the same time, values like refuse, reduce, reuse and recycle have become just as important, in response to the environmental and geopolitical realities we’re living in.
Fabric is always the starting point. It’s the foundation of everything we do. When the textile has soul and integrity, it naturally guides the rest of the process. Motifs and handcrafted details then come in to add character and depth, but they never overpower the fabric itself. Longevity is something I care deeply about, so every piece is designed to last, both in terms of quality and relevance. In the end, it all comes together as one continuous, cohesive story, where design, craft and responsibility are closely intertwined.
“Personally, what I enjoy the most is the journey of a thread, from the loom to the runway, when it finally comes alive as a finished piece.”
FL: Where and how did you draw the line between richness and restraint while designing the collection?
SS: Restraint has always been a key part of how we design. With in-house capabilities like hand, screen and block printing, looms, embroidery, and such skilled artisans, there is always a temptation to use everything. But the real challenge is in editing. It often becomes a test of patience, because while we want to include it all, we consciously choose to hold back.
We try to bring different art forms together in a way that feels seamless and subtle. From hand-printed facings to small handcrafted motifs in delicate stitches like kantha or stem stitch, every element is thoughtfully placed, but never overpowering. Even as we explore fabrics like wool, linen, cotton and handspun yarns, the approach stays rooted in restraint. That balance is important because these pieces are designed as global separates, meant to be wearable, versatile, and easy to pair, with craft present but never overwhelming.