Nandita Raja's Inspiring Journey in Textile Design
Textile designer Nandita Raja, the co-founder of Kanishka's, embarked on her remarkable journey in 1970 from the quiet corners of her home in Kolkata. With no formal training to guide her, she meticulously shaped a distinctive design language through pure instinct, deep engagement with craft, and an enduring love for folk art. What followed was a lifetime dedicated to working with textiles, where each piece reflects years of practice, patience, and originality. In a heartfelt conversation, she looks back on her humble beginnings, her creative philosophy, and the unique path she carved for herself.
How It All Began: A Home-Based Start
I did not learn design from a school; I learned it at home, Nandita recalls. In 1970, she was a young housewife in Kolkata with a small son, having no formal education in textiles or design. At that time, there were no fashion schools, no design institutes, and very little exposure to anything called “fashion.” She only knew that she wanted to do something meaningful with her hands. Her husband, Dilip Raja, always encouraged her, telling her she did not need to work outside the house. She could sit at home and channel her talent into something significant. What started as a simple hobby slowly evolved into her life's work, although she never planned it that way.
Learning the Craft Without Formal Training
My first sari was a cotton Bengal handloom sari, and nothing came easily then, she explains. Printing blocks were hard to find, colors had to be mixed by hand, and locating printers and block cutters was a challenge. I did everything myself, and it was hard work, but I learned by doing. She started with just 10 printing blocks. Now, after more than 50 years, she has amassed nearly 10,000 blocks, each one representing immense time, effort, and learning. I didn’t have teachers; instead, fabric, color, and my own mistakes taught me everything.
Choosing Bengal Handloom Saris
At that time, most printed saris were mill-made or screen-printed, and I felt that the Bengal handloom was being ignored, Nandita states. She wanted to print on handloom saris that carried texture and character. With help from traders in Barabazar, she began going early in the morning to Howrah to source fabrics. The first sari she selected was a Dhonekhali handloom – off-white, with red, black, and yellow borders. It was simple, honest, and strong, embodying the essence of her vision.
Staying True to Traditional Methods
Even today, I work only with handloom and traditional block printing, and I do not do digital printing, she emphasizes. Nandita personally sits with her work daily, deciding colors, motifs, and combinations without using a computer. I do not use a computer; rather, I don’t know how to use it. I still draw designs in a khata. Block printing on this scale is rare now, but I continue as this is the only thing that I know and love.
Thoughts on Design Replication
People copy my work, she acknowledges. Earlier, it bothered me, but now it doesn’t. My husband once told me, 'They can copy your sari, but they cannot copy your mind.' He is there no more, but his words are something I still believe deeply. This philosophy has helped her maintain her originality and peace of mind.
Starting the Brand: August 15, 1970
Nandita recalls the beginning vividly: On 15th August 1970, I started Kanishka's from my home, with no shop, no studio, and no big plan. She created a few saris, shared them with neighbours, friends, and relatives, and they sold instantly. That’s how the Kanishka’s family began — quietly and simply, she says, never imagining it would last for decades and grow into a respected brand.
Growing with Kolkata's Support
I have always worked from Kolkata, and Bengali customers are demanding but also experimental, Nandita notes. They question, they observe, and they appreciate originality. In the beginning, non-Bengali customers did not take to her work as much; the scripts confused them, though they slowly began to appreciate it. Bengalis, however, supported me from the start. Kolkata has always stood by me – and still does, she adds gratefully.
Inspired by Folk Art and Village Travels
When I started, floral patterns were everywhere; village travels revealed richer folk art, making me question why these stories aren’t on saris, she reflects. This curiosity drove her to incorporate diverse folk elements into her designs, setting her work apart.
Defining Herself as a Textile Designer
I have never called myself a fashion designer; I am a textile designer, Nandita asserts. I did not learn from design school but from fabric, color masters, block cutters, and printers. This hands-on approach has been the cornerstone of her success and authenticity in the industry.
