Six years of Mahika Kala
Before
Before I began Mahika Kala, I was working in art galleries in London and Bristol. I studied History of Art at uni and even specialised in Patterns and Culture. Looking back, it seems inevitable that I’d end up in the industry I’m in today - but at the time, it didn’t feel that way at all.
I loved working with artists, but I found myself increasingly disillusioned with the commercial side of the art world and the disconnect between creativity and the buying and selling of art. When I first began dreaming up Mahika Kala, I was back in India for the third time, exploring the chaotic streets of Rajasthan - and as often happens there, magic found me. I discovered the rich history of natural dyes and pattern-making, and it completely captivated me. Six years later, I’m still exploring that practice.
I’ve always had a deep love for handmade, process-led craft and was becoming more and more uncomfortable with the speed and waste of the fashion industry. Naturally dyed clothing felt like a beautiful fusion - honoring traditional craftsmanship while reconnecting with creativity and intention and a slower way to live.
Beginning
In the early stages of this journey, I was in textile and pattern heaven. Each region of India has its own design language - a visual history of culture and tradition - and I loved exploring Gujarat, Rajasthan, Kerala, and Tamil Nadu for this. So I began Mahika Kala by working with beautiful Rajasthani patterns and with Rajasthani printmakers... until Covid hit.
Everything changed. My business had to pivot, and I practically locked myself in my studio at the time - an old garden shed - experimenting and creating from scratch. I played with potato prints, homemade flour-and-water resist, and patchwork and so I thank lockdown - the visual aesthetic of the brand changed and I started telling my own story with patterns. I’m drawn to simple, playful patterns like giant polka dots and thick stripes and in my opinion they are absolutely timeless which is really the name of the game!
Around the same time, I learned to sew. Just before Covid, I joined the amazing Bristol Folk House, where I spent every Wednesday evening sat like a sponge, learning from the women around me. When lockdown came, I was on my own - but with time to experiment. Each garment started as an idea I had to build from the ground up: drafting a block, making a toile, adjusting again and again until it felt right. I’ve never had any formal training, and that’s definitely been tough at times. Imposter syndrome is so real in this industry!
Now
Today, I feel so incredibly lucky to work with the most amazing people. 2023 marked the start of my collaboration with Saheli Women, a wonderful female-led collective in Rajasthan and we’re so excited about future projects together.
