If you’re looking to update your summer closet, we are so excited to bring you a range of beautiful long flowing dresses from our homegrown labels. Our consciously crafted silhouettes are both perfect for dressing down for a casual brunch to looking your elegant best for a dinner party. Here’s our collection of maxi dresses you’ll want to flaunt this season!
The Lilac Teal Dress from The Loom Art is a dainty three-tier button down silhouette that features a statement smocked bodice with elbow sleeves and a square neckline. It’s crafted from breathable cotton silk fabric with intricate Arashi Shibori and Bandhani in shades of lilac and teal green.
Dahlia Dress
A must-have versatile and vibrant silhouette, the Dahlia Dress from Little Things Studio is always popular for its effortless ease. This two-tiered collared dress comes with a loose fit and an adjustable drawstring waist, made with cotton poplin fabric that gives volume to the gathers for utmost comfort and style.
Raven Asymmetric Draped Dress
Make a statement in this hand-draped asymmetric dress from Auruhfy. It is tailored in muslin silk with Tagai on the neck, and its sleeve hem gives structure to the well-fabricated outfit. It also features drop-down shoulders and side inseam pockets that add the perfect distinctiveness to the piece.
CREDITS
Writer PRERNA MALHOTRA
Layout and Graphic Design VEDHIKA HV
IKKIVI Zine is a property of IKKIVI by Founder NIVI MURTHY
Khara Kapas is a unique label that seamlessly blends the contemporary style with the essence of traditional Indian craftsmanship. We had the pleasure of speaking with the visionary founder behind the label, Shilpi Yadav, about the brand’s distinctive identity and journey, embracing and incorporating Indian craftsmanship and fabrics into its designs, and its latest collection, An Indian Summer, and the vision behind this new lineup.
What inspired you to launch the label Khara Kapas? What does its unique name stand for?
What are your favorite fabrics and artisanal techniques you enjoy working with to create the products, and why?
My all-time favorite fabric will always be mulmul. It was my mission to bring mulmul to mainstream fashion through my clothes. It’s the fluidity and feel of the fabric, especially for the scorching Indian heat. Whether it’s Shibori and the work of color while clamp dyeing or traditional printing and the subtle colors on cotton, both techniques are magnificent in their own unique way. What we are also exploring is my fine art inspired by Indian fauna and flora that we are now transferring to our prints. It’s a new design direction for our artwork.
Each silhouette made by Khara Kapas is truly one-of-a-kind. What, according to you, makes your clothing distinctive from the other brands, and how do people perceive your collections?
I think what distinguishes me is the fact that I have always been true to my vision of what works for women of all shapes and sizes. It’s comfort over fashion. It’s the belief that if I can’t wear or live every single piece designed under Khara Kapas, then I can't expect my customers to love it. We make no compromises there. It has to be comfortable with a blend of style and impeccably topped with quality. Clothes that last you a lifetime.
We’re so excited about the latest collection, An Indian Summer. Can you tell us more about this new lineup and the vision behind it?
An Indian summer is true to its name. It’s everything that Indian summer is all about. The balmy heat days call for breezy mulmul silhouettes like a good lineup of tiered dresses, co-ord sets, airy maxis, and fun skater dresses. We have introduced my signature watercolor prints inspired by Indian fauna and flora. Summer is all about mulmul, and our collection includes mulmul, fine poplin, and cool linen fabrics. We have strappy dresses perfect for the evenings and vacation looks too. And our kaftan dresses are unmissable this season.
What makes this collection stand out amongst others?
It’s all of the above things. What is being loved the most is our signature watercolor prints that are from my personal watercolor collection. Our style ‘Shikanji’ is a super hit already, and so are our kaftan ‘Sea Shells’ and ‘Tequila Sunrise’.
What’s next in store for Khara Kapas? We’re always excited to learn about our designers’ upcoming projects!
We have always been excited about new categories and brand extensions. Our jewelry is already being loved, and so are our bags. We will extend our menswear into a bigger category, and we are planning to add a home line soon. And we are on a quest to open physical stores this year. So hopefully, we will be announcing that soon!
CREDITS
Interviewer and Writer PRERNA MALHOTRA
Layout and Graphic Design VEDHIKA HV
IKKIVI Zine is a property of IKKIVI by Founder NIVI MURTHY
Images by KHARA KAPAS
Embrace a carefree style this season with our versatile summer co-ord sets. With their effortless ease, these sets are a must-have wardrobe staple, be it for casual outings or summer soirées. Here are our top favorite co-ord sets on IKKIVI!
Made from handwoven Chanderi silk, the Lily Co-ord Set is a dreamy white ensemble to adorn yourself with this summer. This elegant set stands out for its pearl white hue and delicate sheer detailing, making it a perfect summer outfit.
The Farah Black Co-ord Set is crafted from a printed crepe and features a beautiful bouquet arrangement of roses, marigolds, and jasmine. This set includes a shirt with back gathers and straight pants for a classic, timeless look.
Classic and sophisticated, the Nocturnal Days Co-ord Set is one of our most coveted outfits. It’s made from khaki twill cotton and features a classic waistcoat and flared pleated trousers.
MILKY WAY SEQUIN SHIRT & PANT SET
The Milky Way Sequin Shirt & Pant Set is made from stunning vegan silk featuring hand painted abstract design and embroidered sequin detailing. This trendsetting set comes with a straight casual fit and matching trousers.
CREDITS
Writer PRERNA MALHOTRA
Layout and Graphic Design VEDHIKA HV
If you’re looking for a playful and easy look, the Scarlet Dots High Slit Set is a must-have for your vacation. This set is crafted from handwoven cotton silk and includes a relaxed-fit top and ankle-length pants embellished with hand-printed dots.
Make a statement in the vibrant knotted style shirt from our brand Rias Jaipur. This relaxed fit full-sleeved shirt is crafted from handspun and handwoven organic cotton and features a front button opening with shell buttons, a soft collar, and multi-color stripes hand block printed on an off-white base.
If you want to enjoy a bold and sleek look without having to mix and match your pieces, the Faith Printed Jumpsuit from Kanelle is the perfect fit. This easy-to-wear wide-leg jumpsuit is made from viscose twill and comes with an adjustable printed belt.
The Vintage Wide Collar Top from Khajoor is one of our most loved pieces for its charming details. This straight-fit sleeve top has a lovely print depicting summer poppies in a contemporary style and a dainty vintage collar, and you can pair it with its matching pants or your favorite skirt.
CREDITS
Writer PRERNA MALHOTRA
Layout and Graphic Design VEDHIKA HV
IKKIVI Zine is a property of IKKIVI by Founder NIVI MURTHY
Give your look a charming touch of vintage with the accessories such as silk twilly. One of the most coveted pieces from our curation, A Sweet Vintage Silk Twilly from Carte Blanche will instantly give a flattering pop of merlot to your white shirt with its luxurious look and feel.
The three-layer chain from our label Roma Narsinghani can instantly elevate any white outfit with its fine gold detailing enriched with quirky motifs. This chain is set in reclaimed brass and is 18K gold plated to amp up your look.
Look your elegant best by layering this Cotton Jumper Dress from our brand Ura Maku over a classic white shirt. This jumper dress is carefully crafted from handwoven organic cotton featuring adjustable shoulder straps and a relaxed, comfortable fit.
The Ciara Flared Pants are a perfect blend of comfort and grace that you can easily pair with your favorite white shirt. These pure cotton pants feature intricate blue thread detailing and a flattering waist fit, making them a style that truly transcends time.
These unique asymmetrical printed pants from Rias Jaipur are a fun and quirky way to integrate colors into your wardrobe. The Void Panzo pants are crafted from handspun and handwoven organic cotton fabric adorned with the label’s signature hand-block printed polka dots.
CREDITS
Writer PRERNA MALHOTRA
Layout and Graphic Design VEDHIKA HV
IKKIVI Zine is a property of IKKIVI by Founder NIVI MURTHY
As we become more aware and informed about the choices we make and learn about the impact that fast fashion has on the environment, it is imperative that we seek out products that are planet friendly. We at IKKIVI are committed to providing high-quality eco-friendly products from our contemporary brands that are thoughtfully created keeping the welfare of the people and the environment in mind.
From promoting sustainable manufacturing methods to local and fair labor practices, we aim to reduce the negative impact of the fashion industry and work towards a more circular economy. We are so grateful for our customers who choose to shop local from us and support what we do. And if you’re new to our platform and looking to shop for sustainable and ethical pieces, we are here to help you find what you’re looking for!
We have curated a list of some of our most loved products that are a perfect blend of style and sustainability, and we’re sure you’d love to incorporate them into your everyday wardrobe this season.
The refreshingly breezy Morning Sky Jumpsuit from our brand Khara Kapas is a perfect silhouette for this season. Made from pure linen cotton, this sage blue piece beautifully gathers at the waistline and features a low back neckline and two front pockets, making it a must-have essential for your summer wardrobe.
Romantic and dreamy, the Avisa Dress from Little Things Studio will elevate your personal styling, be it for a fancy outdoor luncheon or a beach vacation. This stunning piece is made from silk satin organza and comes with an embroidered yoke in a wave design, dolman sleeves, and tie-ups at the back.
This satin set from our millennial-run label Yam is a fun and playful combo to own! The relaxed fit with hand-painted and printed lemons on it makes it everyone’s favorite look. It is comfortable, stylish and is a timeless fashion statement that you can wear for years to come as it’s made from high-quality fabric and materials.
The Sea Waves Organza Shirt from The Loom Art is a visually striking look with its sheer silk fabric sourced from the weavers in Kolkata. For this piece, the artisans have used the age-old technique of Arashi Shibori to create textures in the shades of moss green on the bed of steel blue organza silk.
Add a touch of sophistication to your look with the coveted Ruby Rock Hair Bun from our designer Roma Narsinghani. It is one of the most popular accessories on IKKIVI that is perfect to elevate any basic hairdo. The hair bun is set in brass, with red Swarovski stones in 18KT gold finesse.
CREDITS
Writer PRERNA MALHOTRA
Layout and Graphic Design VEDHIKA HV
IKKIVI Zine is a property of IKKIVI by Founder NIVI MURTHY
The playful and flowy Med-Lay dress from our label Khara Kapas is a chic silhouette crafted from the softest cotton mulmul and will help you breeze through sweltering summer in style. This mosaic-printed flounce dress features semi-long sleeves, a zipper closure at the back, and an attached lining, ensuring utmost comfort.
The Sweet Lavender Jumpsuit from Em and Shi serves dreamy and relaxed holiday vibes. It is an easy to wear wide-legged overall, consciously made in linen, and features dainty lavender print. It comes with unique details, such as buttons carved out of coconut shells and a detachable belt for the perfect fit.
The Kumudini Top is a unique take on a summer staple white top and is crafted from handwoven organic cotton (kala cotton). This crop top combines intricate elements such as gathered and voluminous sleeves, a wavy hem, and a tie back cut-out, and can pair perfectly well with your favorite pair of jeans or a sari.
The Outlined Florals Boxy Resort Shirt paired with matching trousers is a statement-worthy set to include in your summer dressing. This trans-seasonal look depicts summer poppies in a contemporary style using the artisanal technique of hand block printing, along with hand-embroidered details on the sleeves and collar.
The Elizabeth Sheer Pleated Dress from Ahmev is a romantic and ethereal silhouette and is a perfect definition of a timeless design. It features a pleated high neck and a large tie-up at the back, made from pure cotton and a layer of silk organza that gives it the old-world charm with a touch of modern glam.
CREDITS
Writer PRERNA MALHOTRA
Layout and Graphic Design VEDHIKA HV
Cover image photography PRERNA MALHOTRA
IKKIVI Zine is a property of IKKIVI by Founder NIVI MURTHY
Our latest and most exclusive collection so far, Reimagining Indian Fashion is our mindful curation through which we’re expanding the view on contemporary Indian fashion and reimagining the beauty of classical Indian crafts with modern silhouettes. This range features a unique amalgamation of colors, textures, and trends, and we’re so excited to bring you a range of exquisite sustainable clothing that will be as timeless and artistic in your collection as many of our native design techniques.
Equal parts whimsy and dreamy, the Avisa Dress from Little Things Studio is a piece you’ll love to own this summer. This silk satin organza backless dress features a wave design reflecting our love for the sea and nature as a whole. It comes with a dolman sleeve and tie-ups and includes a cupro slip.
Make a bold and powerful statement in our stunningly vibrant Kesar Saree, a classic take on our traditional six-yard staple. This floral red and hot pink saree is screen printed by hand on silk satin organza fabric and has a light and luxurious feel to it, making it a perfect silhouette for casual to fancy occasions.
Add a festive touch to your wardrobe with this elegant two-piece set that comes with a burnt red short cotton silk kurti featuring a round neckline, a back hook opening, and delicate floral embroidery. The playful and fun high waist ghagra is a perfect pairing with it as it’s adorned with delicate lines of gota lace all across the mulmul skirt and with gota finishing across the hemline.
One of our most covetable co-ord sets, this relaxed and breezy Moss Tie-Dye Overlay Set from Auruhfy features a tie-dye kaftan style overlay with side slits. It comes with high-waist pants in cotton poplin with an elasticated back waist and side pockets. This co-ord set is perfect for your daily wear needs and special occasions and can be accessorized with a statement necklace and your favorite pair of heels.
Look your edgy best in this Charcoal Waves Co-ord set from our label Rias Jaipur. It features a collared top that is cut and stitched jaggedly, creating a beautiful artistic effect with a pair of grey straight pants to accompany the unique design. This piece is made from indigenous fine cotton with a hand-block print.
CREDITS
Interviewer and Writer PRERNA MALHOTRA
Layout and Graphic Design VEDHIKA HV
IKKIVI Zine is a property of IKKIVI by Founder NIVI MURTHY
The art of knitting takes us back to our childhood when most of us watched our grandmothers swiftly sew endless sweaters, scarves, and caps for us as their favorite pastimes. Now years later, the ancient technique of knitting is more than a warm memory and has evolved significantly as the designers are redefining this art form with their contemporary and edgy take on it. The simple and humble craft of knitting has taken shape into truly artistic and visionary form by our designers like Muskan Soni, founder of Khajoor Studio. She is one of the many talented designers in our country who are leading the way for premium contemporary knitwear with her signature aesthetic and creative direction through her label. We had the pleasure of speaking to her about her journey, design process, reimagining the craft of knitting, and the brand’s exclusive new collection Fragments’23.
What led you to launch the artisanal luxury clothing brand Khajoor Studio? We’d love to know about your journey and the inspiration behind the label
'Khajoor' is a Hindi word for sweet edible fruit - the date, growing on date palm trees. From date walnut puddings to being described as the tree of life, from breaking fasts in the evening Iftar meal with dates to being a symbol of prosperity and triumph, Khajoor as a brand represents the values of timeless traditions & cultural craftsmanship with a pinch of sweetness.
The soul of the brand finds its origin in my creative vision. Being born in the beautiful Pink City, I have always been inspired and surrounded by the rich culture, heritage, and crafts of Rajasthan. I was engrossed in painting with different mediums at a very young age and later went on to pursue a bachelor of design from the National Institute of Fashion Technology, New Delhi. After graduating and while pursuing CCBP from IIM Ahmedabad, Khajoor was born in 2021, with the hope to evoke a sense of colorful nostalgia and work with textile crafts merged with edgy modernity.
Khajoor derives its inspiration from all small things Indian, whether it's the vibrant streets of the south Indian temples or the intricate architecture of Indo-Mughal palaces in our hometown. Our signature aesthetic envelopes the love for the people, places, and art of our country.
We greatly admire how you honor the textile traditions of India and incorporate these beautiful age-old techniques into making contemporary pieces. Can you tell us about these techniques and give us an insight into your design process?
Our philosophy revolves around Contemporary folklore in India, expressed through artisanal & artistic contemporary essentials for the modern individual. Centered around hand knits and hand prints, the clothing at Khajoor is structured yet delicate, art-inspired, and mindfully handcrafted. From using ethical raw materials to natural and azo-free dyeing, we try our best to use sustainable raw materials, processes, and alternatives that live in harmony with nature. All our collections take inspiration from either some art movement or from everyday Indian things that take shape in form of knits, prints, or silhouettes. Translating it into textile crafts like hand knitting and hand block printing, which are hand done by artisans, takes a lot of sampling and experimentation to create something beautiful in the end.
The brand has made a name for itself with its stunning collection of knitwear. How did you identify and decide to fill the market gap for this craft? What inspired you to reimagine the art of knitting that was once just a hobby for most people in India?
While pursuing Knitwear Design from NIFT, New Delhi, I worked with different types of knitting techniques and fabrics - Hand Knitting, Flat Knitting, and Circular Knitting, with a special interest in hand knitting and crocheting. While working with different women artisans and clusters for hand knitting, I realized that there’s a gap in the Indian market for premium contemporary knitwear, which is also a zero-waste process because essentially no waste is generated with hand knits. After researching and experimenting with knits and yarns, we launched our first-ever collection in 2021 with hand knits while expressing our artistic vision and co-creating with women artisans in India with love.
How are your handknit products different from what we used to see in most of our homes? How do the customers perceive your modern and unique take on knitwear now?
Hand knits from Khajoor will always be distinct because they express our artistic signature aesthetic using materials like indigenous wool, merino wool, recycled cotton, etc., and are handmade by skilled women artisans in India. Our clients are very appreciative of our knitwear pieces. They understand the time and effort it takes to hand-knit a piece, and it makes them cherish these made-to-order pieces for life.
We’re so excited to know that Khajoor Studio has launched its latest collection, Capsule Edit’23 - Fragments. Can you tell us more about this new lineup and what sets it apart from the previous collections?
Capsule Edit'23 - Fragments expresses the concept of multi-dimensionality, an aspect of the truth of life. Fragments portray angular, monochrome, and simplified geometric forms and structures placed in a non-illusionistic space. Marginal 2D optics illustrate subtle monochrome freedom of experimentation.
It is a collection of conscious handmade knitwear, quilted dresses, and co-ord sets exploring various geometric patterns in the craft. The pieces are thoughtfully hand-knitted by women artisans from Himachal Pradesh, India, in pure merino wool and recycled cotton. The quilting and hand embroidery are done at our studio in Jaipur. From cloudy windy mornings to chilly nights, Khajoor Studio’s pieces will continue to keep you warm and cozy.
The Fragments’23 has been interpreted with distinctive visual storytelling. We’d love to know about the campaign and what it strives to say with its stunning photography.
The campaign for Fragments strives to express the concept of minimal abstraction, the garments from the collection fuse together linear and symmetric elements in flowy yet structured silhouettes so we wanted to shoot it in a clean, crisp manner. The homogenous hues and marginal 2D optics illustrate a simplified puzzle-like aura in the overall imagery.
What are your favorite products from Fragments’23, and why so?
Some of my favorite pieces from Fragments include the Tearoom Vintage dress which is a perfect old-school romantic, intricate crochet dress that can be styled for brunch or a night out as well. Another piece that I love is the Coral crochet long scarf, beautifully handmade in merino wool, a perfect head-turner accessory, and last but not the least, I love the Pearl Baby quilted dress, a chic statement dress perfect for outdoor settings.
What is next in store for Khajoor Studio? We are always looking forward to more exciting projects from our talented designers!
Coming up for Khajoor Studio are a lot of vibrant artsy hand block prints, resort summer crochet pieces, and more hand knits for winters this year while also innovating with new materials under our design language.
CREDITS
Interviewer and Writer PRERNA MALHOTRA
Layout and Graphic Design VEDHIKA HV
IKKIVI Zine is a property of IKKIVI by Founder NIVI MURTHY
Images by KHAJOOR STUDIO
]]>Embracing a sustainable lifestyle and making mindful choices is the need of the hour considering the dire impact of fast fashion on the environment and its people. If you’re looking to make a positive change this year and reduce your environmental footprint, we can help you on your journey. We at IKKIVI work closely with our designers who focus on quality and create clothes with great care and thoughtfulness. From using ethical materials and minimal waste techniques to adopting fair trade and transparent practices, they’re making the world a better place.
If you’re looking to create a capsule wardrobe with high-quality and versatile pieces that will last a long time, we have curated a list of sustainable basics designed by our contemporary fashion brands in India. From handcrafted tops to dresses, here’s our lineup of everyday timeless pieces you’ll love to own.
A classic white shirt is a must-have piece for any wardrobe! This oversized boxy-fit shirt from our brand, The Summer House, is an edgy take on this basic wear and can pair well with your favorite pair of pants, denim, or a chic skirt. It is crafted in plush handspun and handwoven cotton and features folded sleeves and patch pockets.
This A-line and relaxed cotton fit from Itr by Khyati Pande is a whimsical and dreamy silhouette perfect for the warmer days ahead. The dress features intricate hand block printing that makes it look ethereal underneath the outer layer of organza and comes with a camisole lined with 100% plain cotton fabric.
This is an easy and breezy powder blue co-ord set that is made from linen and comes with a collared shirt featuring an overlapping button closure. It is coupled with a matching pair of bermuda shorts with a plain waistband and side pockets, making this comfortable set a perfect accompaniment for your everyday dressing.
A popular loungewear co-ord set for casual day outs or vacations, the Aura Set from our label Khara Kapas is crafted from the softest cotton mulmul fabric and includes a beige polka dot kaftan with front pleat detail and is fully lined. It comes with regular trousers with full lining and a front zipper.
We love our stylish and comfortable wide-leg pants! This pair of handwoven khadi denim high-waisted Debbie Pants from Cross A Line is sure to turn heads with its dramatic flare. It features flap pockets on the sides, an itemized show stitch, and wide waistbands, and you can pair them with your favorite top or jacket to create a statement look instantly!
The Roxanne Skirt is a glamorous and chic wardrobe staple that will take your style quotient up a notch, be it for work or brunch. This high-waist pencil skirt features a front center seam slit for ease of movement and in-seam pockets. This skirt will pair great with a satin shirt or a cotton top, depending on the look you’re going for!
CREDITS
Interviewer and Writer PRERNA MALHOTRA
Layout and Graphic Design VEDHIKA HV
IKKIVI Zine is a property of IKKIVI by Founder NIVI MURTHY
There’s an intimacy involved with each piece of jewelry we adorn ourselves with that goes beyond the visual appeal. Our stories, values, and sentiments reflect in what we choose to wear, be it in our everyday pieces or heirlooms. For Roma Narsinghani, a renowned conceptual jewelry designer, the jewelry carries a deep connection for the maker and the wearer alike. It evolves from a concept to art by the hands of the local artisans, an intricate process that gives life to something truly beautiful for us to keep. At IKKIVI Zine, we had the pleasure of speaking to her about her journey of building her exceptional brand and the story behind its unique aesthetic, her latest collection Sundays Are For Love, the brand’s stunning use of visual storytelling, and more.
We are keen to learn about your exciting journey from being a fashion intern to a conceptual jewelry designer. What inspired you to pursue this particular role in the fashion industry?
I did not plan to be a jewelry designer initially. I have an art and design background and did my BA in London from Saint Martins College of Art & Design and pursued a Master’s degree in Fashion & Luxury from Instituto Marangoni. Once I moved back to Mumbai, I was trying to figure out my next move. Meanwhile, I was designing jewelry pieces just for myself. As I was about to get married at that time, I used to look into my mother’s old pieces for what I wanted to wear, and it all started from that point. Eventually, I met a jeweler and started making the pieces.
Once I was in Delhi for work and during Fashion Week, I happened to be there for the fittings where I was wearing a few of my pieces, such as my hair bun, a necklace, and a ring. That’s when I met the designer Anju Modi, and she asked me if I would like to give her the pieces for her show and if I have more of the jewelry. I lied and readily agreed, as I wanted to make this work, and excitedly went back to Mumbai on the same day. I sat with my jeweler day and night and worked on having the pieces ready for the show within a week, and came back to Delhi. I literally made my brand logo from scratch by writing just my name because they needed it for a press kit. Once the show happened, Ogaan saw it and picked it up, and another store in Delhi picked it up as well. And just like that, it all came together, and it turned into a brand. We never got a chance to reflect and understand as everything happened so fast. Since it started, it has been unstoppable. In the first week of our new journey, we did four collaborations, and we were truly lucky when the customers and the fashion industry responded well to our products. It was all by chance, and let’s say it was the right place and right time. Then onwards, I chased this direction for my career.
The brand has a beautiful aesthetic that stands out in the crowd. It’s more than just creating elegant jewelry for the wearer but also creating stories for each individual’s style. How did you decide to build a label keeping this aesthetic and idea in mind?
Masculine and feminine—Lord Shiva (Tryambaka Deva— literally meaning ‘three-eyed lord’) and Goddess Parvati (Haimavathi—daughter of the Himavan) play huge parts in the brand aesthetic. They are provocative and evocative together.
Be it the larger-than-life reality of the all-pervading Tandava of Shiva (dance of the God) or the all-consuming Lasya of Parvati (dance of the Goddess), both have always awed me. It shows up in my creative processes.
Geometric shapes drawn from the Universe, like lines, squares, rectangles, circles, triangles, and others, collate and collaborate to tell a story.
Eventually, like pieces of a puzzle, they fit in perfectly-imperfectly. No shape overpowers or suppresses the other.
Each is individualistic with its own alignment, sacredness, solidity, and illuminance. It is creative slowness in its absolute form.
Most of your jewelry comes in an elegant gold finish. We would love to know the reason behind this preference over other materials like silver that you would like to share with us?
I’ve always preferred gold as a finish, I guess it could be because I’ve always seen my mom wear gold growing up or because of my Sindhi roots, but we have started experimenting with silver recently and hope to create more pieces in silver in the future.
We would love to know more about your latest collections and the story behind each one. And is there a collection that is intimately closer to you to date?
I think we evolve with each collection - and the most recent evolution post-pandemic is reflected in our newest collection – Sundays Are for Love. As a collection, this one is based on a deep introspection of unconditional love among humans, relationships, and unapologetic and accepting intimacy. Making a shift to smaller, lighter, and more wearable pieces of jewelry while still connecting deeply with the wearer.
Lasya was a very special collection for us as well. It was a depiction of lord Shiva's relationship with Parvati. It’s the first time we used color in our pieces. It is also the collection that proved extremely successful for the brand.
It got us the sustainable design award at Helsinki Fashion Week, and we got selected as one of the super talents at Super Pitti by Vogue Italia.
We also create a lot of collaboration collections as well which are always learning experiences and help us push our boundaries.
A super special collab collection was created for Rahul Mishra for his show at Paris Fashion Week. It was a dream come true to watch our pieces strut down that runway. Definitely an emotional moment for us.
There is a stunning use of imagery for each of the brand’s campaigns. How do you think it helps express yourself and your work?
Storytelling is such an important aspect of putting a product out there. Every collection has a different approach and requires its own unique treatment.
I have to admit I don’t stick to any rules but go with my instinct when deciding the concepts for our campaigns, but there will always be one or two elements that one will see in all of our campaigns.
I am a shy person in real life, so the campaigns also become a way of expressing myself in a different light.
For example - we chose to depict intimacy for Sundays Are For Love because it was something I was always uncomfortable with for certain reasons, and I wanted to challenge that hoping I’ll learn something about myself in the process and get out of a block I created for myself. I have to admit, it helped.
How does the label encourage sustainability in its process, from sourcing raw materials to working with artisans? From your experience, what would you like to share with other brands about creating conscious jewelry?
Each Roma Narsinghani piece is handcrafted by a local artisan on order. His or her hands and fingers metamorphose the material into art—conceptual yet solid, complex yet simple, bold yet subtle, wearable and keepsake.
The processes used in crafting the designs are drawn from ancestral, eco-conscious, and old-world techniques such as Bidri, Repoussé, and chasing. The base material for all pieces is brass and reclaimed brass. The waste is reclaimed with care and absorbed into other designs.
Our policy is not to pay the lowest price from the biggest players in the market, but rather, we support smaller, local individuals; the price is higher, but the practice is fairer and more sustainable for the community as a whole.
We take pride in our happy employees and take their well-being seriously by providing them with a safe working environment and long-term job security. We believe in empowering them with new training, skills, and responsibility that take them to even greater heights.
We opt for finding innovative ways of using and recycling all our scrap materials, choosing digital formats over printed, choosing recycled paper when necessary, and using eco-friendly packaging for our pieces. Our pouches are 100% hemp, and tags are made with plantable seeds, and we use plant fiber compostable mailers for couriers.
We look forward to more artistic ventures of Roma Narsinghani in the future. Can you share with us any projects which you are most excited about?
There is a lot in the pipeline that I can’t disclose entirely. But think bio-materials, think metal craft communities.
It would be wonderful if you could share any advice for the jewelry designers passionate about entering this space?
Just be yourself, and don’t get caught up in the rat race. I read something that really resonated with me.
Between stimulus and response there is a space. In that space is our power to choose our response. In our response lies our growth and our freedom. - Viktor E Frankl
I’ve set this quote as a reminder on my phone that pops up every morning.
CREDITS
Interviewer and Writer PRERNA MALHOTRA
Layout and Graphic Design VEDHIKA HV
IKKIVI Zine is a property of IKKIVI by Founder NIVI MURTHY
Jewelry has a special place in our hearts, be it our family heirlooms, our intimate custom-made pieces, or favorite trendy essentials. Each intricate piece we own has a story to tell and is made to last for a long time. To ensure its longevity, our sustainable brands at IKKIVI are crafting jewelry with superior craftsmanship and high-quality ethically sourced materials and assisting our customers with customizations and repairs so we can treasure it forever. At IKKIVI Zine, we had a conversation with our self-taught jewelry designer Meher Jetley, founder of the label NOYRA, about her journey of starting the brand, its process of creating and maintaining its unique collectible jewelry, and the latest collection stemming from her love for space and psychology.
We love the unique and timeless creations of Noyra. How did this lovely brand come to be?
Thank you so much for appreciating our work. I love the great work Nivi and the team is doing at IKKIVI. It's so inspiring.
I have always been passionate about jewelry, so much so that I have been custom-making jewelry even before I founded NOYRA. Because many people took notice of the custom pieces I would create for myself using old artifacts and coins, I knew that if I ever wanted to start a business, it would be a jewelry business. And one fine day, I took that giant leap of faith while juggling a full-time job and two freelance gigs and launched NOYRA in the middle of a pandemic on the auspicious day of Diwali in 2020.
Can you tell us about your design process for making the jewelry and how each beautiful piece takes shape?
I have the gift of creative visualization, where I can create the entire design from scratch in my head, without lifting a pen, and of course, explain that to my artisan. So when it comes to designing jewelry at NOYRA, I take inspiration from artistic themes, history, moods, science, anything and everything that inspires me at that particular moment, visualize the design and translate that into collectible jewelry pieces using metal and semi-precious stones.
Can you share the process behind customizing and repairing the jewelry and how this aspect of the brand makes the jewelry ageless?
I love customizing jewelry, and that's one of the main reasons for founding NOYRA. As someone who struggled to find people who could create interesting designs at affordable price points, I wanted to create a brand where people who love wearing everyday jewelry or statement pieces in non-precious metal, could create a custom piece of their choice here, without obscene margins and insane designer mark-ups.
All sorts of custom and repair work are welcome here because I honestly believe that jewelry is an emotional investment as well as an heirloom that needs to be taken care of and treasured for years to come. Many customers bring their old stones or broken pieces, and we create or upcycle them into new pieces. Even something as minor as re-plating is done free of cost for the first time if the customer requests.
The latest collection from the label Supernova is truly exceptional. We’d love to know the story and inspiration behind this.
SUPERNOVA is a collection where I have combined my love for space and psychology.
This is the quote from the collection: "We can be born again after a cataclysmic event and give birth to a new self; just like the death of massive stars can trigger the birth of new stars."
Humans, much like stars, undergo large-scale, life-altering events and give birth to a new self. SUPERNOVA is a collection that pays tribute to the birth of a new YOU. The pandemic was something of a renaissance for us all, where we bid adieu to a part of ourselves and systems that needed to be put down and gave birth to a new self and system. SUPERNOVA pays tribute to this welcome change from the death of the old.
What are your two most favorite pieces from Noyra that you’ve worked on and why?
As someone who loves reading about interesting events in History, I was fascinated by the Naulakha Haar, a coveted Darbhanga jewel. But instead of creating a fancy, maximalist design, I decided to capture the royal and classic essence of the regal neckpiece in a minimalistic design using four semi-precious stones, such as amethyst, garnet, citrine, and smokey quartz in various cuts and shapes. Even though it's a minimalistic design, it makes the wearer feel regal.
The Astraea Necklace is by far a personal favorite. It combines small glass Polki chips (without the filling), wax-cast beaten metal stars in 92.5 silver, and high-quality moonstone beads. The entire piece is beaded by hand on a 92.5 silver string with 18k gold plating (micron). It is a celestial design in the truest sense of the word.
Noyra has recently turned two. Can you tell us about the most cherished moments you’ve had with the label?
One moment has to be in launching SUPERNOVA. Being a bootstrapped business without a legacy (I'm a first-generation jewelry entrepreneur) or big pockets to back the business up, launching a third collection within two years of founding the brand was a risk but something one the business could afford. Because for me, the bottom line matters, and there is a sense of pride that I started with one design with my team of current artisans and vendors in Jaipur, who took a big leap of faith in me because I wasn't promising a quantity business right away. So when they see that this person has paid all her dues on time and has launched close to 100 samples (minus the orders fulfilled), and tried to build a stable business in an unstable market, they feel that pride that we've reached here.
It's all about going slowly and strategically like a mushroom.
As a creative mind behind this passionate venture, what advice would you like to give to other designers wanting to enter this space and create conscious jewelry?
Know what you're capable of offering and delivering in terms of product and service while being true to your values. At the end of the day, people value and respect authenticity and transparency in today's world. Instead of hard selling and over-marketing, go slow, build a fantastic, high-quality product, develop great relationships across all the people attached to your business, and be disciplined.
CREDITS
Interviewer and Writer PRERNA MALHOTRA
Layout and Graphic Design VEDHIKA HV
Images by NOYRA
IKKIVI Zine is a property of IKKIVI by Founder NIVI MURTHY
Have you got an invite to a party, or are you planning to host your own weekend soirée? Then a perfect party outfit is a must to dazzle the crowd! However, considering the wide variety of options out there made out of harmful chemicals and materials and the fashion industry’s enormous waste problem, it’s a tough task to find something that is both good for you and the environment and to shop sustainably.
But fret not! We are here to help you pick out the best party dresses from a range of slow fashion brands that craft their ensembles with great love and care for the planet, which you’ll cherish forever. Here’s our lineup of sustainable choices we hope you’ll love!
The little black dress has always been a timeless piece in everyone’s wardrobe, as it’s perfectly chic and versatile. It can be styled and accessorized in your own favorite way, and this dress does exactly that with a unique touch! The Laurie Dress comes with ruffled sleeves along with side pockets and gathered panels, making it a class apart from the usual LBDs. It is a part of a limited edition collection upcycled and transformed from good quality factory waste, which includes post-production waste, rejected shipments, and deadstock.
Amp up your style quotient with the stunning Parker One Shoulder Dress in vibrant fuchsia crafted from vegan silk. It features delicate abstract prints resembling multi-hued feathers with a shoulder-baring look and floor-sweeping length to make a power statement on special occasions. It has a side zipper and a drape on the shoulder, and you can style this piece with your favorite pair of gold earrings, a neckpiece, and a hair bun, a look synonymous with ‘empowered femininity’.
The blazer with pants is a sophisticated closet combination that’s always a winner with its utmost comfort and style. This set is perfect for making a statement comprising a structured cropped jacket with an asymmetrical hem, a tie at the back, and front pockets. It pairs perfectly well with the matching wide-leg pants featuring double pleats and inseam pockets. The pantsuit is made from orange fiber fabric (98% orange peel, 2% elastane), which gives it an elegant sheen.
Embrace the beautiful and eccentric mindfully made designs from the past, which are rare and have a story to tell. The Harriet Tunic is a one-of-a-kind retro piece that features a unique ombre baroque print all over it. The looped button detailing accentuates the intricate design giving the full-sleeved tunic an elegant look. It pairs beautifully with a high-waisted culotte and strappy heels for a perfect party ensemble.
Stand out in the crowd by adding a bold and fabulous shade of red to your ensemble. The June Top is an effortlessly chic and easy-to-wear sleeveless top with drop shoulders and a cape at the back. It features a slightly oversized fit, a round neck with a keyhole opening at the back, and a hand-embroidered belt to complete the glamorous look. It is crafted from luxurious linen satin and can be paired with matching narrow-fit trousers as a co-ord set or your favorite pair of pants for a stunning contrast.
CREDITS
Interviewer and Writer PRERNA MALHOTRA
Layout and Graphic Design VEDHIKA HV
IKKIVI Zine is a property of IKKIVI by Founder NIVI MURTHY
Linen is one of the most sought after sustainable fabrics with several benefits such as its strength, comfort, and durability. This quality fabric has stood the test of time for a thousand years and continues to do amid a wide variety of modern textiles and materials. It has been worn judiciously across several cultures and civilizations and has beautifully evolved over time due to its adaptable nature.
It is made from the fibers of a flax plant and is similar to cotton, and the best part is that this eco-friendly fabric is perfect all year round as it naturally regulates temperature and insulates. So if you’re planning to update your wardrobe with minimal and timeless designs this season, here are the top reasons why linen is an ideal choice for you.
Highly durable
Linen is known to be the strongest of all natural fibers. The resilience of the fibers makes the clothing far more long-lasting than cotton and will only get better and softer after every wash. It shows the true strength of this elegant fabric and how beautifully it can last for generations to come.
Low environmental impact
It is made from flax plant fibers and is a fully biodegradable and recyclable fabric. The plant requires fewer natural resources and little to no harmful chemicals during cultivation, making linen a great eco-friendly alternative for your wardrobe.
Trans-seasonal dressing
While linen is commonly known as a summer staple, you can use it in all seasons. It naturally adapts to your body and will keep you warm and cozy in winter and cool in hot and humid weather. This characteristic gives linen an edge over other fabrics as it’s perfect for your trans-seasonal dressing and ideal all year round.
High absorbency
Like cotton, linen is a highly absorbent fabric. It can easily absorb and hold up to 20% water. It strengthens its fibers and enhances the beauty and softness of linen fabric even after years of usage. At the same time, it also has great moisture-wicking properties.
Versatile
The versatility of linen is outstanding, as it can make the most simple and basic items feel luxurious. It is a perfect accompaniment for every occasion and season. It can be styled with accessories such as hats in the summer and is easy to experiment with during winter using coats or sweaters.
CREDITS
Interviewer and Writer PRERNA MALHOTRA
Layout and Graphic Design VEDHIKA HV
IKKIVI Zine is a property of IKKIVI by Founder NIVI MURTHY
The body positive movement champions self-love and urges us to be kinder to ourselves and our bodies. It has gained momentum over the years in the fashion industry and beyond, a way for us to break the mold in a stereotypical society and embrace and celebrate who we are. Many fashion brands have finally begun catering to all shapes and sizes and giving us the freedom to look our stylish best with a wider range of choices. However, we still have a long way to go and take collective action on our journey to owning ourselves in this system that has still not eradicated unrealistic beauty standards. We had an inspiring conversation with model and body image activist Isold Halldorudottir about her journey of owning her beauty, building self-confidence, and reclaiming the word ‘fat’ with her beautiful work.
For how society often perceives us, many of us grow up with several insecurities in our younger years before we get on a path to begin embracing and loving ourselves just the way we are. We’d love to learn more about your journey of owning your beauty and how you got yourself into a safe and secure place in a stereotypical system.
When it comes to building my own self-confidence, I try to remind myself of what's really important. Instead of worrying so much about how I look, I try to put focus towards how I feel, but I think ultimately it takes a lot of patience to figure out what makes you feel good and how to be content with yourself. It's definitely a work in progress.
It’s so easy to get stuck in your head over all the things you hate about yourself, but once you realize that your insecurities are merely a reflection of how the media tries to sell you beauty in a box, it opens your eyes to a whole new perspective.
One of the things that helped me move forward was to shave my hair off. It made me face my fears of hiding and opened my eyes to what beauty stands for. I now see myself for who I am, without any distractions.
With the existence of unrealistic beauty standards in the fashion industry and all around us, the word ‘fat’ has garnered a negative meaning. How did you reclaim it with your work and hashtag #fatgirloncam?
For me, it's always been about facing the truth. All my life I’ve been fat, and all my life, people have tried to use that against me, but I think what helped me reclaim it was to say it as much as possible so that it becomes normal.
I think when we use terms such as 'curvy', 'plus size', 'voluptuous', or 'full figured' we’re hiding away from the truth which only sets us back.
It's fair to be afraid of the word 'fat' but to really celebrate inclusivity, we have to let go of the misconception that it's a bad word.
#fatgirloncam is a way for me to present myself in an honest way and it gives me the chance to say what I want to say without compromise.
Art is a way for us to express ourselves and reclaim who we are. We love your work and how beautifully it’s centered around photography. How did being in front of the lens help you stand up against cultural norms and strengthen your role as a body image activist?
Thank you so much, that really means a lot to me!
Being an artist allows me to see things from an artistic perspective including my body, so when I step in front of the lens, I try to let go of any fears of looking a certain way because I know deep down art can be whatever you want it to be.
We love the beautiful campaigns you’ve been a part of from the beginning of your career. Which is the one you feel has made the most difference for you and impacted everyone around you? Is any collaboration closer to you emotionally?
Looking back at my career so far, the one that stands out is the Marc Jacobs 'Perfect' campaign. I’ve always been a huge fan of Marc Jacobs and working with him and his team was such a dream come true.
The message behind the campaign was to celebrate your own individuality and stay true to who you are, which felt very personal to me. Some of the people I met on set are now my friends, and I can't imagine what my life would be without them.
How has your sense of style changed, and how do you like to experiment with fashion now?
I don’t know if I’ve ever had a sense of style. Growing up, I got used to wearing things that fit me rather than something I actually liked.
Lately, I’ve been trying to challenge myself not to wear so much black, but I still struggle to find the courage to explore more options.
While there’s an emergence of size inclusivity, many brands still have a long way to go. How do you feel about size choices now while shopping, and what can they do to improve the experience for us all?
Shopping for clothes as a fat person is terrifying to me. I think overall, there is a need for more options when shopping offline. It baffles me that I can't go to the mall and find my size in any of the stores. It needs to be more accessible.
Even when shopping online, I find it very complicated and overwhelming. It’s hard for me to imagine what something will look like when I’m not able to see it on a similar body type. I would love the option to see something in multiple sizes worn by different types of models.
Being a model, what change have you seen in the fashion industry over the recent years while working with the designers, and is there any positive shift in the attitude? What are the changes you want to see going further, and what are the future goals you want to achieve with your activism?
It’s hard for me to see a positive shift in the fashion industry as I still feel very much left out when it comes to representation. I think it's great that the conversation continues, but there needs to be a lot more action.
We’re barely scraping the surface of what fat beauty looks like, and my goal is to just keep pushing those boundaries and make sure that everyone feels included.
CREDITS
Interviewer and Writer PRERNA MALHOTRA
Layout and Graphic Design VEDHIKA HV
IKKIVI Zine is a property of IKKIVI by Founder NIVI MURTHY
As the times change, we are becoming more aware of our choices and what we put on and in our bodies. The concept of beauty goes beyond our use of traditional skincare and is a mindful practice of using conscious and sustainable products that have earned their place in the industry. It is about taking things slow, treating our skincare routines as meditative rituals, and practicing gratitude for overall wellness. At IKKIVI Zine, we had the pleasure of speaking to conscious beauty advocate Sara Rose Donahue, who lets us in on her mindful and intentional lifestyle and the importance of clean beauty in her work and personal care.
To begin with, we would love to know what a conscious and intentional lifestyle means to you and what are the ways you practice it on a daily basis.
To me, living in consciousness and intention translates to bringing purpose, love, curiosity, and grace to your daily actions. I love the challenge of bringing attention to the daily actions we go through robotically, like our beauty routines. The entire ethos of my brand is centered around switching your 'beauty routines' to intentional 'beauty rituals'. Instead of rushing through the process, try to make every step come from a place of intent and purpose. Get into a meditative state when doing your nighttime skincare to unwind and to come into the present moment so you can mindfully focus only on what you are doing in that very moment. Send gratitude and love to your skin and to the medicinal products that are healing and helping. Set up your space to be calming and energizing, and dress in clothes that make you feel good without causing harm to the planet.
As soon as I started celebrating my morning self-care, skincare, and beauty rituals as the sacred time that they are, my days started having more intention as well. If you do your routine every morning, every single day, that adds up to a lot of time. You might as well make it a conscious sacred celebration, right?
What inspired you to make the switch to a conscious lifestyle and, as a result, build your beautiful body of work around conscious beauty?
I was born and raised in Hood River, Oregon, an amazing small community focused on wind, water, and snow sports. Growing up, being outside and active in nature was a big part of my childhood. While oppositely, from a very young age, I always had a passion for beauty, fashion, art, ballet, and dance. My love for fashion led me to Savannah College of Art & Design, where I majored in fashion marketing and minored in dance. After university, I moved to New York City and worked for a beauty brand as a product developer and marketer. This is when I truly fell in love with beauty and realized how much importance you hold as a product developer. Makeup isn't just makeup, and skincare isn't just skin care - you have the power to create products that can completely change the way people feel, to give them confidence, and to inspire them. As I learned more about traditional beauty ingredients and worked with some of the top labs in the world to formulate products, my curiosity got the best of me. I loved what I was doing, but I felt a disconnect. Led by this intuition, I simultaneously began my own wellness journey. For me, it all started with food. After a health diagnosis, I began to research and evaluate everything I was putting in my body so I could better understand what nourished me and what depleted me. I then had the realization that if I became conscious of everything I was putting in my body, I also had to be equally conscious about the products I was putting on my skin. It is truly as simple as this. Everything you apply on your skin is either healing it and nourishing it, or doing the opposite. Every day you get to choose. In true product developer form, I started to try, test, and research new clean products whenever I would run out of my traditional products. I didn’t try to completely do an overhaul of my routines. Nothing was forced or overnight, and everything happened one step at a time.
After 5 years in NYC, I decided to move home to Oregon to begin a new phase in life. I started working for myself doing what I am passionate about, so I had the flexibility to find inspiration while traveling and working, but much more ended up unfolding. As my excitement for clean and conscious beauty grows, I realize why I feel such a connection to it. The whole concept is in line with how I was raised and what I believe in (using plants as medicine), mixed with what I have grown to love (cosmetics, fashion, and art). Merging the worlds of my traditional beauty background with conscious beauty felt completely in alignment and is what got me to this place of launching my social platforms, @sararosie, where I teach beauty ritual concepts, natural and glowy makeup looks, and so much more.
How is clean and conscious beauty different from the traditional skincare and wellness routines we tend to follow usually?
For starters, the language of Organic, Natural, Green, Conscious, and Clean all can be used without merit. The terms have no industry-regulated definition, so it can be hard to navigate and cut through the marketing language. But to me, having a conscious beauty routine is one that honors sustainability in its packaging and ingredient sourcing, and also one that is formulated, without any hormone-disrupting and harmful ingredients.
This is why I created my own definition of the term 'conscious beauty' and what it means to me:
AWARE: Being awake and aware of everything you choose to put on your skin.
CURIOUS: Getting curious about the ingredient lists of your beauty products.
MINDFUL: Staying mindful, not perfect. Hold yourself to the power of grace, not perfection.
I don’t believe that all chemicals are bad. I believe in learning and evolving with scientific research. But I do believe that you should know what you are putting on your skin. And I think true transparency in product formulation, packaging, and company practices is a big part of the conscious beauty conversation that is still in its infancy stage. My hope for someone interested in conscious beauty? They start to become their own advocates and begin to do some research and get curious about where their products are coming from and what is actually in them.
With this gained empowerment and information on ingredient safety and the beauty industry, you will have the ability to make these choices for yourself in a conscious and intentional way, take the power back, and begin to write your own definition of what living in conscious beauty means to you - whether that be more ingredient-focused, sustainability-focused, etc.
Can you share with us if and how conventional products negatively affect us and our environment?
There is so much to say on this topic because this is where navigating the beauty industry can feel like the wild wild west. Since there are few regulations by law, brands are self-regulated and can basically hide potentially toxic ingredients in their formulations. Along with safety, sourcing, sustainability, ethics, and the environment are all at play here. Everything you use in your beauty routine then goes back down the drain and into our ecosystem, and all of the packaging that cannot be recycled or reused - is in a landfill. After learning the fine print on this subject, there is no way you cannot try every single day to do a little better. It’s truly mind blowing.
How, according to you, do clean beauty rituals coincide with our wellness and mental health? Is it way beyond just using products on our skin?
Absolutely, 100%, YES! With the right intention, skincare, makeup, and self-care all have the power to completely shift your mood, confidence, happiness, stress, and self-worth. We have an amazing tool at our fingertips that can be used to better our mental health and our overall wellness. For example, imagine if you took the time in the morning and at night that you already used to do your skincare and turned it into an active, mindful meditation. Just like that, you have meditated for 10 minutes a day without adding anything else to your schedule. It’s a sacred time you can use to connect back to you. It should be celebrated as such.
You often speak about gratitude as an integral part of the inner glow. Can you tell us more about it and how you make it a part of your routine?
Having a consistent daily gratitude practice for the past three years has had a huge impact on me, helping me to fully create a new mindset on what it means to be happy and how to live more positively, and it has altered the way I see the world. Gratitude brings us back to the present moment. Expressing gratitude has been scientifically proven to make you happier. Practicing gratitude can actually rewire your brain, kickstarting the production of dopamine and serotonin, our 'feel good' neurotransmitters, to create a feeling of happiness and contentment. I fell in love with the practice of gratitude so much I started a non-profit gratitude-based program called Gratitude University. When you are living in gratitude and radiating thanks, joy, and love - you automatically GLOW from the inside out. The gratitude and beauty connection is very real. All beauty comes from the inside, and a truly beautiful person is absolutely overflowing with gratitude. A simple gratitude practice is just starting the day with an intention of having more gratitude. With it, top of mind, call out things you are grateful for during your day and see how your perception of life can change. Let me tell you, this gratitude glow cannot be found in any products!
Can you share with us the role of sustainability and ethical practices in your process?
I still very much view myself as a student of this and work on learning more every single day. Stay curious, and it will take you far! Some resources that continue to help me:
PACT Collective - a program to recycle your beauty products and to learn more about recycling in general
EWG - the environmental working group is a database with over 70,000 products and 9,000 ingredients on the market. Search for your products and find out what ingredients in them are safe or not.
Think Dirty - an app where you can scan products as you’re shopping to see their potential level of toxicity and compare products with a cleaner alternative as you shop. Shop their recommended clean cosmetics!
I also love to shop from already-vetted, clean beauty retailers who I trust like Credo Beauty and The Detox Market.
You can learn a lot from reading about the ingredients they do not allow and their ethos on the subject! It is super informative. All of these resources I look to daily.
Would you like to share any tips for the ones starting out on this skincare journey?
I know hearing all of this information in the beginning can feel very overwhelming! But please don’t be overwhelmed. I believe the conscious way to 'switch' over your routine is to not completely do an overhaul of your products. Nothing has to be forced or happen overnight, and everything can be one step at a time. Next time you run out of a traditional product, research how to recycle it, and then buy a cleaner/more conscious product! It’s a journey after all, and in time it will happen! When first starting out, shop from trusted clean beauty retailers like Credo Beauty and The Detox Market to make it easier on you, or go to my 'CERTIFIED ROSIE' shop where I list all of my favorite clean and conscious products. And, of course, always reach out to me for any specific product recommendations, advice, or help! I have tried just about every beauty product, so I love helping people find their perfect product. I’m here to help! You got this.
To know more about Sara, you can browse her Website, check out her Product Shop recommendations or follow her Instagram and Tiktok channels.
CREDITS
Interviewer and Writer PRERNA MALHOTRA
Layout and Graphic Design VEDHIKA HV
IKKIVI Zine is a property of IKKIVI by Founder NIVI MURTHY
The fast-paced digital era we live in often leaves us detached from our need and love for nature. And with the ever-growing impact of social media that tries to pull us in, it is all the more imperative for us to understand and rebuild our relationship with nature by slowing down in the ways we think and live and enjoying moments of stillness. However, not everyone has easy access to greener spaces, a deep understanding of how nature plays a role in our lives, and the growing climate crises, especially when caring for the environment is not an integral part of our education system yet. We had the pleasure of interviewing climate activist Sriranjini Raman about her love and passion for nature, how it reflects in her creative projects, and how her latest social venture Nurture helps children and youth get the right environmental education at this time.
You deeply inspire us with your love and passion for reconnecting with nature and how it reflects in your illustrations, writings, and projects. Can you tell us about how your creative journey began in this area?
In this fast-paced digital world, we sometimes find ourselves detached from nature and do not understand and appreciate it enough. How do you stay rooted despite the busy pace of life and its distractions? What would you like to tell the younger generation about the same?
Most of us can name 50 brands but cannot name 50 species in our local ecosystems. Our ancestors befriended their environment and built relationships with the species that they depended on for their survival. These species still protect us, and we still depend on them for survival, but there is a disconnect in the relationship. Staying rooted is a work in progress; scheduling nature time every day has been something that has helped me stay connected to nature- this includes watching the sunrise or sunset, listening to birds, cooking with fresh local produce, gardening or feeling the bark of a tree. I don't need to leave the city to feel connected to nature; I have so much to learn and connect with if I just try to pay attention to the species around me, like the earthworms, birds, squirrels, native trees and plants, moss and fungi.
I’d like to tell the younger generation to get their hands dirty. Learn to garden and grow food, go on nature walks, become bros with bugs, and be a naturalist. I love technology and the internet and easily get warped into the digital world. But then I remember that technology would not exist without nature. Healthy ecosystems with clean water, soil, air and fresh food produce led to healthy humans in safe and comfortable environments to innovate for the future. Food is human software; plants produce food and oxygen for us, and all species contribute to the food web that we are also a part of, so it’s about time we become friends and rebuild relationships.
Nurture is your latest social venture that helps children and youth reconnect with nature through food literacy and engaging in land stewardship. Can you tell us more about it and how you advocate for intersectional climate justice through it?
I did not have environmental education in school until the 11th grade. Apart from reading and curriculum, we gardened and did Landcare, did experiments, engaged with local communities, and went on naturalist walks. Most schools do not offer a curriculum, and outdoor experiential learning is far from the education board’s horizon. I had access to environmental education without realising it because of traditional ecological knowledge that was passed on through stories and spending time outdoors and in forests.
As part of the climate justice movement, I engage with communities, environment think tanks, not-for-profit organisations, policymakers, politicians, entrepreneurs, and funders. I saw there was a huge gap in the rate of the speed of change or the barriers to communication and decision-making. Everyone wants to protect the planet, but that personal connection to nature and land stewardship is often missing.
Nurture is an educational program that I wish I had in school that I hope all youth can benefit from. Nurture is four months old, and over 100 youth have benefitted from the program in Waterloo, Ontario. Nurture helps children and youth reconnect with nature through gardening. The learning modules also help children understand food literacy and climate justice. By understanding how food systems work, we can understand the ecology of the land we live on, the people involved in producing food, labour rights, land laws, nutrition, the importance of eating local and seasonal produce, and the impact of climate change on food. The learning modules are a combination of outdoor and indoor activities. Species diversity is essential even in diets and nutrition, which are getting wiped out due to monoculture and industrial agriculture. Knowing the history of your food, the land it comes from, the people who grow it, and the culture that protected it and gifted it to the world and eating seasonally is also intersectional climate justice.
We would love to know more about other youth movements you’re an active part of and how you create a system to bring the community together in making a difference.
I joined Fridays For Future India in early 2019 after being inspired by the youth climate justice movement that received global attention thanks to Greta Thunberg. Across India, with over 40,000 young people, we raise awareness about climate calamities and upcoming development projects that will negatively impact ecosystems and the people depending on them and understand and explain climate policies passed at sub-national, national, and international levels. As young people, we question and put pressure on the politicians and elders in power who are failing to protect our generation and country from the climate crisis. We believe in decentralised systems and are a leaderless movement. We believe we’re all in the same storm but different boats, so for climate justice, the systems of oppression must be dismantled in tandem with collaboratively discovering alternative, resilient climate solutions.
We love the colourful illustrations you make and the stories behind each one. How do they help you express your vision of a better future?
I make illustrations to condense what I’m feeling, like climate anxiety, frustration over inaction, gratitude for the power of the people, or to honour someone that has deeply inspired me. Making illustrations act as a reminder for me to continue to work for a better future.
You have spoken about wearing beautiful handloom sarees and the importance of knowing how they are made and where they come from. We feel such experiences and advocacy are integral to the slow fashion movement. How did this connection with textiles begin for you?
The connection with textiles began with my grandma, who sourced different silks and cotton to stitch clothes for me as a child. She never throws out her clothes and always repurposes them, and she still wears sarees that are over 50 years old, and that inspires me. I started following slow fashion when I joined the youth climate movement and realised the impact of fast fashion on the climate crisis. I travelled across Rajasthan and interacted with artisans, which made me realise the socioeconomic importance of handloom and knowing who makes my clothes. Sarees are incredibly diverse and can have stories woven on them, and six yards look beautiful on all bodies.
My capsule wardrobe consists of many handloom tops and dresses- I love kalamkari, bagru prints, and ikat. As a student, I can vouch that handloom is not expensive, and It’s often cheaper than fast fashion. It requires some effort to source the cloth from the right places, people, and businesses. I do have old fast fashion, and some thrifted pieces. Along with thrifting, I invest in handloom pieces that I love and know I will wear for the next ten years at least. I believe frugality is an essential aspect of sustainable slow fashion that is often not discussed. I buy clothes only out of necessity, and I mostly borrow, repurpose or reuse what I have.
What advice would you like to give to our readers about creating a sustainable future?
To create a sustainable future, we need to live in the present with intergenerational equity in mind. Will our consumption or behaviour positively or negatively impact the next three generations after us? A sustainable future means, unlearning resource-intensive behaviours we currently practice and unlearning conditioned casteism, sexism, and ableism that contribute to power hierarchies. Creating a sustainable future means creating just and equitable opportunities for everyone to have access to resources for a healthy, happy and holistic life.
CREDITS
Interviewer and Writer PRERNA MALHOTRA
Layout and Graphic Design VEDHIKA HV
Editor RHEA GUPTE
IKKIVI Zine is a property of IKKIVI by Founder NIVI MURTHY
The 1947 Partition was an event that left its mark on people for generations. Millions of people were displaced from their homes as the tensions and fears heightened between Indians and Muslims, and the onset of endless communal riots and massacres took place. From the survivors of the actual holocaust to their descendants, the harrowing stories continue to live on even today, albeit silently. However, for many of us, these stories are lost in numbers, textbook knowledge, or politics years after the great divide. At IKKIVI Zine, we had an insightful conversation with writer and oral historian Aanchal Malhotra, who delves deep into these stories and sheds light on the legacy of Partition through historical and everyday objects in her renowned works, the Remnants of a Separation and In the Language of Remembering.
We’d love to begin with when and how you were inspired to look back on the legacy of the Indian Partition through Remnants of a Separation?
My work on Partition began in 2013, when I was introduced to two mundane objects that had been carried across the border from Amritsar to Lahore and further to Delhi. They were ordinary items – a medium-sized ghara, used to make lassi at home, and a yardstick or gaz, used to measure fabric at my maternal family’s shop in pre-Partition Anarkali Bazaar. But when they were picked up, caressed, and talked out, they brought a landscape separated from us by a border, to life. It was through their lens that I first began to think of the millions of migrations and the rupture of everyday life that had taken place during Partition. Migratory objects – textiles, jewellery, journals, religious idols and prayer books, utensils, paintings, photographs, ID cards, certificates, carried from India to Pakistan and Pakistan to India – became my catalysts to unearth the memories of a time unmarked by borders, and this work eventually grew into my first book, Remnants of a Separation.
There are many heart-wrenching stories from that time recalled today by the survivors and their descendants. How do you feel these stories are still an essential part of our present and future?
For a very long time, Partition was understood either through numbers and statistics of migrations, or through official archives that focused mostly on politics and politicians. The stories of common individuals, their families, their communities – all who were displaced, forced to migrate to new lands, learn new languages and embrace new occupations, and start life again from scratch – seemed mostly absent. Their particular losses and extraordinary sacrifices had not been recorded or shared. The decisions taken in the corridors of British capitals most directly affected the common people, yet it was those very testimonies that were missing from our understanding of Partition.
Seventy-five years later, the politics of partitioning a subcontinent still dominates the relationships of the three countries of the erstwhile Empire, and yet when we speak with survivors, of course, they mention the horror and trauma of that time, but they also mention a way of life where they co-existed with those who we now consider ‘the other’. They recall stories of friendship, courage, sacrifice, even love, which should remind us of the long history we share with those across the border, and the wounds that still remain on both sides. While it may be easy to paint Partition with the broad strokes of violence and othering, there is a danger in telling this kind of single, homogenous story, for the interviews with survivors reveal a far more nuanced, detailed, complicated, even contradictory landscape and legacy, that can aid us in unmaking the other and break through the confines of largely jingoistic state histories.
Do you connect with the stories of Partition on a personal level? If yes, how do you and your family relate to them?
The stories of Partition were not really told to me in childhood, but in adult life, they have wholly shaped my understanding of family and community history and migration. It was perhaps with my work – and questions that accompanied it – that this history finally emerged at a personal life, at times gently, reluctantly, and other times, more urgently. Many times, I feel it continues to shape my grandparents’ memories, habits, and their ways of being and living.
There is an incident that my aunt narrated to me once, which I write about in my second book, In the Language of Remembering, where she said that my paternal grandmother almost never spoke about her life that had been left behind in Dera Ismail Khan, except when she was with her family, and they spoke in the Derawali language. But in 1999, when the first bus service Sada-e-Sarhad, Call of the Frontier, was launched between India and Pakistan in an effort by both governments to improve relationships, the pair watched the first passenger journeys in March on TV. This is an excerpt from our conversation, that perhaps encapsulates this feeling of living with the memories of being partitioned from one’s land –
‘The first passenger got off the bus and walked over to the border. And when he stepped over onto the other side, he got down on his knees and touched his head to the ground. He must have migrated from that side in 1947 and this was the first time he was able to return to his soil. Suddenly, I realized that mummy was crying. She was watching the news very intently and there were tears flowing down her face. I remember asking her what happened, and through her tears she had said, “Mein kadey jawaangi apni dharti? When will I be able to visit my land?” That was the first time I realized that there was so much in her heart that had not been expressed.’
We are in awe of your unique approach to tracing stories about the 1947 partition through ordinary objects in Remnants of a Separation. Similarly, do the historical objects once owned by the refugees find an important place in your work, In the Language of Remembering? Could you tell us a little about the new book?
While Remnants was a collection of interviews with survivors of Partition, In The Language is a collection of interviews with descendants of Partition-impacted families – children, grandchildren, sometimes even great-grandchildren – to see the ways in which the memory of Partition has been disseminated within family and community. They include chapters divided thematically on subjects like Belonging, Hope, Friendship, Grief, Love, Pain, Separation and Reunion, The Other, etc. But there are a number of stories in the book, especially in the chapter titled, Material Memory, that use the aid of objects to evoke the past – a Curfew Pass dated August 30th, 1947; a chequebook from the Imperial Bank of India in Srinagar, where the last set of cheques were dated October to November 1947; photo albums retrieved after a Partition witness has already passed; letters sent back and forth between family members discussing the politics of the time. There are also stories of objects lost and retrieved – a set of gold bangles in Noakhali, and family treasure unearthed decades and generations later in Dasuha village, Faisalabad – and some stories of things buried and left behind – a box that held a razor, a pair of gold earrings, a bottle cap, a love letter, a couplet by Ghalib, a ticket stub, and a pen, belonging to a young man who buried it in the backyard of his home while leaving Gawalmandi, Lahore.
Can you tell us about the significance of these historical items in your personal life? Is there any antique piece or heirloom you own that is close to your heart?
Over the past decade, I have come to treasure objects of age, both precious and mundane. They have become items of great affection, and each time I visit a new home or conduct an interview, the objects – centre-pieces of our conversation, really – are treated with reverence by me. I think this aspect really developed after I began working with migratory objects, because I saw first-hand, how an artefact could absorb a time, a place, a landscape often inaccessible and return it to owner. How through our conversations, they would excavate memory in the smell of old books or the patina of once-glistening utensils, in the folds of a shawl or the imperfections of handmade jewellery. I wrote in Remnants how “the memory buried within ‘things’ sometimes is greater than what we are able to recollect as the years pass. Memory dilutes, but the object remains unaltered. It allows one to study the history within it, and for generations to live off that history and perhaps understand genealogy better.”
I value several of the objects that have been bequeathed to me over the years by members of my family, not only for their beauty and technical virtuosity, but also because they were once used, worn, or bought by people I wish I had had the chance to know better. I have a beautiful meenakari bangle that once belonged to my maternal grandmother, who I never met but have heard was a stunning, incredibly fashionable woman; and a hand-winding Tressa wristwatch that belonged to my grandfather’s sister who named me, and in the years after Partition, worked at the Kingsway refugee camp and was instrumental in introducing my paternal grandparents.
We often inherit priceless sarees from our grandmothers in our culture. And you have expressed your love for these beautiful heirloom sarees on many occasions. How do they play an integral role in your artistic expression?
I consider myself quite privileged to have access to the material history of my ancestors, particularly things like textiles, garments, and jewellery, which literally can feel like one is adorning history. I have inherited a number of saris from my paternal grandmother that she wore to work at the Ministry of Rehabilitation in the 1950s and 60s. They are mostly lightweight cotton, crepe, or chiffon, and still drape beautifully. I remember seeing photographs of her wearing some of these at work, with sweaters underneath in the winter and sleeveless blouses in the summer. Sometimes I am able to preserve (reinforcing the borders or fall with cloth) and wear it as a sari, but on several instances, I have had suit kameezes made out of them, which is just as lovely.
How do you think these heirloom sarees encourage a sustainable lifestyle, and how are these a reflection of your personality and attitude towards life?
We now understand slow fashion as investing in pieces that will survive the times, thereby reducing the quality of clothes we buy. In my family, this has been happening for decades, where even my mother owns suits stitched at her wedding from her mother’s old saris no longer in use. Coupled with this is the fact that hand-me-downs were a very big thing in my childhood, where I wore outfits that my elder cousins had passed down to me, and I would further pass down to my sister. So I became very naturally acquainted with the concept of repurposing clothes and its economic viability, but I also think that there is something quite remarkable about wearing an ancestors’ clothes, where each generation can add memory, meaning, and sartorial individualism to the garment.
Both mine and my sisters’ wardrobes include several pieces repurposed from heirloom saris that are too fragile to be worn as they are. Sometimes, we are only able to preserve the borders or the zari embroidery is all that makes its way from an old garment to a new one, but over the years, we have repurposed old saris to create new kurtas, shirts, shararas, and dupattas, which we hope to further pass down.
As an oral historian, could you share a story with us about your research on textiles and other historical materials?
One of the most beautiful textiles I came across during the fieldwork for Remnants was a phulkari bagh, which had been carried from Rawalpindi to Delhi in 1947. The base fabric was made with raw cotton, called khaddar or khadi, and often starched to give the textile a stiffer feel. Phulkari, the handiwork on the piece, is a traditional embroidery technique from the Punjab region, and is done with pure silk threads, which makes the textile quite warm. The word itself – phulkari – can be broken down into phul, meaning a flower, and kari meaning craft. I’ve been told that the earliest mention of the word phulkari can be found in the love story of Heer–Ranjha, written by Waris Shah, where Heer wears many outfits with such embroidery.
Phulkari pieces were considered auspicious items of clothing, ancient in their form and sacred in the time it took to create them. Often, the women – of the family, of the community – would get together to weave such a piece for the trousseau of a young bride, or at the birth of a child. The owner of the piece told me that while the women would stitch the fabric, they would sing special songs, and that energy would subliminally flow into the work. In her words – ‘Phulkari became a language of the women, decorative and beautiful, and every stitch appeared on the fabric as a rendition of that private dialect.’
But the particular piece she showed me was not made by a group of women, but single handedly by her great-grandmother over the course of 3-4 years, and was presented to her daughter [my interviewee’s grandmother] at her wedding in 1931. Embroidered in shades of red, orange and, mustard, it became a treasured heirloom, and during Partition, as the family fled from Rawalpindi to Delhi on a train, with no place in her suitcase to keep the bagh, the woman wore the thick, warm textile through the August heat, unable to leave it behind.
‘Wearing it means keeping it close to my body, my heart,’ my interviewee said as we concluded our conversation, ‘Sometimes it feels as if I am living in history [and] can trace the direct lineage of my family through this one fabric. I am a part of all the women who wore this bagh before me.’
CREDITS
Interviewer and Writer PRERNA MALHOTRA
Layout and Graphic Design VEDHIKA HV
Editor RHEA GUPTE
IKKIVI Zine is a property of IKKIVI by Founder NIVI MURTHY
Terrazzo is a material that brings back nostalgic and comforting childhood memories. It was often found as vibrant floors, walls, and kitchen slabs in our homes once upon a time. But little did we know that these lovely mosaic-like tiles could also be the answer to leading a more sustainable lifestyle. At IKKIVI Zine, we spoke with Soumak Mukhopadhyay, the creative mind behind our home decor label Jyamiti & Sea, about his passionate venture born during the Covid-19 lockdown revolving around the age-old technique of terrazzo.
The label name Jyamiti & Sea is so beautiful and one of a kind. We would love to know the story behind it and how the elements of nature inspire your work.
I am a Bengali from Kolkata, and 'Jyamiti' is the Bengali word for Geometry. In the brand name, the word stands for the geometry and engineering involved in our work. The 'Sea' in our name is our tribute to Goa. It also represents the fluidity, the abstractness, and the softness you will find in our designs. Together it represents a whimsical concept that aims to do away with the notion that cement is a dull, hard and cold substance.
Since your creative process deeply revolves around concrete and making elegant terrazzo home decor products and tabletops out of it, how did you decide to begin your journey using this material?
The journey started quite accidentally. I fancied a concrete planter my wife got home one day. I wanted to play around with the material and experimented with it a bit. I read about it, got my hands dirty, and found a few people who have worked on the material, and that is how our first few home decor pieces got created. Over time we started to make terrazzo tabletops and eventually got into terrazzo cast-in-situ flooring.
Most of us have had terrazzo flooring as a part of our homes in childhood. Do you have a personal story or connection with it as well? Does it remind you of any particular space that makes you feel nostalgic?
Like many of my generation, I grew up seeing what we knew as 'mosaic' floors. At that time, I had no idea that the correct term was actually 'terrazzo'. Terrazzo brings back to me the memories of my own home in Kolkata, the homes of my close relatives and friends. I have seen the terrazzo in my home from the first day of its usage, gulping down as much water as you threw on it, to its current state 30 years later. It is one material that not only withstands the test of time but also matures aesthetically. The nostalgia terrazzo evoked over time has evolved into a love for the material. Hence, its heavy usage in our work. Today, we are known largely because of our terrazzo work.
What does the process of making terrazzo look like? Are there other materials you are keen to explore in the near future?
Making terrazzo is a rather messy process, honestly. However, no one can deny that it's an interesting process. Personally, overcoming the limitations of concrete, particularly while making small home decor products, is something I find really interesting. One cannot work with cement unless one understands its limitations. One has to adapt the designs accordingly. In a way, it's a rather unforgiving material, in my experience. The leeway for errors is less. Mistakes made in the initial parts of the process are difficult to fix later.
Overall the process is: - mixing of the materials in the intended proportions -casting - curing is probably the most underrated part of the process, but one of the most important ones - polishing - sealing
As of now, I want to keep Jyamiti & Sea a strictly concrete/terrazzo brand. Yes, we work with some other materials at times, but they are just supporting materials in the overall design. I intend to keep it that way.
Can you share with us the modern ways your business revives the age-old practice of using terrazzo and how people respond to it? How does using it feel different now?
There are a lot of building materials one can find today. I often see people comparing between materials and, at times, also expecting the qualities of one in the other. Personally, I always try to explain that it's not a very good approach while selecting materials and that one should embrace the characteristics of the material while choosing, we do at times try to compensate. One of the most common examples is the usage of sealants to make terrazzo and concrete, water and stain resistant. Also, while it is difficult to make concrete crack-proof, we try to ensure that we do whatever we can to prevent its occurrence or keep it to a minimum.
As I mentioned, the terrazzo floor in my home in Kolkata would absorb the water immediately for the first few months. Over time it has naturally become water and stain resistant through years of mopping. However, today, sealants make terrazzo liquid and stain resistant from day one itself. Also, I see terrazzo making a big comeback now as a premium material. Interestingly, because this common floor material was used very little during the last several years, it is not so easy to find artisans who can make a good terrazzo floor.
The other aspect you see today is the experimentation happening with terrazzo. We got to see floors and walls made with terrazzo in our childhood. However, its usage as table tops or countertops or even as a home decor material was not something I remember seeing in my childhood. The use of different sizes of stones, materials like glass chips, and so on also were not very common in the terrazzo I remember from my childhood days.
Being an IT engineer turned professional photographer, how do your visual perspective and aesthetics help you make custom and contemporary designs?
I suppose I always had a strong sense of aesthetics. It made my switch from an IT professional to a professional photographer easier. My work in photography helped me to understand how colour and contrast work towards creating visual appeal. It is something I try to practise in my work today extensively. Also, my photography skills have helped me to present my work in a more visually appealing way. Even today, my social media posts are not just about terrazzo but also photography.
What, according to you, makes using terrazzo a sustainable practice in your business? How is it a better alternative over other materials?
We can have a good debate on whether terrazzo is a sustainable material, to begin with. I always try to look at it from its longevity point of view. If one uses things made with terrazzo over a really long period of time (that is really possible), there is definitely 'sustainability' to it. Terrazzo and concrete can outlast many other materials by a large margin. In the end, there are a lot of building materials that are available today that are sustainable. So, maybe we need to look at each material from an end-to-end perspective rather than just focusing on particular sustainability aspects.
As a business that started in lockdown, how has it shaped since then, and what’s in store for Jyamiti & Sea in the future?
Honestly, when I started Jyamiti & Sea during the first wave of Covid-19, I just intended to create unique home decor products. I am always grateful for the excitement and trust my first set of clients placed in me. They saw us through the initial days when I was most unsure about the future of what I started. They gave me hope and confidence to take the subsequent steps that led us to where we are today. They have been with us throughout my journey, and I am always grateful for their goodwill. I deeply value it.
Today, I am very optimistic about the journey ahead. We want to keep doing good and exciting work and establish ourselves firmly as experts in our field. Going forward, we want to innovate and show our clients more possibilities of this timeless material.
Do we want to be a big brand someday? Yes, of course. However, most likely not in size. Probably more as an honest brand, as a brand that is able to look after and enrich the lives of our artisans, and as a brand that is respected for the work we do. There is a long ground to cover, but we will get there. I believe our intentions are in the right place, and that should matter, shouldn't it?
CREDITS
Interviewer and Writer PRERNA MALHOTRA
Layout and Graphic Design VEDHIKA HV
Editor RHEA GUPTE
IKKIVI Zine is a property of IKKIVI by Founder NIVI MURTHY
Embroidery is an intricate art form that is both strenuous and elegant. Its early origins go way back to prehistoric times, and despite being an age-old tradition, it has quickly become an integral part of the contemporary world. Many artists around the world have found a way to express themselves through this art form. One among those artists is Anuradha Bhaumick, who channels her love and appreciation for everyday moments into her work, and weaves little joys of life in colourful creations. At IKKIVI Zine, we spoke to her about her love for embroidery, her approach toward her projects, the different perceptions people have toward this art, the role of sustainability in her creations, and more.
Most of your work portrays everyday life in a myriad of colours and details. What made you want to make this your signature style?
I find myself drawn to people living their best lives in their own safe spaces. Seeing people blossom without fear and gnawing worry of validation and criticism makes my heart twinkle. I admire and respect this feeling and want to shield it in any way I can. All my embroideries are mood boards for me. Everything I make, I aspire to be. As for colours, I draw inspiration from my garden I have grown from the ground up. The flowers, leaves, and fruits that grow in Olive’s garden are my inspiration, named after my pug, Olive. We were recommended this book called Colour Harmony when we were in design school. My mom bought it for me and reminded me repeatedly to milk every inch of it as it was pretty expensive. I only brushed through it once and felt like if you have to assign rules to colours, it steals the joy of it. Colours should represent current emotions, nostalgia, and what we want from the future. Not what someone else says is correct. That’s the wrong use of colour. And that’s pretty much my colour theory.
Could you tell us what your creative process looks like and how much time it takes to create the lovely embroideries for your clientele?
My creative process is a lot of notes on the Keep App, segregating bunches of different colours of thread together (adding and reworking my colours), mental sketches, and handwritten notes in my diary. I don’t make rough sketches. I have only made it thrice on request for clients, and it’s not something I enjoy. Once I have made up my mind, I go straight for the kill or the muslin, to be more precise. I draw with a black ball pen on muslin. And I draw with a washable marker for the parts I’m unsure about. But I only draw portions of my artwork. I always begin with the main subjects, such as people, their four-legged family members, furniture, sentimental objects, plants, and other items. I build as I go as my work is very intuitive. I can’t stick to one sketch. Even I can’t predict how my artwork will turn out until the very last hour. It takes me anywhere between 20 – 150 hours to create my pieces. The time is dependent on many factors, such as the number of details, intricacy required, type of stitch, number of colours, the number of times I would need to thread my needle depending on these variables, the size of my canvas if I need to paint or appliqué.
Is there any artwork that is special to you, and if so, can you tell us about the story behind it?
All of my artwork is precious to me, but my ongoing series ‘Comfort Collages’ is appliquéd with fabrics that people have sent me from all over the world. Some fabrics belong to a mother who passed away. I am humbled by this kind of blind trust, when people give me their heirlooms. After all, who said fabric isn’t an heirloom? To say I am grateful would still not be enough. These acts of kindness remind me I am on the right path.
Your embroideries have made it all across the world. How is your artwork perceived in India and abroad? Is there a difference between the two spaces?
There is a huge difference in my audience in India and the rest of the world. Here, to bluntly put it, embroidery is looked down on. A lot of it is rooted in misogyny and misinformation. In India, embroidery, knitting, and fibre arts are perceived as women’s work and a sign of subservience. This is preposterous because the origins of embroidery have been recorded since BC and have been used by women to record history, reinforce clothing from royal robes to the armour of warriors, and even in acts of resistance by the women of Palestine through the Tatreez. These are just a few examples I can think of at the top of my head. If one would take the time to dive deep, one would know the history of embroidery is a story founded on empowerment, emancipation, and an essential life skill. People are so used to seeing the people in their homes do needlework, knitting, and crochet as unpaid labour that they equate it to busywork. Embroidery, knitting, and all kinds of fibre arts we so often see in India require expensive tools, fabric, and other supplies. It is a beautiful art form that needs to be held with respect and power. I want to see this change in real time in India. Not only for me or my contemporaries but for all the people working in ateliers, in the corner tailor shops, in homes, everywhere.
How does sustainability play a role in your projects? Are there any particular fabrics or materials you use to encourage the same?
Sustainability is the core value of my practice. 99% of the fabrics I use for appliqué are from my mother’s kurtas. Why her kurtas, you must wonder. Because she is 4’11”, and store-bought kurtas never fit her. I have been collecting these residual fabrics for years from her tailor, post alterations. All the fabric you see in my art is from her kurtas. I have everything I need, from Jaipuri Indigo cotton to Thai silks and ikats, all from my own house. Over the past 2 years and a half of my existence on social media, I have been receiving bags of heirloom fabrics from all over the world and even deadstock fabrics from fashion brands. I am thrilled to receive these and figure out how they shape my art in the future and currently through my collection called ‘Comfort Collages’. Besides that, I believe all objects have a life of their own. Objects are treasure troves of memories, hurt, pain, nostalgia, romance, and a thousand more emotions to travel back in time. This belief dictates my work and life, and I only spend on what I know I will not be able to discard. In my opinion, Toy Story is not an urban legend but a documentary. Call me silly, but I love the things I own, and they are irreplaceable.
What advice would you like to give aspiring artists from your experience? And tell us about your plans for the future, as we are very excited to know more and support them.
From my experience, I would like to say experiment, don’t try to be neat, be messy, and emote! It is the advice I am giving to myself. I hope it’s good enough for someone else too. And most importantly, price your work well!
And I will be participating in exhibitions next year. I am dreaming up many silly embroidery dreams in my head, and if I make them, it will be mind-boggling. Unconventional embroidery placements are time-consuming, maybe which is why I am still procrastinating. If I make them, I will be very happy, and it will be a new chapter in my embroidery life or LIFE!
CREDITS
Interviewer and Writer PRERNA MALHOTRA
Layout and Graphic Design VEDHIKA HV
Editor RHEA GUPTE
IKKIVI Zine is a property of IKKIVI by Founder NIVI MURTHY
What does a fashion revolution mean to you?
Kanchan: The fashion industry has played a major role in impacting the environment. In the world of fashion, everyone has done their part – they’ve shown the different meanings and definitions of sustainability and slow fashion. We have too. We recycle and make different things from scraps as well as waste material. However, an important part of what a fashion revolution means to me is showcasing Indian heritage and supporting different artisans by being personally involved in each part of the process. Whenever I create a collection, I personally involve myself by connecting deeply with the inspiration of every collection, working with organic fabrics, supporting women and karigars, and amalgamating modern and Indian sensibilities together. This makes a big difference for us, and being able to now have an international presence is a milestone for us. We only aim to go upward and impact more lives through our work.
What is a challenge that you see conscious fashion brands are likely to experience over the next decade?
Kanchan: People have attached sustainability with restrictions too. Nearly everyone requires certifications that are expensive and processes that are long, and are not clearly marked or very straightforward. We ourselves have had to change our terminologies and how we speak about a fabric because they are patented. An example of this is khadi.
Manish: For small businesses that are actually sustainable and committed to doing more, this presents quite an issue right now, as this is not a one off case for when you are establishing your brand’s name and its credibility. Whenever you want to apply for B2B or competitions, certifications have become a preliminary requirement. Each country has their own certifications, and they don’t always connect across the world as there aren’t always standardized guidelines. We think this is a large challenge that we expect conscious businesses will continue to face in the coming years and will have to find ways to overcome.
How has the last year been for Ahmev as a brand?
Kanchan: We started Ahmev in 2019, and I was never a dreamer. Manish pushed me to pursue my dreams and showed me what I can do, and having worked on them consistently, we are glad that the last year has been a very successful one for us. I have enjoyed the process – working with the karigars and my business partners Manish and Anchal. Our karigars are growing, and with them, our brand. We’ve been partaking in the making of each garment ourselves, and being involved in the small everyday practices has been so therapeutic. That’s really been the beauty of our enterprise being a start up.
The color white has been so important to you and to your brand Ahmev. How has your relationship with the color developed in these years, and how do you feel about adding other colors to your collections?
Kanchan: I still face the issue of people asking me to make the same design in a different color. Even Manish used to suggest that we should make our garments in other colors if there is a demand for it. But people have come to accept it, and so has our team, as this is our brand’s USP. I have never used color, and I have even been afraid of them. Over time, I have been coming to understand color a little more and really worked on it with this new collection. But white is still our trademark, and we want to see that forward.
We’d love to know of some of the new things you’ve been doing at Ahmev
Kanchan: We’ve been doing more capsule collections as our customers enjoy them a lot. We’ve also been experimenting with menswear and doing trials on Manish!
Manish: I too have been exploring myself more through this, and hand painting some of our clothes with Anchal and Kanchan. In fact, I think I’m now becoming quicker at it than them!
CREDITS
Interviewer and Writer MALINI MATHUR
Layout and Graphic Design VEDHIKA HV
Images by KANCHAN SHARMA (AHMEV)
Editor RHEA GUPTE
IKKIVI Zine is a property of IKKIVI by Founder NIVI MURTHY
Two years since the beginning of the Covid-19 pandemic, we held a pop up in mid March in Bangalore, India. A sweet, socially distanced event that was all about celebrating and having fun with sustainable and vintage fashion, we loved spending time with our customers and friends in person after such a long time.
While we have consciously chosen to have our shop online to ensure that we make our clothes to order as much as possible, prevent overstock and minimize wastage, we had some starkly pleasurable moments when we set up shop that have certainly inspired us to have pop ups more often!
1. The tactility of a garment creates an unparalleled connection
Meeting people and seeing them feel excitement and wonder through touching, holding and trying a garment as a truly unparalleled experience was heartwarming and telling of how phenomenological our relationship with clothing is really designed to be. The comforts of shopping for sustainable fashion online, though equally undeniable, do still hide from us the immediate, felt emotions that arise upon sensing and feeling the softness of a fabric, running our fingers through the stitches of a fold, imagining where and how we would don this style, understanding the differences between ‘fit’ and ‘size’ with each style, and feeling clarity and surety in investing in a product.
2. The experience of our community
It was so delightful to meet people from all walks of life, talk about clothing and homeware, share with each other our learnings and challenges within sustainability, know what we are all up to, and truly enjoy the beauty and playfulness of fashion together through the days. This sense of community inspired and rejuvenated us all alike to keep with our commitment to living consciously and making a change in the fashion industry.
3. The joy of discovery
One of the most valuable things we saw people find joy in, was experiencing the wide-ranging independent sustainable Indian brands that are innovating with different tools and resources, and uniquely blending traditional fabrics, techniques and modern styling to design contemporary silhouettes. Getting an insight into our homegrown clothing brands Artisan Luxe and Doodlage, jewellery and accessories brands such as Roma Narsinghani, STEM, and Carte Blanche, and tableware brand The Burrow, along with many others, allowed everyone to not just shop if they needed to, but explore freely and build on the idea of cultivating a conscious wardrobe and lifestyle.
As the central and state restrictions on holding public events get further relaxed now, we’ll be having a lot more pop ups through the year and would love to see you at them. To know more about when and where our next pop up will be, please follow our Instagram page. And ofcourse, you can always shop our mindfully curated collections online whenever you like.
CREDITS
Writer MALINI MATHUR
Co-ordinator & Producer ESHA VISHNOI
Layout and Graphic Design VEDHIKA HV
Editor RHEA GUPTE
IKKIVI Zine is a property of IKKIVI by Founder NIVI MURTHY
The catastrophic collapse of the Rana Plaza Factory (24th April, 2013) in Bangladesh that killed over 1130 garment workers manufacturing clothing for several major fashion brands has revealed the vast complexities that have prevailed in the fashion system for over half a century, and has become a caveat for the fashion industry in the last few years to take measures towards the betterment of the working conditions of its people and within their factories. The industry’s complex value chain and systemic inequalities compel us all to be(come) vitally involved now in reforming its structural practices and building awareness about sustainable and ethical fashion – both as producers and consumers.
As the industry is starting to change slowly, this Fashion Revolution Week, a time where brands and producers are urged to give consumers an insight into their production processes – what goes on behind the scenes at their brand – we’d like to share with you how you can be part of the revolution with us.
1. Do research on the brands you (want to) shop from and asking them questions
In order for us to be able to make conscious choices when shopping, it’s important to understand the processes of production and supply chain through which our garments or products are being made. Asking the brand questions about how the products were designed (whether they were handcrafted or mass produced), what kind of materials were used in their make (were they organic or include chemicals, vegan or utilized animal products/ residues), where they were manufactured (locally or globally), what kind of techniques their design processes included, the amount of waste generated, minimized and reutilized in their creation, the number of hours it takes to produce one product, the working conditions of their artisans and fair pay are some of the most direct and immediate ways in which we can inquire about what went into the making of their goods and services, and prevent us from being influenced by greenwashing. It’s okay if you may have previously purchased from a brand that you love without knowing about their methods of production, learning about them today is still valuable, as, in the long run it will help to make more informed decisions.
2. Use the #whomademyclothes hashtag on social media
The #whomademyclothes hashtag has come about as a way to encourage people to ask brands where their clothes come from, who makes them, under what kind of working conditions and pay. One way you can partake in this is by taking a photo of your brand’s label during Fashion Revolution Week, and asking the brand #whomademyclothes? by sharing it and tagging the brand in your post on Instagram or Twitter. Many brands may not respond to the question or share only limited information about it, but brands that are genuinely aware and involved with the people who work with them are likely to show transparency of their processes. If a brand doesn’t respond, we encourage you to keep asking them and exercising your consumer rights.
3. Learn about the impact of fast fashion
The social, economic and environmental effect of fast fashion is nearly irreversibly damaging for both our environment and people. More than 60% of clothes are made of synthetic materials derived from petrochemicals that do not decompose, but instead break down into smaller and smaller particles called microfibers and microplastics. Discarded clothing made of synthetic fibers now sits in landfills for 200 years. 97% of fast fashion is produced in developing countries with poor labor laws, human rights protections, forced and child labor under dangerous working conditions and abuse and unlivable wages. While knowing about such injustices and labyrinthine difficulties that surround the fashion system can feel discouraging and induce in us feelings of anger, guilt and shame, we hope that knowing the realities of these situations can strengthen your resolution to consume and create differently, and shift consciousness by learning about the workings of fast fashion more frequently.
4. Understand the scope of slow fashion and climate consciousness
It can be difficult for brands to start out 100% sustainable in all their practices. But a label’s openness to evolve with time is a characteristic that is bringing on a lot of innovation and advancement in sustainable practices. Learning about how certain slow fashion brands are innovating and challenging themselves to do better with each collection can inspire our curiosity and build trust in participating and supporting a fashion revolution at the micro, everyday level. For example, our sustainable brand ‘Doodlage’ wields scrap waste and recycled materials, ‘SUI’ uses organic fabrics made from hemp, and ‘Mishe’ employs orange peel fabric to create novel designs – all of which are taking them – and us – a step further in understanding sustainable production and studying the influences of diverse materials on the natural world. At the same time, following the work of world leaders, climate activists, organizations and policy makers can educate us on the agency and power we hold at a collective level and how we can initiate action and change, as both individuals and businesses.
5. Cultivate awareness with friends and family
Nothing makes being involved in creating change as fun as having trivia games, movie nights, book clubs and conversations with our loved ones! Coming together and thinking about the ways in which we can create a community around the subject, engage with it meaningfully, build a more conscious wardrobe and allow each other to learn a little more than we knew a day before goes a long way in making a real difference.
Sustainability and fashion revolution as a movement and practice, will always keep building and challenging us to be better – and with it, our methods. In our ideal to make fashion 100% sustainable and slow, together, as a community, we believe it is of key value to keep our eye on progress over perfection, and do as much as we can, when we can. Every step counts. Every decision makes a difference.
CREDITS
Writer MALINI MATHUR
Layout and Graphic Design VEDHIKA HV
Editor RHEA GUPTE
IKKIVI Zine is a property of IKKIVI by Founder NIVI MURTHY
Alexander Hoyles: shot for @greatergovanhill magazine by @alexander_hoyles
1. What were some of your early experiences in understanding climate injustice?
When I was 17, I encountered veganism for the first time. I quickly decided to go vegan after learning about animal, environmental and human rights abuses in the animal agriculture industry. From there, I began to develop a wider understanding of social justice issues and how they intersect with each other.
After developing this understanding for around a year I became an organizer for Glasgow’s Fridays For Future climate strikes in early 2019. I have been heavily involved in the climate justice movement since.
2. Could you tell us about some of the neighboring issues that climate (in)justice intersects with, and how?
All societal struggles are linked and have the same underlying causes: capitalism and colonialism. We need to abolish the systems of oppression that we currently exist under and create a fair world in which all life is cared for and protected equitably. To achieve climate justice, we must have justice for everyone. We need total liberation for humans, non-human animals and the planet.
Alice Aedy (instagram: @aliceaedy)
3. What do you think are some of our most critical failures or challenges as a public in understanding the climate crisis?
Whilst the public, at least in the UK, generally care about climate change, most don’t understand the severity of the climate crisis and what we actually need to do to mitigate its effects. In my opinion, the climate justice movement should focus more on disseminating information about the climate crisis and social justice issues in an accessible way. There are so many people who are concerned about the climate crisis — they often just don’t have the resources and preparation they need to take collective action.
Generally, we need to focus so much more on onboarding people into social justice movements. As the climate crisis gets more and more out of control, we are seeing a substantial rise in the number of people willing to take action to safeguard the earth. Those who are experienced in climate justice organizing need to be ready to meet these people with the information and training they need to build confidence as an agent of change.
4. In the midst of so many tensions, how can we work for a sustainable and equitable future without losing hope?
Due to how unfathomably catastrophic and heartbreaking the climate crisis is, the default mindset in our campaigning is that we are going to lose. It certainly doesn’t come naturally to me to be hopeful; no wonder we struggle to imagine a better world when the society that we live in is so different from the one we want to see. I get out of bed every day having a deep understanding of the impending collapse of nature, and that can be really, really hard. It affects every facet of my life.
But to feel hope, we don’t need to feel positive about the climate crisis and the situation we are in right now. I see hope as something I am actively building upon every day. I still struggle, but I actually find that by encouraging myself to feel hopeful about my own ability to create change, it took me out of a massive phase of burn out and gave me back my ability to act. This allowed me to actually envisage winning the Stop Cambo campaign and encourage others to do the same. Now, the Cambo oil field is paused indefinitely.
Will Gibson (Instagram: @williamgibsongla)
5. What can we say to someone who doesn’t believe in climate change?
The climate crisis is an indisputable truth. To say that the climate crisis does not exist is to deny the experiences of millions who are already suffering extremely severe impacts. Pollution, extreme heat, and weather-related disasters are already claiming so many lives.
6. What are some ideas or concepts that you see people often get wrong about climate activism?
People often think that to be a climate activist, you have to be willing to do a small selection of roles: in my experience, people think of public speaking and getting arrested. In reality, the climate justice movement needs everyone. We need researchers, mental health professionals, drivers, artists, photographers and videographers, lawyers, action planners, spokespeople, media liaisons, and the list goes on. The point is, there are so many roles that go towards change-making. Everyone has something to add to the table.
7. If there’s one thing that you think we can all start doing today to help protect the environment, what would that be?
In my opinion, the best thing someone can do to take action on climate change is get involved in climate campaigning.
Whilst individual change can be incredibly empowering, we need to go beyond this individualistic lens and consider collective action. We need to completely restructure society, and to do that, we need to work together on issues much more complex than just altering our daily consumption. Being in coalition with other people who care about the climate crisis and teaming up to fight for a specific aim is one of the most empowering things I have ever experienced!
8. What is something you’d like to communicate to our audience which you feel doesn’t get talked about enough?
I’d like to add a youth perspective to why the climate movement is dominated by young people. The youth are, I would say, inclined to be more ambitious about the fight for climate justice. I had a conversation with an MP during COP where they said to me and my friends that decarbonising the UK in time to keep global warming below 1.5 degrees was impossible. At first, hearing someone
who has been in the UK’s political system for decades tell us that decarbonisation was impossible made us feel extremely deflated. But in reflecting on this, I realized that as youth, we don’t have the privilege of believing that what we need to achieve is impossible. We are the ones who will live through that breakdown for the largest proportion of our lives. Our whole futures are at stake, compared to someone who has already lived over half their life in terms of life expectancy. Similarly, people in the most-affected areas do not have the privilege of believing that we do not have the power to achieve climate justice, because if that were the case, this means certain obliteration of their land and untold suffering for their people.
If you’d like to know more about Lauren’s work, you can visit her website.
CREDITS
Words LAUREN MACDONALD
Images ALEXANDER HOYLES, WILL GIBSON & ALICE AEDY
Interview and Introduction MALINI MATHUR
Layout and Graphic Design VEDHIKA HV
Editor RHEA GUPTE
IKKIVI zine is a property of IKKIVI by Founder NIVI MURTHY
There are so many wonderful books that can support us on our journey into living more mindfully each day. Here are 20 – some conceptual, some ethnographic, some tales, and some narratives – that we feel offer something unique to all of us:
2. The Four Agreements: A Practical Guide to Personal Freedom (by Don Miguel Ruiz)
A text that explicates how we can try to change our self-limiting perceptions that create discord and move toward new experiences of love, independence and joy.
3. Loving-kindness: The Revolutionary Art of Happiness (by Sharon Salzberg)
This is a book that shows us how the Buddhist path of lovingkindness (metta in Pali) can be a path to liberate our heart and experience the many meanings of happiness.
4. Savor: Mindful Eating, Mindful Life (by Lilian Cheung and Thich Nhat Hanh)
Offering pragmatic practices, nutritional counsel and Zen master Thich Nhat Hanh teach us how to gently adopt and integrate mindfulness in relation to our food habits in our everyday lives.
5. How to Do Nothing: Resisting the Attention Economy (by Jenny Odell)
An in-depth account of how different fields and personal experiences can express the limits and power of our attention, here Jenny Odell shares with us how we can work to leave behind the productivity-obsessed cultures we are all a part of, and come to a more collectively shared understanding of the ecosystems that are connected with us.
6. Mindfulness : Connecting with the Real You (by Vinay Dabholkar)
A learning into our unconscious practices of self-deception to become more self-aware in the process and dissolve thoughts that are untrue or unproductive.
7. Soulful Simplicity: How Living with Less Can Lead to So Much More (by Courtney Carver)
A text that looks into how we can simplify our lives by allowing ourselves to focus on what’s important and how we can create space for it.
8. Our Only Home: A Climate Appeal to the World (by Franz Alt and The Dalai Lama)
A plea by The Dalai Lama for us to stand up for a renewed and more climate conscious world, and to let younger generations assert our rights to an optimistic future.
9. Inward (by Yung Pueblo)
A collection of quotes, poetry and prose that traverse the journey to unconditional love and the wisdom of self knowledge.
10. The Art of Stillness: Adventures in Going Nowhere (by Pico Iyer)
A look into the surprising and counterintuitive adventures of slowing down and sitting quietly in a room in an age of constant movement.
11. The Practice of Not Thinking: A Guide to Mindful Living (by Ryunosuke Koike)
A mapping of how embracing simple Zen practices into our daily lives, can allow us to reconnect with our five senses and live in a more peaceful, optimistic way.
12. Mindful Eating On the Go: Practices for Eating with Awareness, Wherever You Are (by Jan Chozen Bays)
A pocket-sized book on some of the principles underlying mindful eating to understand the “nine aspects of hunger” that we feel, while going deeply into our needs and cravings without judgment to heal our relationship with food.
13. Say What You Mean: A Mindful Approach to Nonviolent Communication (by Oren Jay Sofer)
Thinking about how “what we say matters”, Oren Jay Sofer pens in this discursive book how observing our interpersonal relations can help us carve three fundamental skills for mindful communication: leading with presence; coming with care and interest; focusing on what matters.
14. Seven Practices of a Mindful Leader (by Marc Lesser)
A thoughtful workbook for cultivating a more intuitive approach to mindfulness, Marc Lesser shares how and why he believes living from our heart shapes powerful leadership both individually and professionally.
15. The Things You Can See Only When You Slow Down: How to Be Calm and Mindful in a Fast-Paced World (by Haemin Sunim)
An invitation to deepen mindfulness and joy in eight foundational areas of our lives.
16. Destination Simple (by Brooke McAlary)
An elementary and succinct introduction to the features of slow living.
17. Mindful Zen Habits: From Suffering to Happiness In 30 Days (by Marc Reklau and Manuel Villa)
A 30 day exercise guide for us to try to cultivate new habits that support us in giving room to our emotions, slow down our thoughts, and listen to our heart and body.
18. Slowness (by Milan Kundera)
One of Milan Kundera’s earliest fictional works in French, this book is a thoughtful contemplation of contemporary life and the ways in which our innate connections with slowness, memory, desire and speed intersect and conflict with each other.
19. Faster: The Acceleration of Just About Everything (by James Gleick)
A humorous look at the unlikeness of our hurried world slowing down in the near future, this is a work that displays our responsibility to reflect on the meanings of ramifications of our lifestyles.
20. Loving My Actual Life: An Experiment in Relishing What’s Right in Front of Me (by Alexandra Kuykendall)
An insight into the disillusionments of comparison and loving our ordinary, “actual” lives and selves.
21. Zen: The Art of Simple Living (by Shunmyo Masuno)
Simple rituals designed to practice through the business of our modern world over a 100 days.
22. The Lazy Genius Way: Embrace What Matters, Ditch What Doesn’t, and Get Stuff Done (by Kendra Adachi)
A conscious way of overcoming conventional narratives of what it means to live rightly and healthily, this is a text that inspires us to live by our personal definitions of well being and what matters to us, and lazily letting go of who we are not.
23. 24/6: The Power of Unplugging One Day a Week (by Tiffany Shlain)
Lessons on how rest and living 24/6 positively affects our productivity, feelings of connection, and cognitive presence.
24. Mind Full to Mindful: Zen Wisdom From a Monk’s Bowl (by Om Swami)
An exposition on the art of happiness with Om Swami’s humor, stories and wisdom as he walks us from being mind full to mindful.
25. Joy at Work: Organizing Your Professional Life (by Marie Kondo)
A mindful process of simplifying and organizing our work life. Are there any you’d add to our selection? We’d love to hear from you and know about the ones that you love and have made a difference to your experience in living consciously. We look forward to hearing from you at zine@ikkivi.com and our Instagram, where you can join our conversation as we share the books we have been reading every month.
CREDITS
Writer MALINI MATHUR
Layout and Graphic Design VEDHIKA HV
Editor RHEA GUPTE
IKKIVI zine is a property of IKKIVI by Founder NIVI MURTHY
Each year carries many new beginnings and learnings for us, and this time we wanted to pen and share ours from the last year with you. Here are 21 things we learnt in 2021, and are taking forward with us in 2022!
5. Balancing spending time with ourselves and socializing with our loved ones
It’s taken us quite a few months to nail this one and arrive at a place of peace and joy with it.
6. Including more healthy foods into our diet
Addition, subtraction; subtraction, addition has been the key for us.
7. Produce a podcast
We learnt how to prepare, record, edit and publish a successful podcast series from scratch and had so much fun in the process
8. Move from a place of personal authenticity
We’ve continually dedicated time to understanding ourselves more and be guided to follow what feels authentic to us
9. That we love listening to audio books, sometimes over reading
They make us feel like the speaker is personally involved in what they’re talking about and offer more ease with their work
10. Stay calm and problem solve under stress
Keeping our head down and solving different challenges calmly in high crises situations has been a revelation
11. Open up with new people
A little uncomfortable to begin with, engaging with new people freely has shown itself to be a delight.
12. The power of repetition
Mindfully doing things over and over has taught us how capable we are of mastering skills
13. Slow work
Throughout the year we fine-tuned practices that would allow us to work slowly and have fun doing it.
14. Trying things outside our comfort zone can be both safe and fun
We made a whole list with this one and followed it to the end to notice that there’s so much we enjoy about the things we are often hesitant to try before.
15. The value of filing and organizing our work documents
Simplifying, editing, cleaning, organizing, recategorizing, optimizing on a bi-weekly basis make things dramatically easy to navigate through
16. To practice interdependence
Asking for help as well as doing things collaboratively with others is as much a joy as doing everything independently.
17. To improvise or moving with spontaneity
Moving with our natural urges and creativity when they come up, even if they don’t coincide with our elaborately planned schedules.
18. To trust our driving skills more
Passing through the narrow roads of Bangalore everyday amidst the thickest traffic has given us more confidence in taking the wheel.
19. Use a planner (more) effectively
Whatever the templates or prompts, we’ve seen that we first need to make our planner our own and give it our personality in order to make it work and have it offer us the results that it’s designed to.
20. Understanding that no matter how perfectly we try to do things, we will still make mistakes and errors
They aren’t always avoidable and we don’t have to penalize anyone to learn how to do things correctly
21. That rest inspires action
The most beautiful thing we learnt – timely rest sparks our creativity, willingness and desire to do things in a way that nothing else does.
Are there any things from our list that coincide with your own from 2021? If you still haven’t made one, we encourage you to go ahead and make it now for we wonder what sweet things you’ll remember and continue to do!
CREDITS
Writer MALINI MATHUR & VEDHIKA HV
Editor RHEA GUPTE
Layout and Graphic Design VEDHIKA HV
IKKIVI Zine is a property of IKKIVI by Founder NIVI MURTHY
There are many meaningful experiences we can partake in through the exchange of currency, but today we’d like to share with you some simple and beautiful zero budget activities that can bring us all a lot of joy and allow us to do more with our loved ones.
7. Create a book club with your friends
It’s a whole new experience to read great books with friends and think about the many interpretations everyone has of the same one!
8. Have a music night
A happy, messy gala night with everyone around. We wonder what your favorite karaoke song to sing will be!
9. Play in the rain
From jumping in the puddles to letting yourself get wet in the rain, this would take us all back to our childhood selves.
10. Go to the public library
We’ve put this on the list even for our friends who aren’t book lovers! Public and local libraries have so much to offer - beautiful and quaint architecture, stories of the past, and books with unheard names and pencil marks.
11. Explore something that has always intrigued you
If a sport, subject, place or instrument (or anything else) that you’ve always felt interested in is something you can explore right now, why not try it and see what it makes you feel?
12. Call your loved ones
Staying connected with the people you love can always make your heart soar.
13. Host a potluck dinner with your friends and family
Potlucks are so exciting because you get to share meals you’ve cooked for each other, relish different flavors, and spend time together.
14. Go for a Walk
It can be so refreshing to feel all the sounds, sights and smells around you.
15. Watch a new movie
A popcorn party in your pyjamas can make you enjoy even the strangest of films!
16. Make paper planes or origami
Some of us might need to watch a video tutorial for this, but it’s so much fun once we get to doing it. Added joy: It looks sweet when we hang it by our bed with strings!
17. Go to the beach
Nothing can soothe you more than taking a swim or walk at the beach, watching the waves and building sandcastles.
18. Have a sleepover
You’d love the idea of a long night of conversations, snacks, and video games with a loved one!
19. Stargazing
The glimmering stars have never failed to take one’s breath away. We’d always recommend going to a nearby viewpoint or laying on the grass to see their magnificence.
20. Make a camp or fort in the living room
For us indoor cats, camping at home can be so fascinating. A few bedsheets, books, fairy lights, and a couch or floor mattress can make such a playful fort. Don’t forget to switch off the lights to give it that outdoor feel!
21. Family game night
A great way to bond and catch each other cheating, would you like to see how far everyone will go to win?
22. Make a new meal from already stocked items at home
You’d find this as innovative as it is challenging. To make something from ingredients that you didn’t think of putting together before? We foresee a blend of interesting flavors or a tragedy of taste, but neither without their fun.
23. Draw something and admire its uniqueness
It doesn’t matter if you’re an artist or can only get yourself to do some stick drawing. Play with shapes and see what funny things you make!
24. Go through your baby pictures
How long has it been since you saw your adorable baby pictures?
25. Mindful coloring
Relaxing and inspiring creativity at the same time, mindful coloring books can be a sweet way of adding some color to our day. PS - If, like us, you feel a little overwhelmed with books that have very intricate patterns, we encourage you to look for ones that have simpler designs.
We hope these 25 zero budget activities can add a little more pleasure and relaxation to your time, and that you add more to your list as you go on trying these!
CREDITS
Writer MALINI MATHUR
Layout and Graphic Design VEDHIKA HV
Editor RHEA GUPTE
IKKIVI Zine is a property of IKKIVI by Founder NIVI MURTHY
Climate change has become one of the most central and pervasive concerns for us in the last decade, with increasing debate over what we can (and, need to) do as global citizens to confront and cross-examine its challenges. At IKKIVI Zine, we wanted to get a deeper understanding of how we can break down the problems of climate change and injustice at a microscale and learn about how it intersects multitudinously with other social issues. We spoke with environmental educator Isaias Hernandez about his journey as an environmental activist, the many ideas he is unlearning and relearning around the subject, the differences between climate action and climate injustice, and how the misconceptions around climate change impacts the way we approach it.
2. Could you tell us a little about ‘queerbrownvegan’
Of course! I was interested in creative expression and education throughout college and after graduating helped start the online publication, Alluvia Mag. With the experience and confidence I picked up, I went on to start my own educational platform which is the Queer Brown Vegan page you see today!
When I first started my own platform I wanted to bring my full self to the table and speak to the intersecting dimensions of sustainability. To me, that meant intimately exploring the question, “who is Isaias Hernandez?”. My identity has shaped the experiences I’ve had, so I felt compelled to lean into that as a source of power. The name “Queer Brown Vegan” speaks to these intersections: I’m queer, Hispanic, and vegan, and my activism and education seeks to explore the intersectionality in environmental issues we see today. For a long time, I’ve felt overlooked in environmental spaces, and have even experienced derogatory comments from professors about things like my name being hard to pronounce. I wanted to provide environmental education that highlights issues not always talked about in classrooms and do so in an engaging and creative way. Starting and running Queer Brown Vegan has been fundamental to me finding my own voice in the environmental movement.
3. On your Instagram page you’ve written ‘(un/re) learning’ under your bio note. What are some of the things relating to climate change you have found yourself needing to (un/re) learn?
One of the first that comes to mind are the expectations we place on ourselves as well as the expectations others place on us. No one has to be a perfect environmentalist. As a content creator with over 100,000 followers on Instagram, I know I have a unique responsibility, but I’m still a human being. The environmental movement has its fair share of binary thinking and perfectionism, and I’ve seen how that impacts myself and other activists. It’s a recipe for burnout.
I’m constantly reflecting on my own values and individuality, and allowing myself the space to be imperfect while operating in exploitative systems. Unlearning perfectionism has been essential to supporting myself and maintaining my activism.
Another one is doomism. The climate crisis is already happening for communities around the world, but in the Global North, a popular media response has been to broadcast the doom and gloom. This gets more clicks, but has sparked a global mental health crisis, especially in young people. However, many communities don’t have the same privilege of shutting down and have to fight for their survival. I believe that bringing that same resilience and resistance into the climate movement, the same resilience found in the United States’ civil rights, women’s suffrage, and labor movements, is a far better alternative to doomism. TLDR: unlearning perfectionism and doomism, and (re)learning lessons from resistance movements and Indigenous cultures.
4. How can we understand the difference between ‘climate action’ and ‘climate justice’? Is there a salient difference between the two?
You can have climate action without climate justice. Climate action itself has become watered down and undermined by corporate influences. Most people want to take climate action, but the truth is that the term itself is nebulous. Is climate action buying a metal straw? Petitioning my local government? Having a plant-based diet? All of the above could be considered climate action, but climate justice narrows our focus. Climate justice asks us to examine how policies and practices disproportionately affect vulnerable communities and to replace those policies/practices with better ones. When we channel our climate action through the lens of climate justice, we end up with intersectional solutions and stronger outcomes than what quantifies climate action. It’s one thing to focus on our individual decisions and impacts, but climate justice asks us to go beyond and recognize that while we’re in the same storm, we are not all in the same boat.
5. There is so much information on climate change on multiple platforms. How can we know what data is reliable and what isn’t?
I think it’s worth noting the shift from climate denial to climate delay. World governments and multi-national corporations have all made statements on how they seek to approach sustainability (the problem is these are still mostly just statements and often fail to address unsustainable or exploitative systems, but that’s a different story). In some ways, we’ve beaten the war on outright climate denial, at least on a global scale.
Most people think our issue is if information is reliable or not, but our real issue is in how this information gets presented and who controls the narratives. We have reliable information, but we still need to turn toward our story-tellers and communicators that emphasize intersectionality, indigenous wisdom, resistance movements, and more. Very often information on climate change gets presented as definitive and disastrous, and this itself is dangerous as it often excludes the perspectives and interpretations that can lead to and empower systemic change.
6. Having been dedicated to climate activism, can you share an instance with us where you saw yourself being able to generate real, positive impact?
I’m extremely grateful for the following I have and the support I receive, because it enables me to support so many other amazing individuals and organizations. It’s hard to pick one, but I’d say that anytime I have the chance to work with environmental justice organizations, especially in my own community, I feel the most fulfilled. The quote “think global, act local” comes to mind because it summarizes a lot of the work I do and how I approach my work. There are so many efforts besides my own and I love when I’m able to help raise awareness and support the organizations and individuals making it happen.
7. What keeps your drive for activism strong?
Having my own platform helps! Being able to express myself authentically and in a way I can sustain is what makes all of this possible (as well as having a team behind me). Also, being among a community of changemakers and having friends in this space helps keep me inspired. I want to create a world where people don’t experience the same problems that I did, where people aren’t breathing and consuming poison because of where they live or their economic and racial identities. Lastly, I think resting is the real secret! I also take daily walks. Taking care of my physical, mental and spiritual health keeps me engaged in a sustainable way.
8. What is the one thing you'd like to communicate to our audience which you feel doesn't get talked about enough?
There isn’t a set of requirements to being an environmentalist, there’s no check-box that you need to complete. It’s not even about solving climate change, because no one person can do that. Solving the climate crisis is about solving the broken systems that have led to it, and solving the broken systems (as an individual) means identifying what problem(s) you connect with and are uniquely equipped to solve. You’ll burn yourself out by doing work you can’t sustain. The world needs environmentalists that are problem-solvers and while it’s important to consider the big picture, this really means focusing on the problems you can solve.
Go beyond and use that individuality to find a collective movement, and I don’t just mean Greenpeace or Extinction Rebellion. Collective movements can look like engineering firms, farms, offices, really anywhere that has people connected by a shared belief and dedicated to solving a problem. If you look, you’ll see there are tens of thousands devoted to solving almost any problem you can think of (and if there isn’t one, then maybe you’re the lucky one to start it). We’re being asked to reimagine all the ways we live in and interact with the world and that’s not an easy task - be gentle toward yourself!
If you’d like to know about Isaias Hernandez's work, you can visit his website.
CREDITS
Interviewer and Writer MALINI MATHUR
Images ISAIAS HERNANDEZ
Layout and Graphic Design VEDHIKA HV
Editor RHEA GUPTE
IKKIVI Zine is a property of IKKIVI by Founder NIVI MURTHY
2021 was a year that carried a lot of change for me. I changed fields and left a discipline that was a part of me for over ten years, lost one of my professors - a mentor, who in no short terms, (has) made me who I am, and moved to a city I knew nothing about barring its tales of traffic. Acclimatizing to a new pace of life, both at work and at home, and moving with the complexities of Covid-19 as it surged in India, there was so much change afoot that on most days it felt that I didn’t have my feet on the ground.
To need to “adapt” to change is a concept I found strange, more so elusive and imposed, since I was but a child, for there was nothing I found that would ground me through its course - not even its own unchanging consistency. Being here at IKKIVI, my colleague and now dear friend, Ms. Esha’s exploratory nature made me realise how poignantly I dislike change. I believe I have always resented it, sometimes even in the moments where making changes or changing itself held a lot of goodness and meaning. No matter how much we may accept Remy’s profound truth from Ratatouille that “change is nature”, change feels harsh to me - not necessarily because it makes our days and journey unpredictable or discomforting, but due to the constant movement and little rest its unfolding can involve.
Contemplating the beauty, value and near necessity of a slow and mindful approach to life that underlies the foundation of our work over the last several months, has nudged me into reflecting on my relationship with change. I have had the fortune to meet the shadows of my ‘self’ and soak in confusions to ask some critical questions about the pains of change and the ways in which I want to, or more so need to live, to be in harmony with who I am (becoming). Stemming from my own predispositions, my pursuits in philosophy have largely kept me engaged in inquiring about the metaphysics of our existence, but never so much in the subjectivities of our experiences and needs. Unsurprisingly - yet, to my joy - after years of detesting myself for being distinctly slow to “adapt” to the new, let go of the old, and to merge with the ebbs and flows of life seamlessly, when I looked into some particularities of my personality I recognised that I do not want to adapt to change, but invite it into my everyday practices. A minute play of language while it can seem to be in the beginning, as I went into the profundity of the real variances between the ideas and propositions of the two words, I saw that one softened me, opened my shell and offered me something, and the other unconsciously divorced me from the wisdom, sorrows as well as playfulness of change. But what would it mean to invite change? And does something that perpetually befolds naturally even be invited in the strictest of terms?
In as much as change signifies an alteration, reorientation, remoulding, reworking modifying or modification, renewal, evolution, or any kind of difference to specific forms, I believe it can. Change requires time, and does not frequently transpire at the accelerated rate that contemporary or modern living can mistake us into believing. The inhumane velocity of action that many of us unwittingly experience and become subjected to in such a domain I suspect plays a significant role in deterring us from being able to feel or fuse with the naturalness of change. What I have been discovering now through my experience and examinations is my intrinsic attunement to slow(er) living, and that slowing down from a metropolitan pace of life does not soften the harshness of change but enables me (and I hope ‘us’) to see that there is inherent softness in change itself - that the slower I move, the more tempered, correct and truthful change can feel; that we may not need to “adapt” to change when we are able to feel its naturalness (as much as possible).
Inviting such change has meant to consciously allow myself to differ from the ways I (have) know(n) myself to be, and appreciate the differences and movements around me. In practice this has taken the shape of keeping with a few everyday rituals at home, cultivating slow work values, learning from colleagues and friends, steadily letting go of what feels inauthentic or hurried, practicing being comfortable with taking more time to do things, and carving an intention each morning. Being able to feel the naturalness of change has encouraged me to integrate with two (among many other) of its essential elements - genuinity and beauty - in a way that I always hoped for: to experience and perceive lesser loss and pronounced unity in its meetings. I’d like to ask you what about ‘change’ disturbs or disrupts for and in you; what, if at all, you’d like to invite through it and what you’d like for it to give to you; what you’d like for it to mean and what you’d like to feel in its presence. These questions are stepping stones that can hold a space and bind us with the fluidity of our being, making it safer and more enlivening for us to explore the world and our place in it - and I’d love to know what that place looks like for you :)
CREDITS
Writer MALINI MATHUR
Layout and Graphic Design VEDHIKA HV
Editor RHEA GUPTE
IKKIVI Zine is a property of IKKIVI by Founder NIVI MURTHY
]]>What does a fashion revolution mean to you, and how does that play a role in the way the brand keeps evolving?
A fashion revolution is where we address the real problems, the core matters, and not just use it as a fad word or keep it as a trend. It’s where we talk about the raw material problem and the landfill problem, and how to tackle it.
What are some of the problems that you’ve seen come up in these everyday processes of sustainability?
Each process has its own problems. And when we talk about slow fashion, when we talk about sustainable brands,churning four or five collections, a year is practically not possible. I mean, there’s nothing slow about it. And in fashion, I think each process, say even if the fabrics are produced, the weavers I work with, it takes nearly two months to produce 50 meters of fabric.
One loom only produces around 12 meters of fabric in one go. And that takes nearly a good one month. So there are multiple looms working to do that and if the fabric only takes two months to come and then the actual production takes place. So it has its own timeline and the constant need in fashion to have something “new” constantly has unfortunately become a cultural practice. That we see something and we want it and to produce that design immediately is something beyond my imagination as production takes such a long time. And to bring that change I think is more of a challenge at the moment. Yes, people are aware about sustainability, people are aware about the story and where it’s coming from, but still, constantly wanting something new is a very, very big challenge.
Do you feel that that’s a change that might be coming soon? Or do you feel that it’s gonna be a really slow shift where we’re actually able to become accustomed to or understand that we need to consume more mindfully? That it’s not just that production needs to be slower, but the rate of consumption needs to be slower.
I don’t want to sound pessimistic but sometimes pessimism is what supports us to reaching toward that goal. But I do feel it’s far away for everybody right now. By the end of it, everybody looks for business. For everybody, it’s easier to produce at a larger scale money wise. They say it’s easier to produce 50 pieces in one design than producing one of 50 new designs. And the constant need of needing new, new, new – how do you let that go completely? The culture we are living in is a very fast culture. So it’s not only fast fashion, but fast lives we are living in. With the social media impact, I’m not saying it’s all bad, always, but by now in our culture, there’s so many other brands which are even expediting fast fashion. Even if you want to reverse the phenomena, there are a lot of brands on the opposite side. So while we are actually running into the direction of slow fashion, there is also a lot of expedited fast fashion. I don’t see it happening, fast, but I’m hoping that the change will come because this is exactly like when I started – people were not aware about what sustainable fashion is. Especially in India, I think four or five years down before the word was just becoming a trend. But now I think most people, after having been affected by Covid – 19 are much, much more aware about it. People have become wiser on their spending. They’re not just buying for the sake of it. So I think change will come. It’s taking its own sweet time, but it will come, it has to.
When you’re exploring new fabrics or materials, what kind of input do you get from the artisans? Do they often already know about it or are they also exploring them with you?
It’s both. So when there was a fabric like bamboo, there was still awareness that the fabric is being made. We get the samples, we all touch, feel, see what works for us, what doesn’t work for us. But in bamboo there are so many weaves that are coming in. And when we get those and when we all sit together that’s what amazes them and where we all explore together.
They sometimes really can’t believe that our world has so much technology that is a boon. That’s what strikes them. They feel that this is going to be for the better. And at the same time, it’s slightly worrisome for them too because they are concerned that if people will shift to different styles given the state of fast fashion. There are pros and cons of both. But you have to constantly tell them that “no, (y)our practice is completely different”. You still have to make them [artisans] believe that what you are doing is absolutely fine because they’re growing everything organically. For example, kala cotton is a wild cotton grown naturally without any pesticides and insecticides. So you have to constantly assure them that what you are doing, your process is good and it’s not going to go anywhere. But of course, they (and all of us) do have to accept some of the changes we see coming in fashion – whether for better or worse.
CREDITS
Interviewer and Writer MALINI MATHUR
Layout and Graphic Design VEDHIKA HV
Images by NEHA KABRA
Editor RHEA GUPTE
IKKIVI Zine is a property of IKKIVI by Founder NIVI MURTHY