When it comes to Indian fashion, the exquisitely lavish banquet attire of Bollywood films or the surrealist haute couture designs of Rahul Mishra and Gaurav Gupta come to mind. India has a rich heritage of traditional weaving techniques that are waiting to be revived, yet these crafts are at risk of disappearing due to the far-reaching impacts of fast fashion. Aarushi Kilawat, one of the emerging designers at CENTRESTAGE 2025, is determined to preserve these traditional Indian weaving traditions. Through her clothing label The Loom Art, she hopes to help consumers rediscover the beauty in handwoven clothing and learn to see the value in slow fashion.

The Loom Art is based in “The Pink City” of Jaipur, one of India’s most iconic historical cities and a certified UNESCO World Heritage Site since 2019. The label’s decision to establish itself in this charming city perfectly reflects its mission: to revive ancient weaving techniques and embroidery crafts in a landscape dominated by fast fashion.

Founder Aarushi Kilawat graduated from Pearl Academy, one of India’s leading fashion schools. Whilst the Indian fashion industry strives to gain recognition on the international stage, Kilawat has sharpened her focus on local craftsmanship, creating job opportunities for the community and doing what she can to bring handwoven textiles back into the mainstream. She describes herself as a vibrant, independent traveller who loves nature and is actively involved in social movements. These characteristics, combined with a passion for handwoven fabrics, are what shaped her vision for the fashion industry. “I believe the future of fashion lies in going back to our roots & reviving age-old techniques, working closely with artisans, and being kinder to the planet,” she shares. “Sustainability won’t just be a trend anymore, it’ll become the bare minimum standard & a way of being.”

Driven by a deep respect for art, Kilawat not only actively explores local traditional crafts, such as the Kantha embroidery from West Bengal and Chikankari embroidery of Lucknow, but also weaves together garment-making practices from diverse cultures. She has delved into garment-making techniques from other countries, such as Arashi Shibori from Japan, and has recently been drawing inspiration from the mountainous landscapes of Peru, origami and fabric manipulation techniques as she looks to create her own innovative blend of traditional Chikankari, Kantha, and free-hand embroidery. The Loom Art also employs clean, modern tailoring to craft garments that are inherently rooted in culture yet globally relevant.

Beyond revitalising ancient weaving techniques, Kilawat hopes to demonstrate that meticulous, slow fashion production processes still have a place in a world where fast fashion dominates. The Loom Art promotes sustainability by protecting fair trade, preserving traditional crafts, and ensuring the well-being of its artisans. In 2024, the brand received a special mention in the Forbes India “30 Under 30” list, recognising Kilawat’s invaluable contributions to the Indian fashion industry.

VOGUE HK: What inspired you to create The Loom Art, and how does its mission reflect your personal values?AARUSHI: My core admiration towards art and love for handlooms gave birth to "The Loom Art". I always wanted to design something which would serve a purpose. I saw that there was a need to bring handloom back in vogue and honour the story-narrating crafts that our country is so rich in. The Loom Art believes in reviving old and dying craft techniques, making clothes that last for a lifetime and generating a platform for local artisans. The Loom Art was born with the idea of generating a platform for artisans & creative souls, to support talented individuals and promote sustainability.

VOGUE HK: How do you define sustainability within the context of your brand?

AARUSHI: To us, sustainability is a way of life. We believe that sustainable fashion is only complete when we look at the bigger picture and work towards achieving it.  We strongly promote the idea of handwoven textiles and loom-made fashion, as we believe that handwoven fabrics can last a lifetime & have a longer shelf life. The process of dyeing fabrics naturally takes a large amount of credit, while ensuring that every style is hand embroidered & hand crafted to the highest standards. The whole process is sustainable in its true sense when we give major credit to the fair trade and fair wage policies. We believe that all the artisans & people working behind the scenes are the real superheroes. We believe that the credit needs to be given where it's due.

"HAPPY CLOTHES MADE BY HAPPY HANDS" is our motto, which defines all our beliefs.

VOGUE HK: How do you see the fashion industry evolving in relation to sustainability and traditional craftsmanship?

AARUSHI: We’re already seeing a shift as people are asking more questions, valuing where their clothes come from, and choosing quality over quantity. There’s a growing respect for traditional craftsmanship and a real desire to support handmade, local, and slow fashion.

I believe the future of fashion lies in going back to our roots and reviving age-old techniques, working closely with artisans, and being kinder to the planet. Sustainability won’t just be a trend anymore, it’ll become the bare minimum standard and a way of being. And the brands that stay honest, transparent, and rooted in purpose will lead the way.

VOGUE HK: How do you balance modern design sensibilities with traditional craftsmanship in your work?

AARUSHI: At the heart of our brand lies a deep reverence for India’s rich textile heritage. We strive to create a harmonious balance between modern design sensibilities and traditional craftsmanship by reinterpreting age-old techniques through a contemporary lens. Every silhouette we craft begins with a story often rooted in the loom, where handwoven fabrics take shape using indigenous weaving methods passed down through generations.

Our design approach is minimal yet meaningful, where clean, modern cuts meet the intricate artistry of hand embroidery. We consciously choose to work with artisanal crafts to raise awareness about them and build a collection that speaks to the modern woman, rooted in culture, yet globally relevant.

VOGUE HK: Can you share the story behind one of your favourite pieces?

AARUSHI: One of my favourite pieces will always be the hand pole dyed Aarushi Shibori collection called “Between The Lines”. It was the first time we experimented with traditional Shibori using a hand dyeing method wrapped tightly on poles, with every fold, every pattern was a surprise. It wasn’t just a garment, it felt like art unfolding in real time. That collection carried a spontaneity & soul, and every piece we made using that technique is truly one of a kind.

But the most emotional creations were the ones I made for my parents a handwoven cotton silk dress for my mother and a pure linen shirt for my father, both embroidered with intricate Kantha stitches in wavy ocean patterns. Designing something for the two people who’ve been my biggest pillars felt incredibly personal.

VOGUE HK: You have incorporated different textiles and techniques in your designs in the past, such as Japanese dyeing techniques and Kantha stitching. How do you select artisans and craftsmen to collaborate with, and what criteria do you prioritise?

AARUSHI: We usually start by looking for artisans who have a deep love for what they do, people who’ve grown up with the craft, whether it’s Kantha, Japanese dyeing- Shibori, or traditional weaving. It’s less about trends and more about finding those who keep these beautiful, age-old techniques alive.

We hunt and choose to work with communities & clusters of artisans where the craft still thrives, and the knowledge of the craft has been passed on from one generation to another and where there’s a genuine respect for slow, mindful making. Every collaboration feels like a creative exchange, and that’s what makes each piece special

VOGUE HK: What challenges do you face in sourcing materials and collaborating with artisans?

AARUSHI: One of the biggest challenges is the unpredictability that comes with working the slow way. Handwoven fabrics take time, and sometimes longer than expected. Every artisan has their own rhythm, which we deeply respect. But balancing that with production timelines can get tricky.

Sourcing sustainable, high-quality materials is another ongoing challenge. Natural dyes, organic yarns are not always easy to find consistently, but the primary concern is that the artisans aren’t always curious to explore and try different combinations of the craft techniques. Sometimes, we have to educate them using digital examples to convince them.

VOGUE HK: As a designer, what lessons have you learned since founding The Loom Art?

AARUSHI: Starting this brand has been one of the most humbling experiences of my life. One of the biggest lessons I’ve learned is that growth takes time, and that’s okay. Slow fashion isn’t just about how we make clothes; it’s also about how we build a brand with patience, care, and purpose.

I’ve learned to embrace imperfections, because that’s where the beauty of handmade lives. I’ve learned that working with artisans
means building real relationships, not transactions. And most importantly, I’ve realised that people connect with honesty, when you stay true to your values, your work finds the right hearts.

VOGUE HK: What role do you think independent brands like The Loom Art play in shaping consumer attitudes towards sustainable fashion?

AARUSHI: As an independent brand, we may not have the scale of big fashion houses, but we do have something powerful and authentic with the right intention. We believe our role is to spark change by showing that fashion can be beautiful, ethical, and conscious, all at once.

By being transparent about our process, celebrating our artisans, and making thoughtfully crafted clothes, we help shift the mindset from fast to mindful living. We’re here to remind people that what you wear has a story, touched by many lives and that story matters. Change starts small, and we’re proud to be part of that.

VOGUE HK: Are there new techniques or materials you’re interested in exploring in future collections?

AARUSHI: Always! We're constantly inspired by the beauty of age-old techniques and the possibility of reimagining them in new ways. There’s so much that we haven’t explored yet, and so much more to learn about. Lately, I have been inspired by the mountains of Peru and the art of origami & fabric manipulation techniques. I have been learning and trying to create an amalgamation of my own interpretation of traditional Chikankari embroidery from India, blending it with kantha alongside free-hand embroidery.