As an aspiring fashion writer, many fashion brands captured my eye during college, when I would read the glossies, cover to cover. There was a tiny insert in the Elle India December 2014 issue, that featured the collaboration between the designer Anupama Dayal and the label Ekaya Banaras. It was a time when we were all still embracing bright neon sarees, with everyone from Deepika Padukone on the red carpet wearing neon green Arpita Mehta sarees to Sonakshi Sinha wearing a whole host of them in the ‘Saree Ke Fall Sa’ song. However, the Ekaya X Anupama Dayal collaboration instantly caught my eye. 

Sure, there was the evident Frida Kahlo-esque aesthetic of the campaign that captured my attention, but the other aspect was the ease with which the sarees were presented. For the first time, even a year before the 100- saree pact started, the Kama sarees were those going beyond the red carpets and farewell parties. I went down the rabbit hole of discovering Ekaya and have continued to watch in awe as they continue to collaborate with unique talents in even more unique ways. 

Ever since its inception, Ekaya Banaras is a label that has remained ahead of the curve. From collaborations that transcend the traditional mould to crafting pieces that have gained ‘archival’ status already, they have been putting the focus back on craft and textile with every new collection and campaign. They did the neon sarees during the later part of the 2010s but did it in their own way, and some of them continue to be timeless. Today, their range has evolved to include tailored pieces that blur the line between formal and casual wear, using Banarasi weaves with a polish that assures you of its timelessness. 

At homegrown, we’re big fans of intricate, heritage Banarasi textiles, and we’re even bigger fans of Ekaya as a label for their constant experimentation. To learn more about the nuances of helming a fashion label that is not just designing attire, but also representing a cultural legacy, we caught up with the CEO of Ekaya, Palak Shah.

Coming from a fourth-generation family from Banaras who’ve been immersed in the craft for over a century, could you take us through your process of capturing the nuance and authenticity of that heritage? 

My goal for the brand has always been from day one to sort of position it in a contemporary manner. I think anything and everything can be contemporary is just how you position and market it and the kind of stuff that you create with it. Something super traditional can also be contemporary by simply just how you position it you wear it and you place it with everyone. That’s what I’ve done with my brand. It’s a very traditional craft, but through marketing, strategy, and even the way I dress, we’ve positioned it as contemporary. At Ekaya, the focus is on maintaining the authenticity of our heritage while showcasing it in a fresh, modern light.

What are some pivotal touchpoints you use when you aim to connect with both a homegrown audience and a global, multifaceted one?

How we forge connections really comes down to the collaborations we do and the products we create with our partners.

For example, what we did with 431-88 and Ekaya was brilliant, as well as our collaboration with the Fédération Française de la Création Couture Sur Mesure. We're also working on something exciting with an international interior designer, coming this October. I can’t say much about it right now, but it’s in the works. Ultimately, our idea is always to keep pushing boundaries.

Continuing on the same thought, you’ve extensively collaborated with creative powerhouses while integrating other key Indian craft forms into your body of work - from the recent collaboration with 431-88 with Shweta Kapur and the cricket-inspired Masaba Gupta collection to the range with Anu Merton to interpreting Kashmiri weaves in Banarasi weaves for the Zar collection. How do you approach these strategic collaborations? Is there a shared ethos that you look for in this process?  

For most of our collaborations, we work with people who are doing something different and are breaking the boundaries in their own way. But also, I like to work especially with people who have never worked with textiles before. When you work with people who have never worked with textiles before, you get something different from what has ever been created. But the collaborations we’ve done with brands like 431-88 have been a way to blend the traditional craft of Banarasi weaving with innovative design. 

These kinds of collaborations allow us to connect with both homegrown and global audiences by pushing the boundaries of how Banarasi textiles are perceived in modern fashion.

The journey of Ekaya Banaras as a label is intertwined with your personal history and heritage. Could you speak to the personal and professional significance of that journey? Is there a responsibility that comes with representing collective heritage with authenticity? 

Honestly, I was never meant to be an entrepreneur. I was doing my finance and accountancy in London. I'd come back on a short stint because I'd been away from home for a while before I returned. My dad asked me to come and join him in the family venture. It started as a way for us to be closer. But you know how they say, no tree can ever grow under a banyan tree. My dad is the banyan tree and so am I in some ways. So, I moved out, I went to Delhi and I told my dad that I’ll take care of his idea and that I'll make it much bigger.

In terms of staying true to cultural authenticity, I believe authenticity is a broad term that doesn’t have to mean presenting the craft in the same way it has always been presented. For example, you can wear a woven textile as a jacket, skirt, or bag, and still maintain the integrity of the craft. It’s about carrying your culture with you in a way that feels natural to you, without depleting or misrepresenting the tradition. This approach helps us connect with a global audience while still staying true to our roots.

Having been the producers of the highest quality of hand-woven textiles for the past 120+ years, what challenges have you faced in reimagining Banarasi textiles for contemporary homegrown consumers and how have you overcome them? How do you hope that the next leg of Ekaya’s journey impacts the craftspeople and communities that you work with?

Challenges are inevitable when you’re working with something that is handcrafted. Textiles are made by humans—they involve emotions, time, and a lot of effort. Sometimes, there are natural or personal challenges that affect the work. However, our challenges are not unique; they are part of the nature of working with handmade products. One ongoing challenge has been navigating the rise of cheaper, power-loom alternatives. It’s important that people appreciate the value of handwoven textiles and the time it takes to create them.

As for the future, I hope Ekaya’s journey continues to encourage appreciation for traditional crafts and that weavers don’t lose hope despite the increasing competition from faster, cheaper alternatives. I believe there will come a time when hand-woven crafts will be appreciated even more as people start to value authenticity and craftsmanship over mass production.

Ekaya has created many archival pieces that have remained favorites: from the plain woven Citrine Saree worn by Nayanthara to the Beige Saree worn by Diya Mirza to the lehengas from your 2018 Pirona collection.

Tell us more about what went into some of the most pivotal pieces, collections, and projects that the brand has worked on.

Textiles are timeless by nature, and that’s why many of our pieces become classics. For example, the Citrine Saree worn by Nayanthara or the Beige Saree worn by Diya Mirza are not about following trends - they were about classic silhouettes that never go out of style. I personally prefer experimenting within a framework of timelessness, in design and even with how I carry myself. I don’t really chase trends; I aim for something that can be worn for years to come.

From your presence at the NDNY Multi Designer Store in New York to launching collections reimagining the traditional fashion label model, Ekaya, the homegrown brand, is creating its global imprint. As the 'Made in India' tag becomes a symbol of authenticity in craftsmanship, and as more people explore cultural diversity and varied craft techniques, what are your aspirations for Ekaya's future? How do you see the growth of the brand while driving design innovations in the coming years?

My aspiration is for every young, trendy girl to own a piece of Banarasi saree. I want Ekaya to continue growing globally, bringing our heritage to new markets while driving design innovations. We’re working with younger designers and tapping into their fresh perspectives, which will help us stay relevant while maintaining the timeless appeal of our craft.

In summing up our conversations, I tried to ease into knowing the person, beyond the brand but quickly realised that was an impossible feat. I posed Palak with questions that were meant to go beyond Ekaya, but rather, was given answers that showed just how entwined the person and her venture is.

Who is Palak Shah when not at Ekaya?

Honestly? There is no Palak without Ekaya. There is no Ekaya without Palak. Oh my God. I am Ekaya. I breathe, eat, and sleep Ekaya.

What do you think was a piece of clothing or a creative visual that kind of significantly shaped your work?

I think I'd say there was a campaign that we did, The Crossing, with photographer Adil Hasan and Nikhil D. of Feat Artists . And there was a shoot in which the model was sitting in a lehenga and she's just throwing the organza dupatta. I think that image has stayed with me in so many ways. I mean, that was the moment I really felt like, "oh my god, this brand has so much potential and there's so much I can do here. Until then I was still at that point where I was just growing the brand, right? I was trying to figure it out. But that shoot, that kind of cemented my resolve. It gave me hope.

Tell us about your early memories of Banaras.

My whole life is in Banaras. All my memories are in Banaras. But something significant for me, as a child, would be going to work with my dad. That was home. In the middle of all the textiles. It is just who I am.

How does the word ‘Homegrown’ resonate with you? What does it mean to be ‘homegrown’ to you?

Homegrown is "homegrown". For me, its about growing to be proud of who you are, and just owning who you are without any shame.

Who are some Homegrown designers on your radar?

Haha. I don’t think I’m going to share that yet. I will simply collaborate with them, and show you who they are!

Follow Ekaya Banaras here.

Follow Palak Shah here.

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