You presented Bengal's heritage weaves in London last year as well. How did returning to this stage for SS 2027 feel, and how has the story you're telling through your designs evolved since then?
This year my presence at the London Fashion Week SS2027 was definitely more impactful than the previous year.
It was a six-month project. While researching for this collection I wanted to include three different facets for design development: historical context, heritage textiles, and authenticity of styles.
My collection was inspired by the Bengal Sultanate, followed by Mughal Bengal -- a period of great transformation regionally.
This collection celebrates our Islamic heritage and the styles of the aristocracy.
Your new collection blends Sufi philosophy with Bengal’s Sultanate era, and features the ancient Mul Mul Khaas. How did you translate those spiritual Sufi ideas into actual cuts, motifs, and modern luxury outfits?
In popular Sufi philosophy of the medieval era, unadorned white cotton was upheld as a fabric symbolizing humility, spiritual purity, and egalitarianism, which subtly tempered the otherwise opulent displays of royal authority.
The elite and rulers of the Bengal Sultanate 1342–1576 blended Persian Islamic court attire with indigenous lightweight textiles, reflecting both political prestige and the pious, simple aesthetic favored in Sufi traditions based on our cultural ancestry.
In Sufism, the outward aesthetic is deeply tied to inward spiritual states, where minimalism serves as a tool for purifying the soul.
Hence the styles were mostly chosen in traditional period cuts as documented in museum archives, while a few were blended with more contemporary line of attire.
My key and fundamental style ideas displayed wearability and comfort.
Bringing revived Dhaka Muslin back to London carries strong historical weight given Britain's colonial history with our textiles. What message does presenting Mul Mul Khaas there send about reclaiming our heritage and redefining 'Made in Bangladesh' as high-end, sustainable fashion?
My presentation is inspired by Mul Mul Khaas: the “Legendary Dhaka Muslin” that has very profound historical significance.
It is not possible to produce the finest quality muslin and make it viable for a niche audience. I have used 200 count hand spun hand-woven material.
Superb and wearable handloom developed in same way as the earliest cotton muslin but more affordable and viable for both local and international markets.
The ancient process of making of Dhaka muslin was rooted in a complex 16-step method rather than literal magic, though its unbelievable lightness and transparency inspired legendary myths.
Spun by highly skilled artisans often working near humid river conditions or on boats achieving thread counts to over 1,000.
Today through government initiatives, Dhaka muslin is being revived experimentally in small quantities. Although the cost incurred is high, it is a beginning of a great textile journey.
In the same light this collection aims to advocate for high-end sustainable fashion that is slow and valued for being made in Bangladesh.
Reviving a lost tradition like Mul Mul Khaas requires remarkable patience and artisan skill. What changes or support does Bangladesh's local fashion industry need to protect these endangered crafts and build a thriving global market for our handlooms?
The traditional Mul Mul Khaas is being revived today through training and skill development. The local design industry is campaigning for better results to protect the textile craft.
This highly skilled and advanced handmade weave reached its absolute zenith during the Mughal era, when Emperors and the gentries of courts like Lucknow and Delhi favored it because it allowed complex undergarments to shine through while keeping the wearer cool in the intense subcontinental heat.
This special and wonderful quality is appreciated by buyers even today something that can be nurtured for the intense heat anywhere especially in the western hemisphere.
This Dhaka muslin is no longer an endangered craft and slowly the steps are being engineered to fulfill slow productions responsibly.
With more exposure to international platforms and sustainable shows we hope to find avenues for handloom and conscious fashion in flourishing global markets.