"Threads of Home"
Shaped by a dual cultural upbringing, Jivan, started Shankar as a passion project which soon became a creative outlet and a way for him to pay tribute to his family, his upbringing, and the culture and roots that define him.
Let’s start with your story, who is Jivan outside of Shankar, and what is your story?
I’m a 28-year-old British Punjabi. I was born and raised in Birmingham, UK, while my family’s roots trace back to northern India, Punjab. Specifically to the village of Shankar, my grandfather’s village.’’
‘Growing up, my identity has always felt like a blend of two cultures. On one hand, Punjabi culture played a strong and defining role in my upbringing through my family. On the other, I’m Birmingham-born and raised, and proud of that side of my identity as well. That mix really defines who I am outside of Shankar. In terms of interests, I love football. I love Punjabi music.Before starting Shankar, I had no background in fashion or the arts. I studied Economics at King's College London and have since worked in finance.
Today, I’m involved in my family business, where we run convenience stores.’
‘Shankar began purely as a passion project - a creative outlet for me. It became a way to express myself and, more importantly, to pay tribute to my family, my upbringing, and the culture and roots I come from. Without culture and roots, I feel we have no identity.
How did the idea of starting your own label come about especially since you’ve mentioned that it’s not just about fashion, but something more cultural?
I’m a firm believer in fate and destiny. What’s meant to be will find its way to you. I think our paths are often already written, but it’s equally up to us to steer the journey. For me, that moment came during Covid. During the first lockdown, I was living with my grandfather, my Babaji, while helping nurse him back after a knee replacement. While isolating at home, we spent time going through old family photo albums. That’s when I came across pictures of my grandfather and his brothers from back in the day. What struck me immediately was how elegant they looked! They would never leave the house, even for something as simple as going to the local shop, without wearing a blazer, a tie, and being immaculately put together. They looked dapper and effortless.
There was my light switch moment. Their sense of style came naturally, without external references like Instagram, Pinterest, or fashion magazines. Dressing well was simply part of their everyday routine. I’ve always had a personal interest in dressing up, especially for special occasions. I love wearing ties, tie pins, pocket squares, and well tailored double breasted suits. So when I reflected on those photographs, the tie stood out immediately. My grandfather always wore one, and I’ve always loved them too. That became the symbolic starting point of Shankar. Beyond that, I’ve always felt deeply connected to my identity and roots, and I wanted to pay homage to where I come from, a way of saying thank you to my family for my upbringing and for shaping the path I’m on today. Everything came together organically. The tie, my grandfather, my culture, and my roots. Shankar began as a tribute to all of that. I wanted to wear my roots as a medal.
Growing up in Birmingham while your roots lie in Punjab, did you ever feel a sense of distance from your heritage? How did that shape Shankar?
Never. Absolutely not. And that comes down entirely to my family and my upbringing. We’re a large family, my grandfather is one of five brothers, and there has always been a strong sense of togetherness and community. That closeness meant Punjabi culture was a constant presence in my life while growing up. Even though I was born and raised in the UK, Punjabi was actually my first language. My grandmother largely raised me in my early years while my parents and grandfather were at work, and because of that, I was fluent in Punjabi long before I knew much English. The connection to culture was never forced. It happened naturally, through my surroundings. I developed a deep love for Punjabi culture, especially music. Old folk Punjabi music, as well as contemporary artists, has always been a huge part of my life.
Growing up, I would spend time studying singers like Kuldeep Manak and Surinder Shinda, alongside folk love stories such as Heer Ranjha and Mirza Sahiba. All of this happened while I was attending an English school in the UK, which I think makes it even more striking! My family planted the seed, but over time that connection grew on its own. It was never about being told who I was supposed to be. It was about discovering it naturally and falling in love with it.
Giving back to the community is an important part of your story. Can you tell us more about what that looks like in practice, especially when working closely with artisans?
'Giving back, for me, is multidimensional. There are several layers to it, but at its core, it begins with doing justice to and celebrating the artisanal skills and craftsmanship that have always existed in India. Today, especially within the fashion industry, there is a strong push towards fast fashion, where brands are constantly producing new collections with dozens of SKUs, often at the cost of meaning and craft. At Shankar, we take a very different approach.
Each design is intentional and carries its own story. We believe in slow and sustainable fashion, which for us means championing age-old Indian techniques, whether that's embroidery, block printing, or the use of traditional fabrics.
A key part of this process is carefully identifying and working with the right artisans for each piece. For example, one of the garments in our first collection was a crochet shirt. While most crochet garments today are machine made, we wanted to highlight the importance of handmade crochet. We worked with a small group of female artisans who have been practicing this craft all their lives. For just one shirt, it took three women nearly 84 hours to hand craft the crochet panels, which speaks to the level of skill, patience, and detail involved.
For me, giving back is not only about preserving these techniques, but also about allowing artisans to continue practicing their craft and presenting their work on a global platform. Our first campaign shoot was in Paris, which I see as the global capital of fashion. Taking a shirt that was handmade over 84 hours in a rural Indian village and showcasing it on an international stage carries immense meaning.
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Often with large brands, the backstory behind a garment is lost. You do not always know who made it or the effort that went into it. With Shankar, the story is just as important as the final product. Indian craftsmanship is unparalleled, not because it cannot be replicated elsewhere, but because it is deeply ingrained in culture and lived experience.
One of the most rewarding moments is sharing images and videos of these global showcases with the artisans themselves. Seeing their work worn and appreciated internationally brings a deep sense of pride and satisfaction. That, to me, is truly giving back to our community and villagers'
What are three non-negotiables you follow when working with artisans?
The first non-negotiable is creativity and innovation. Every Shankar piece is built around storytelling. Each garment carries a deeper meaning because there is always a backstory behind it. Our designs begin with hand sketching, and every piece is created from scratch by our atelier. We do not source pre designed fabrics from the market. The stories are written into the design itself. For example, influences from our first collection drew from a Mughal derelict building in our Pind (village), while the upcoming collection is inspired by folk love stories. These are narratives you cannot find already printed on fabric. They have to be created. That process of hand sketching and hand painting is central to who we are. Creativity, innovation, and storytelling are at the heart of our work. If there's no story, there's no piece.
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The second non-negotiable is quality. Shankar is not a fast fashion brand. Our aim is to create elevated, lasting pieces that feel special and memorable in someone’s wardrobe. Because of that, quality standards are uncompromising. Fabric selection, construction and finish all need to meet a certain level so that each piece stands apart from the rest of what someone already owns.
The third non-negotiable is technique. Every design choice extends to the method used to bring it to life. There is intention behind whether a garment uses embroidery, printing, hand painting, or block printing. For instance, a painted design may need to be screen or digitally printed to preserve clarity, while another piece may be hand painted to achieve a specific texture or effect. If the story calls for a traditional approach, we turn to Indian techniques such as block printing.
These three principles of creativity, quality, and technique are what define a Shankar piece and what sets it apart from anything else in one's wardrobe.
Tell us about your debut collection Word Is Born. What techniques are you using in your current collections?
We released our debut collection, Word Is Born, in October last year. It marked the beginning of how we approach storytelling through clothing.
One of the standout pieces from the collection was a handmade crochet shirt. The crochet panels alone took nearly 84 hours of handwork for a single shirt, which really highlights the level of time and skill involved. For the collection, we also hand sketched and hand painted our own motifs for the Cuban-collared shirts. These prints were inspired by Mughal architecture, combined with strong Italian sartorial references from the 1970s. Bringing those two worlds together was only possible by creating the designs by hand rather than sourcing anything pre-existing. The motifs were then translated into prints after the hand painting process. Alongside this, we are currently working extensively with hand embroidery rather than machine embroidery. There is a certain elegance and refinement in hand embroidery that we deeply value. We are also exploring fabric weaving, which is completely new for us. Instead of printing or embroidering onto fabric, we are now weaving our own textiles. For this, our atelier in Varanasi hand sketches and templates the patterns before they are woven using traditional handloom techniques. Watching this process unfold is incredibly special and gives a glimpse into the depth of craftsmanship involved.
Word Is Born was designed as a mini capsule rather than a single product launch. I wanted the first collection to feel like a body of work, similar to how a musician releases an EP or an album. The collection includes ties, pocket squares, Cuban-collared shirts, and a crochet shirt. The name "Word Is Born" reflects our belief in cultural storytelling and inviting people to connect their own narratives with the brand.
Another important aspect of the collection is that all pieces are unisex. While some may initially view Shankar as a more male-oriented brand due to items like ties and pocket squares, our lookbooks and styling show how playful and versatile these pieces can be across genders. I also want to acknowledge the creative collaboration behind the collection. Our creative director played a key role in shaping the visual identity, from the campaign shoot in Paris to the London photoshoot. Seeing the journey go from concept to ready garments being showcased internationally has been incredibly meaningful.
As for the team, Shankar is very much a family backed brand. In the UK, it is primarily led by myself and my wife, Simran, with the support of my parents. In India, we work with a team of twelve people across multiple ateliers in Punjab, Mumbai, Delhi, Dharamshala, Varanasi and Lucknow. Each location brings a specific skill set, which allows us to work with a wide range of techniques and craftsmanship
People often romanticise starting a brand. From your experience, what was harder than you expected and what surprised you in a good way?
The biggest challenge for me was stepping into a completely new world. I entered the fashion industry with no formal background. I never studied fashion or art beyond school and I had no prior experience as a buyer or designer. I was learning everything on the go as a self taught founder and designer, and every day came with a new lesson.
Creativity was never the issue. I have always been clear about Shankar’s identity and purpose. My mind is constantly full of ideas for what we can do next. What truly challenged me was the technical side of fashion, especially sampling. When sampling does not go as planned, it can be demoralising. Sometimes a piece goes through ten or fifteen rounds of sampling before it feels right. Not knowing fabrics, construction, trims, or production processes early on made that phase particularly difficult.
Another unexpected challenge was impostor syndrome. When you enter an industry without formal training, you constantly question yourself - am I good enough? Am I doing this the right way? Would it be different if I had studied fashion? Those doubts were very real in the early stages. What surprised me in a good way was how much confidence came after launching the brand. Once we released Shankar in October, it felt like permission to trust my instincts and own the journey. If people connect with the story, they will stay with us. That is all we can hope for.
At its core, Shankar is about giving back to the culture and creating something people can resonate with in a playful yet elevated way. While our roots will always stem from Punjab, the brand is not limited to one culture. I see Shankar as a platform for cultural storytelling across the world. Wherever life takes me, those experiences may shape future collections. The intent is to remain open, inclusive and rooted while telling stories that belong to everyone.
What are your top three tips for someone building a brand rooted in heritage, craft, and community today?
The first would be to stop looking at everyone else. Do not compare your brand, your vision, or your ideology with what already exists in the market. Chasing trends, algorithms or copying what big brands are doing only leads to herd mentality. It stops you from being individual and from standing out.
The second is to stay in your own lane and fully back your story. Be clear about your brand identity from the start. Know what your story is, what you stand for and why you are doing this. When you commit to that meaning and stay consistent, it becomes your strongest foundation.
The third is to remain true to your original intent and not imitate. Market research is important, but the moment you begin imitating someone else’s success, you lose your essence. Hold on to the reason you started, the stories you want to tell, and the world you want to build. When you stay honest to that, everything else follows.
How do you personally define success, both as a creator and for Shankar as a brand?
For me, success is very simple. It is seeing a smile on my grandparents’ faces. I am fortunate to still have both my grandfather and grandmother with me, and I spend time with them regularly - sitting together, talking, and sharing everything that is happening in life. What also means a lot to me is when they ask about what Shankar is upto. The name itself holds meaning. Shankar has always been our village, the home of our family and extended family. It is not just my story, it belongs to all of us. Seeing my grandfather take interest, asking about interviews, campaigns, or even my latest Instagram post, is a blessing.
My dream is to one day take Shankar to Paris Fashion Week or London Fashion Week and have my grandparents and my family sitting in the front row. That, to me, is success. It is not about numbers, sales, or commercial milestones. It is about pride, legacy, and being able to give something meaningful back to the people who shaped me.
