1

Can you share a bit about your journey into fashion? What inspired you to start advocating for labour rights and artisanal craftsmanship?

My journey into fashion began as a photographer and storyteller, but quickly became a space where I couldn’t ignore the inequities behind the images. In 2013, the Rana Plaza factory collapse in Bangladesh was a turning point — it made me realize that the glossy surface of fashion masked a much deeper story of labour exploitation and environmental degradation. At the same time, growing up in a South Asian household, I had a parallel awareness of how textiles and craft were historically vessels of resistance and cultural expression. That duality — fashion as both site of harm and potential for justice — led me to advocate for labour rights and artisanal craftsmanship as integral to reimagining a just industry.

2

Through The Artisan Archive, you’ve built an incredible platform for documenting artisanal traditions and their contexts. What has been the most rewarding part of that journey?

The most rewarding part has been seeing how artisans feel recognized and revalued when their knowledge is documented with care. Too often, craft traditions are viewed as relics or romanticized visuals. The Artisan Archive insists on showing the full context — the ecology, the intergenerational knowledge, the socio-economic realities. Watching artisans take pride in their work being reframed as part of global climate and cultural solutions has been deeply affirming.

3

How have your cultural roots influenced your relationship with fashion activism and the stories you want to spotlight?

As a Punjabi woman, I grew up surrounded by textiles that were never just decorative — they carried history, community, even memory. My roots have instilled in me a sense that fashion isn’t frivolous, but an archive of who we are. That’s why I gravitate toward stories that connect craft to cultural survival, whether that’s reviving indigenous cotton in Punjab or amplifying weaving practices in Peru. My cultural inheritance has made me see fashion as both a tool of colonization and a pathway for reclamation.

4

Your work intertwines various forms of storytelling, from journalism to art. How has such an interdisciplinary approach informed your voice, particularly when speaking about fashion?

For me, storytelling is a bridge. Journalism brings rigor and accountability, photography brings intimacy, and film brings immersion. Art allows me to tap into symbolism and imagination.

Fashion is best understood when you hold all of those lenses together — it’s not just about aesthetics, but also labour, land, history, and identity. Having an interdisciplinary practice allows me to create narratives that resonate across different audiences, from policymakers to young people on social media.

5

What do you think is the role of platforms like Wolf & Badger —and the independent, ethical designers they support—in creating a more sustainable fashion industry and preserving traditional crafts? How do you personally approach sustainability in your own work?

Platforms like Wolf & Badger are critical in bridging the gap between independent, values-driven designers and a global audience. They provide the visibility and infrastructure that small labels often lack, and in doing so, they create alternative ecosystems that challenge the dominance of fast fashion. In my own work, sustainability is about centering place-based wisdom: reviving native ecologies, supporting local economies, and ensuring artisans and farmers are not just included but empowered.

6

What are some misconceptions and assumptions about artisanal crafts you wish you could debunk?

One major misconception is that artisanal craft is a thing of the past — something static, fragile, or only meant for museums. In reality, craft traditions are dynamic technologies, constantly adapting to new ecological and social conditions. Another is that artisanship is inexpensive “handmade” labour, when in fact it represents highly skilled work that should be valued accordingly. Craft is not charity, it’s innovation rooted in culture.

7

What’s next for you and The Artisan Archive? Are there any upcoming projects or collaborations you’re excited about?

At the moment, The Artisan Archive is focused on a collaborative project with Trinjan, a collective of women in Punjab, where we’ve co-created a weaving school. The initiative was born from a shared desire to revive native cotton varieties and reinvest in intergenerational knowledge at a time when industrial agriculture and globalized supply chains have eroded both. Together with farmers, spinners, and weavers, we’re rebuilding a local ecology of cotton and craft — one that honors the land while sustaining livelihoods. For us, the next step isn’t about scaling quickly, but about ensuring the model remains rooted, resilient, and regenerative.