Dressfolk is Building a Handloom Brand Where Craft Isn't a Compromise

When Nitin Mehrotra founded Dressfolk in 2017 alongside co-founders Luxmi Mehrotra and Vidushi Saraf, the Delhi-based brand posed a pointed question: why should traditional Indian textiles be confined to wedding trunks and ceremonial occasions? The answer, they believed, wasn't to dilute the craft or rush the process, but to rethink its context entirely.

Eight years on, that conviction has translated into a network of over 800 weavers across six states, from the Jamdani clusters of Bengal to the Banarasi workshops of Varanasi. The brand recently secured backing from investors including Mamaearth founder Ghazal Alagh, and now reaches customers in over 20 countries through their website, Nykaa, Myntra, and Aza Fashions. But more revealing than their distribution is their design philosophy: a belief that Indian handlooms don't need to choose between heritage and wearability.

Design Thinking That Begins at the Loom

"When we say Dressfolk is 'made of India, not just made in India,' we're really talking about design thinking that begins within Indian craft traditions itself," the team explains. Their process starts with understanding each craft's intrinsic elements. "Is it the weave structure, the motifs, the rhythm of repetition, the way colour is traditionally used, or the pace at which the fabric is made?"

In Bengal clusters, they work with stripes, checks, and colour-blocking through unexpected combinations. With Jamdani, the approach shifts. "We don't try to change the craft itself. Instead, we reinterpret the language and play with placement, scale, spacing, and shape. Traditional motifs serve as our starting point, but they may appear oversized, sparsely placed, asymmetrical, or reimagined in a more graphic form. The technique remains untouched; the expression evolves."

Bringing Banarasi to Everyday Moments

Their new Banarasi collection exemplifies this philosophy. "Our intention was never to disrupt the legacy of Banarasi weaving, but to build on it thoughtfully," they clarify, maintaining "the delicacy of the weave, the technical mastery, and the inherent richness that defines Banarasi textiles."

What they evolved was the context. "Traditionally, it's been limited to weddings or very formal occasions. We wanted to bring Banarasi into modern, everyday moments. To a brunch, a work meeting, or a cultural evening." This meant rethinking scale, weight, and colour stories. "We explored a more playful, unexpected side of the weave. Subtle shifts in patterning, softer expressions of ornamentation, and combinations that feel fresh rather than ceremonial."

The artisans responded positively. "For them, it was exciting to see Banarasi being worn differently, reaching a wider audience, and finding relevance in contemporary life."

Designing for Emotional Relevance

"When you're close to the loom, you understand the canvas, the tools, and the constraints, and that clarity allows you to design more thoughtfully." They plan production well in advance. "Time, loom capacity, and production rhythms are built directly into our design and development process."

"At Dressfolk, longevity is a design principle rather than an outcome—it informs every decision we make, from fabric selection to silhouette," they state. They avoid trend-led silhouettes, focusing instead on "clean stripes, balanced proportions, and versatility. Each piece is designed to be styled in multiple ways, worn traditionally, layered, or interpreted more contemporarily."

Consumer education has been crucial. "We realised early on that people don't automatically understand the value of handloom, it has to be explained, repeatedly and simply." Through their Substack, social media, and physical collaterals with each order, they tell stories about fabric, process, and artisans. "Longevity is not just about durability; it's about emotional relevance."