As a faculty member at the National Institute of Design, Assam, I consider mentorship an essential extension of my practice — a space where academic inquiry meets real design purpose. My approach is rooted in dialogue, critical thinking, and an insistence on depth over decoration.
Mentoring Khushi through this profound and philosophically rooted project was an especially meaningful experience. Her work sits at the intersection of inclusivity, material exploration, and multisensory design, reimagining the saree as a tactile manuscript rather than a conventional textile.
Drawing from the meditative verses of Dirghatamas, Khushi anchored her project in the concept of “Dirgha” — continuity, depth, and the unbroken flow of meaning. Under this framework, she developed a series of handwoven sarees that integrate Braille inscriptions within the fabric itself, allowing the garments to be read through touch as much as they are admired through sight.
Khushi engaged deeply with materials, weave structures, narrative placement, and the tactile logic of Braille, ensuring both aesthetic clarity and functional accessibility. Her sarees carry layered intentions: they preserve cultural memory, expand the sensory possibilities of textiles, and create a space where the visually impaired can experience storytelling through fabric.
Her project is not just a collection of sarees, but a compelling argument for a more empathetic and multisensory future in textile design.
Mentoring Ananya through her graduation project at Jaipur Rugs was an engaging experience, as her work spanned an impressive breadth of craft, material experimentation, and narrative-driven design — embracing storytelling, technical rigor, and an intuitive sensitivity toward artisanship.
Ananya’s explorations ranged from conceptual hand-knotted rug designs inspired by tribal homes, rusted surfaces, river journeys, and architectural cues, to bold visual narratives developed with the Fire Rugs team. She demonstrated a deep understanding of loom constraints, color behavior, and material translation — skills refined through her constant engagement with the RMR and dyeing units.
Her field visits to weaver clusters offered her a grounded understanding of labor, time, and materiality. Parallel to rugs, she also ventured into textile-based wall art using tufting, embroidery, and unconventional materials such as copper wire and nylon thread — creating sculptural pieces rooted in layered metaphors.
Ananya’s project stands out for its clarity, sensitivity, and the breadth of inquiry she brought to contemporary rug design.
Mentoring Vanisha through her graduation project with W for Women, under the Folksong label, was a deeply rewarding process — the project demanded both archival sensitivity and contemporary design clarity, grounded in tradition yet responsive to modern seasonal narratives.
Vanisha worked with discipline and intent, beginning with an extensive study of the brand’s hand-block archive. Her documentation resulted in a 400-page catalogue — an achievement that not only organized the existing repository but also offered a strong foundation for concept building.
Through research, motif reconstruction, and theme-based development, she created two capsule collections using only the archived blocks, translating designs into physical samples in collaboration with artisans in Bagru — reflecting her maturity as a designer who values both creative direction and craft integrity.
Mentoring Cheluvi Kadam through her graduation project offered me the opportunity to witness her evolve a clear, research-driven vision into two well-defined fashion collections — balancing global sensibilities with cultural nuance, particularly while addressing the Saudi Arabian export market.
Her process was rooted in a strong methodological framework: in-depth market and trend research, extensive textile and material exploration, and thoughtful development of prints, patterns, and silhouettes — experimenting with weaving, surface texturing, embroidery variations, and custom print creation inspired by retro influences and Indian motifs.
The Resort Wear prêt line is breezy, fluid, and versatile, true to Nikasha’s signature colour palette, while the festive collection carries richer detailing and elevated craftsmanship — culminating in a polished photoshoot and digital showcase.
Guiding Riya Bala through this project was an engagement with her evolving ability to interpret seasonality through textile expression. Across two collections — Elegance of Autumn Forest and Veins of Autumn — she explored how mood, memory, and material can shape a coherent Autumn–Winter 2026 narrative, treating nature not as a motif but as an atmosphere felt through woven depth, surface texture, and quiet embroidery.
During his six-month internship at M&C Saatchi, Bedangshu developed the complete visual identity and apparel graphics for GOATEE, a new premium streetwear label — identifying the rising demand for collared polos within youth fashion and aligning it with the brand’s product direction.
He established a muted, natural palette inspired by Himalayan goat fur, a structured grid system, and a modular visual architecture for consistency across brand applications, alongside a bespoke display typeface derived from Lowan Old Style — sharpening his skills in research-led branding and identity systems.
“Crafted in Karnataka” is a sensitive and deeply researched exploration of the state’s textile heritage — bringing together the narrative richness of Khana weaving, the precision of Kasuti embroidery, and the nuanced processes of traditional dyeing. The project does not merely document craft; it interprets it.
Arpita undertook extensive field research across craft clusters, engaging with weavers, embroiderers, and artisans whose lived experiences form the backbone of this work. What makes this project compelling is its emphasis on the human side of craft — the quiet resilience of women weavers and the enduring role of textile traditions as tools of economic empowerment.
For me, the value of this project lies in its sincerity: it respects craft not as a trend, but as a living history.