In his latest campaign Gardener, designer Divyam Mehta turns once again to the ancient art of shibori to reimagine contemporary textile language. Over the years Shibori has become a recurring craft technique in his work. For Divyam, Shibori is not only a technique but a philosophy, a way of allowing fabric to carry both memory and surprise. He keeps returning to it because within its folds he finds endless metaphors for growth, patience and transformation.
Tell us about the significance of shibori in this collection. What is your relationship with it?
I love the idea of how shibori becomes an integral part of the textile, almost like two merging into one. I have always been intrigued with the shibori process, and it's been part of our collections since 2012. There is something very meditative about it: the rhythm of running stitches, tying, dying and then simply just waiting. It always rewards unpredictability while teaching spontaneity and balance. Every time I return to it, I find a new way to see it. In Gardener, Shibori becomes a language through which the fabric almost speaks back. It carries memories of collected botanicals, trees and landscapes, and that’s what makes it so powerful to me.
What’s the thought behind the palette of this collection? Why have you chosen to work with Earthy tones?
I wanted colours that felt lived in, like they belonged to nature, which are faded... They speak of time and process. They create a quietness that lets the craft breathe. Earthy tones also remind me of balance; they don’t shout for attention but draw you in slowly, just like the process of shibori itself.
The silhouettes of this collection are light and free. What inspired this fluidity?
I like forms that cocoon but are not rigid, mouldability, movement, softness gives the wearer a sense of freedom. Instead of forcing the fabric into rigid shapes, I let it guide the silhouette. The result was pieces that feel effortless and soft like lungi trousers, quilted jackets, sprouting-sleeve tops. They move with the body, not against it.
Why are you drawn towards minimalism in your design language?
I have always found a sense of depth in simplicity. For me, minimalism is about honesty rather than the idea of less. When you remove decoration, what remains is the essence of the fabric, the handwork, the craft in its entirety, and I let that decide the final outcome. Also, I look at craft in a very technical way, and thus the size of the stitch or thickness of the lapel, fabric composition and yarn thickness are important decisions for me.
Tell us about the kind of emotions you hope to invoke within someone wearing this collection.
I want people to feel a sense of calmness and exuberance at the same time.
How do you see traditional techniques like shibori fitting into the future of Indian contemporary fashion?
I think every craft is very relevant provided we keep updating it in terms of quality, material and design. The future of Indian fashion lies in espousing handicraft and industrial technology. In fact, the challenge is not to raise the bar but to make it cost effective for a larger audience, or to do bulk productions in a given timeline.
What’s next—what’s the future looking like?
I want to deepen my work with craftspeople, to explore new natural materials, and to keep finding ways for the handmade to feel relevant. I’m also interested in how textiles can tell stories beyond clothing like through art, installation, or even collaboration across disciplines. I think the next chapter will be about growth, but quiet growth, rooted in the same patience that inspired Gardener.
Words Neeraja Srinivasan
Date 13-11-2025