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‘The younger generation wants to wear their heritage with pride': Aashni Shah
Multi-designer luxury store Aashni + Co., recognised for its highly curated edit of Indian luxury fashion, welcomed the retail residency of design house Pankaj S. Heritage at its Mumbai store earlier this month. Marking his first ever physical presence in the city, the designer's residency presents a refined range of occasion wear, along with an appointment-only couture experience—offering clients rare access to the brand's celebrated design vocabulary.
Pankaj's design ethos draws from India's storied traditions inflected with a contemporary edge. Not surprisingly, this partnership came from a shared respect for craft and storytelling. 'Exclusivity is at the heart of what we do and it's also how I believe true luxury is bought. Most of the brands we carry are exclusive to us in Mumbai, and bringing Pankaj S. Heritage into that roster felt incredibly aligned," says Aashni Shah, founder & creative director of the eponymous luxury store that first launched in London in 2012. 'His work is deeply rooted in craft yet completely evolved in its expression. Dedicating a curated, standalone space for him within the store allowed us to honour that depth while offering clients a more immersive experience," she adds.
Designer Pankaj had always felt that Mumbai was the right city for this kind of launch. 'There's a generation here that understands the richness of heritage crafts but wants to wear them in new, expressive, modern forms. So when I received a DM on Instagram from Aashni & Co., it felt like a natural alignment. It didn't feel like a business deal; it felt like two parallel visions meeting at the right moment," shares Pankaj.
Prior to the residency, Pankaj had tested the waters twice through trunk shows with Aashni & Co. And both the experiences were encouraging. What stood out to the designer at the time was how personally involved Aashni was in every aspect of the process — from curation to production details. 'She doesn't just host designers, she collaborates with them and treats each collection with genuine thoughtfulness. That kind of hands-on, invested partnership is rare. The success of those trunk shows and the resonance we saw with the audience gave us the confidence to move toward a more permanent presence," he adds. That's also how the idea of a shop-in-shop came together — not just as a retail format, but as a natural extension of a shared vision. Lounge sat with Aashni and Pankaj for an extensive chat on this unique retail partnership.
What was the process of curating the collection for the residency?Aashni: Curating this was like piecing together a mood, one that feels true to Pankaj's philosophy, but also speaks to our clients. Along with our merchandisers, I spent time with him and his team looking at pieces that told a complete story – from bridal to occasion wear – with a balance of craft, wearability, and a certain timelessness. Every piece had to earn its place in that space.
Pankaj: The process was incredibly thoughtful and intentional. We wanted the collection to feel naïve yet smart — deeply rooted in tradition but styled with a modern, global eye. It's a refined assortment of classics: heritage textiles and techniques reimagined into pieces that are both timeless and versatile. You'll see traditional silhouettes alongside modern separates — kurtas that can be worn as jackets, dupattas that double as statement scarves, and dresses that easily transition across cultures. Every piece is designed to stand alone or mix effortlessly, making it appealing to both the culturally rooted and the contemporary dresser.
What's your take on the evolving landscape of bridal and occasion wear in India?
Aashni: I think it's moving towards intentionality. Brides and families are making choices based on what resonates with them personally rather than following trends blindly. There's a greater appreciation for understated luxury, finer details, and craftsmanship that will hold meaning beyond the wedding day or for that matter even day-to-day dressing.
Pankaj: Bridal wear in India is definitely evolving. Today's bride is far more self-aware — she doesn't want to be styled into someone else's vision; she wants her outfit to be an extension of her own character. It's less about trends and more about personal expression. I see a clear shift towards custom-made pieces that feel intimate, meaningful, and rooted in personal aesthetics. And honestly, I think it's a beautiful change. It's her day — and everything she wears should speak to who she is, not just what's expected of her.
Do you see consumer preferences for Indian heritage crafts and heirlooms shifting?
Pankaj: Absolutely. I've witnessed a significant shift over the years, and it became especially clear when we pivoted our brand around eight years ago — committing ourselves entirely to authentic, GI-certified crafts. At the time, it felt like a risk. We were entering the age of fast fashion and instant gratification, and here we were choosing to focus on slow, meticulous processes that often take 12 to 18 months — whether it's hand-embroidered Chikankari or intricate Gota work. But our vision was clear: to create timeless, museum-worthy heirloom pieces rather than seasonal fashion. Today, we're seeing that choice resonate. There's a growing appreciation for meaningful, enduring craftsmanship. Consumers are no longer just buying clothes — they're investing in stories, legacy, and artistry. It's heartening to see people becoming more open to slow fashion, understanding the value of process and provenance. Heritage is finally being seen not as nostalgia, but as a future-forward design statement.
Aashni: Absolutely. I think people are realising that heritage craft isn't just nostalgia, it's a form of cultural investment. Younger clients are asking about provenance, techniques, and even the names of artisans. They're seeing these pieces not just as clothes, but as future heirlooms.
How has the process of building an ecosystem that champions legacy, storytelling, and craftsmanship been across London and Mumbai?
Aashni: It's been organic but very intentional. London taught us how to tell the story of Indian craft to a global audience. Mumbai is about deepening that story in its homeland. In both cities, it's about creating trust, clients know that when they come to Aashni + Co, they're going to encounter something authentic, thoughtful, and beautiful.
Pankaj: We've been experimenting with different formats and formulae, always trying to strike that balance between honouring legacy crafts and presenting them in a fresh, international context. The goal has never been to over-brand or commercialise the story, but rather to let the craftsmanship speak quietly and powerfully — the way couture or true luxury does. Whether in London or Mumbai, we're building a space where heritage meets restraint, where the product feels rich in narrative but refined in design. It's about creating pieces that resonate across cultures — not just because they're beautiful, but because they carry history, intention, and artistry within them.
What's your vision for crafts such as Chikankaari, Paithani, Zardosi, Kamdani, Zeengari, Danka and several others?
Pankaj: Why must international luxury houses be the gatekeepers of our heritage? Why should Prada take credit for Kolhapuris, Chanel for a Badla jacket, or Dior for centuries-old embroidery? These crafts are the heartbeat of our culture — born from the hands, hearts, and stories of generations long before global spotlights shone on them. For too long, they have been waiting in the wings, yearning not for validation but for recognition rooted in respect and pride from within. It is time for us — the revivalists, the artisans, and every Indian designer — to come together as custodians of this legacy. To celebrate, elevate, and reimagine these crafts in ways that honour their soul and tell their stories boldly to the world.
Our vision is to weave these ancient threads into the fabric of contemporary life — not as relics or novelties, but as vibrant, living art forms that define India's identity and inspire future generations. This is more than revival; it is a reclamation of pride, culture, and creative sovereignty.
Aashni: For me, the vision is to see them thriving in both traditional and modern contexts. I want to work with designers who can reinterpret these crafts without losing their essence, so they don't just survive as museum references, but live in people's wardrobes and are worn, loved, and passed down.
For a lot of luxury brands, it has been a challenge to generate an interest in the merchandise season after season. How do you ensure there's a sense of freshness and newness with each collection?
Aashni: For me, freshness isn't about reinventing the wheel every time, it's about context and curation. We work with designers who are consistent in their vision but still open to experimenting. And at Aashni + Co, we style and present each season differently, so our clients always have a new way of experiencing the collection.
Pankaj: It's a real challenge to keep collections feeling fresh without becoming repetitive. We're fortunate to have access to an extensive library of textiles, embroidery techniques, and jewellery references that fuels our creativity. Beyond that, I invest a lot of time in deep research and travel, exploring handcrafted traditions not only across India but globally — from African beadwork and glass beads to Japanese sashiko stitching, Peruvian alpaca textiles, Moroccan leatherwork, and the intricate Persian miniature painting tradition. There is an incredible creative energy around the world, and with India now being recognized as a mecca of design and heritage, we are uniquely positioned. Our craft traditions — embroidery, sculpture, textiles — offer endless inspiration. It's about being sensitive and open, acting as a medium to absorb these influences thoughtfully and translate them into contemporary, fresh expressions every season.
How has the process of collaborating with weavers and artisans been?
Pankaj: The journey really unfolded organically. After covid, I felt a strong urge to adopt craft clusters, almost in the way large CSR arms do — not just for preservation, but to find new relevance for these art forms in today's world. I wanted to place regional embroideries on a global platform, but in a way that respected their roots while exploring modern interpretations, silhouettes, and uses. When I began working with Chikankari or any other craft, I intentionally dove into the more complex and delicate stitches, many of which were getting lost because they're difficult to replicate or appreciate at first glance. It wasn't easy — the intricacy made it challenging for people to understand their value, especially in a fast-fashion mindset. But gradually, as we introduced these crafts in well-designed, globally palatable formats, the audience began to connect — not just aesthetically, but emotionally.
My vision is to continue building this bridge — where these heirloom techniques aren't just seen as traditional, but as timeless and versatile, with a place in both couture collections and everyday wardrobes around the world.
Aashni: Even though I work primarily with designers, the artisan's voice is always part of the conversation. I think the most successful collaborations happen when there's mutual respect, when we don't just treat them as a production unit, but as artists with their own vision.
Do you see a new push in people taking pride in investing in India Proud labels?
Pankaj: Absolutely, there's a strong and noticeable shift happening. Today's audience is much more art-driven and conscious of cultural heritage. The new generation is actively moving back to its roots, seeking authenticity and meaning in the products they invest in. They want to connect with stories, craftsmanship, and traditions that reflect India's rich legacy, which is a very encouraging trend for India Proud labels.
Aashni: Yes, and it's so encouraging! The 'India Proud/Make in India' mindset is growing, especially among the younger generation who want to wear their heritage with pride. They're not buying these pieces out of obligation, but out of genuine love and connection to their culture.
What do you do to stay inspired?
Pankaj: For me, inspiration isn't something you chase — it's something you let flow to you naturally. I truly believe the best way to stay inspired is to look back at our own history. And I don't mean in an academic or textbook sense — it could be as simple as watching a beautifully made film by an inspiring director, wandering through a modern art festival, or even noticing the smell of nargis flowers on a quiet morning. Sometimes it's food, sometimes it's travel — a texture, a colour, or a moment can trigger something creatively profound. I try not to overthink it. Whether I'm looking at Tanjore art, a vintage textile, or a modern sculpture, I allow myself to be moved by what speaks to me. That openness — that space to absorb without forcing — is what keeps the ideas flowing.
Aashni: Travel has become my greatest source of inspiration but not in the way it used to be. A few years ago, I was driven by the idea of checking countries off a list. Now it's completely shifted. I travel with purpose, with curiosity, and often in search of an experience, culture, design, or history that grounds me and opens me up. That kind of travel has become sacred. It's not just about a break, it's where my mind unlocks, where I see more clearly, and where creative visions start to form. It's been transformative for my children too. Watching them experience places with meaning, rather than just sightseeing, has created subtle but beautiful shifts in how they see the world. I protect that time fiercely because every journey, if you let it, changes you a little.
Manish Mishra is an independent fashion journalist and commentator based in Delhi.
