In a world where luxury fashion often chases the next fleeting trend, AKHL stands apart—born from
the hands of a dreamer who dared to rethink India’s ancient crafts for a global stage. Its founder, a
Central Saint Martins alum who cut his teeth with Indian design titans Manish Arora and Amit
Aggarwal, launched AKHL to shatter the stereotypes of ‘Made in India’ fashion. No paisleys, no
kitschy palettes—just sharp, modern elegance spun from tradition and innovation. In an exclusive sit-
down with The Vanilla Issue, he reveals how a love for technical textiles, a rebel spirit, and a commitment to sustainability turned AKHL into a name that’s rewriting the rules.
It all started with a spark at design school in London, back in 2017. Fresh out of Central Saint
Martins, he was obsessed with yarns—unconventional ones—and how they could twist, drape, and
shape a garment in ways no one expected. “I wanted to experiment with materials, to push textiles
beyond what’s typical,” he says, his voice alive with the thrill of discovery. Then came stints with
Arora and Aggarwal, where India’s handcrafting legacy hit him like a thunderbolt. The intricate Ari
embroidery, the opulent Zardozi—he saw centuries of skill begging for a reboot. “The world expects
florals and silks from India, but I kept asking: can’t we do more?” That question birthed AKHL—a
brand that’s evolved from a bold idea into a mission to meld heritage with high fashion that speaks to
a culturally savvy crowd.
Take Ari embroidery, once a decorative flourish stitched in cotton and silk. At AKHL’s atelier in New
Delhi, it’s now the backbone of their textiles. “We’ve turned it structural,” he explains, describing
how fine nylon yarns weave through eco-friendly Thermoplastic Polyurethane (TPU) yarns—
biodegradable, dyeable in wild tertiary hues, and sculpted into handmade fabrics that feel futuristic
yet rooted. Or consider Zardozi, the Mughal-era craft of gold threads. AKHL reimagines it with
recycled fishing nets, a nod to sustainability that’s as chic as it is challenging. “The hardest part?
Making sure these materials don’t just look good but last,” he admits. Testing durability became an
obsession—proof that heritage can hold its own in the modern wardrobe.
Balancing old and new is AKHL’s tightrope act, and they walk it with swagger. “We keep the
technical brilliance of these crafts—the how, not the what,” he says. Forget cultural clichés; AKHL’s
pieces are urban, pan-cultural, built for the 21st century. Their secret weapon? Textiles that dictate the
design. Unlike brands that mold fabrics to a sketch, AKHL lets the drape of their handwoven
wonders—like Leno meshes with Raffia or TPU-laced Ari—call the shots. “The textile’s the hero,” he
insists. Evening wear gets a glow-up too, ditching body-hugging norms for organic fluidity that
marries the wearer to the weave. Picture a cocktail dress where structure and softness dance together,
born from experimental materials that catch the light just so.
Sustainability isn’t a buzzword here—it’s the heartbeat. “Handcrafting with biodegradable yarns,
supporting artisans over machines—that’s our core,” he says. Every piece is slow-made, meant to
endure, a quiet rebellion against throwaway culture. TPU yarns pop with vivid color, Raffia adds raw
texture, and Leno weaving opens doors to wild embroidery—all eco-friendly, all electrifying. “These
materials let us play with form and feel in ways silk never could,” he grins. It’s this alchemy that’s
shaking up what Indian fashion means globally, challenging the West’s orientalist lens with
something sharper, fresher, undeniably now.
The artisans at AKHL’s New Delhi studio are in on the revolution. “They’re masters, and I push them
to dream bigger,” he says. Together, they dye, embroider, and weave, evolving with every collection.
The response? “They love the challenge—it’s their craft, remixed.” Looking ahead, he sees AKHL as
a bridge—modernizing Indian handwork to captivate new markets while securing artisans’ futures.
Their made-to-order model, thriving on platforms like Not Just A Label, proves buyers crave quality
over haste. “People want the story, the craft,” he notes, buoyed by the shift.
Influences? He’s got a playlist—McQueen’s daring, Galliano’s drama, tensile art from Frei Otto, and
Olafur Eliasson’s reflective magic. “It’s about structure meeting fluidity,” he muses. Next up,
AKHL’s eyeing brick-and-mortar spots worldwide, bringing their tactile magic to fashion capitals without losing that Indian soul. As India’s luxury market booms, AKHL’s poised to lead, weaving a
thread from heritage to tomorrow—one fearless stitch at a time.