Q+A with Shweta Rajesh
Pratt Institute BFA 2026
A rectangle-shaped sound
In Next Gen / No Kill, we spotlight standout fashion graduates whose work opens up new conversations and possibilities. From New York’s top programs and beyond, these are the designers shaping a future of fashion defined by intelligence, creativity, and intention.
What is the inspiration or concept behind your collection?
I am deeply inspired by Indian textile and craft, and my collection explores textile making – as a process, an observed rhythm between the maker and the made, and a set of sounds.
The collection interprets every mark, print and thread on textile as a tangible record of the sounds generated in its production.
Referencing the Kolam, a rice flour floor drawing in Tamil culture, I naturally dye and print all the textiles beginning with a dotted grid, followed by an intuitive placement of mordant block print. Continuing with the idea of a formatted beginning, I use rectangle patternmaking as a system to create collaged textile compositions on the body, while investigating how clothing fits different bodies as well as thinking about textile wastage in cutting.
What’s one material or technique you’re currently obsessed with?
I am completely captivated by mordant printing. It is a technique that originated in the Indian subcontinent thousands of years ago. Mordanting is a process that allows natural fibers to absorb natural dyes properly but In mordant printing, I am essentially deciding exactly where on the fabric the dye will be absorbed and where it will be resisted—in the form of a print! It’s magical to me. I keep a record of everything I do but sometimes results can still be unpredictable. Because I have everything recorded, the surprise result is a new addition to my swatchbook recipes and that is my favorite thing about natural dyeing!
What does fashion mean to you today?
Fashion is clothing, a soft object, or a collection of soft objects, made to drape around and onto the body. To me, interesting fashion is a garment made kindly and responsibly. I am most fascinated by thoughtful uses of textile — manipulations, knits, patchwork, natural dyes and stains, visible thread work, and evidence of the hand. Leaning into traditional knowledge– what do we already know? What has been traditionally practiced that is good for our skin, our bodies, other people, other living beings and the earth? Old knowledge is so rich and full of ideas and I think we need to listen to what is already practiced by so many artisans and communities.
What’s one thing you wish the fashion industry would leave behind—and one thing it should embrace?
I think the industry should leave behind alternatives for leather. I find the idea of furs and leathers being a marker of luxury and status deeply concerning, not to mention fashion itself being used as a thing to display hierarchy. Although leather is a by-product of the meat industry, I think we should think about why we feel pride in wearing the expensive skin of another being. At the same time finding a plastic alternative only makes more waste. Instead of inventing new plastics, I think we should focus more on repurposing and working with what already exists.
The industry should embrace local artists, artisans, weavers, hand embroiderers and everything local! Over the past four years in New York, I have had the joy of meeting and watching a large community of creative people in New York passionately work on what they do best, forming such a knowledgeable community. I love the smaller-scale, human side of the industry and New York!
Who or what has shaped your design values most?
Shamji Bhai and artisan communities in Kutch and Gujarat have had such an impact on the way I approach textile and process. Shamji Bhai is a master weaver in Bhujodi, Kutch. I had the opportunity to spend time with him in his home workshop and meet artisans working on various aspects of textile — weaving, spinning, natural dyeing, and indigo dyeing.
Kala cotton is a rain-fed indigenous cotton crop that was replaced with American cotton by the British during the colonial period. American cotton requires a lot of water and is nowhere near as efficient or sustainable as Kala cotton. Shamji Bhai demonstrated the process of spinning to me and explained that after the cotton is harvested, it must undergo ginning and carding, both of which are done by hand by the community as they sit together and chat.
Anni Albers speaks about how industrialization separates people from materials and fragments the making process. In textile and fashion design, I am interested in bringing a connection between each step of the process. In my work, attention to the relationship between these steps is very important.
Last year I worked for SC103. I was mostly in charge of the footwear making and design for their fall show. They gave me a bunch of fabrics, sewing supplies and an assortment of sourced sandals and ballet flats. I had a lot of agency in choosing patterns, colours and designs to cover these shoes and build lace up gladiator sandals with grommets and other hand work details. I was endlessly inspired by how boldly patterns and colour mixing was embraced and I also felt very free doing it.
If you could design for anyone in the world, who would it be—and why?
I love to design clothes that fit a range of bodies. I love when someone bigger is able to fit into the same garment as someone smaller and they both feel great and the garment fits them differently but definitely still fits them. I find it interesting (and challenging in a good way!) to keep this in mind when I draw out my patterns. Trying on clothes on all my differently shaped friends and myself is always the best. I also love it when my friends, my mom and my brother want to wear my clothes, so if i had to pick anyone maybe it’s them!
Three things keeping you sane right now
First — my friends. I love working with them in the studio, and almost every morning one of us
sends an “are you at stu?” text.
Second — the gym and physical activity. I prioritize going to the gym, and it is a really important
part of my routine.
Third — cooking and eating well. I find that when I take care of myself in these ways, I feel
happier and more efficient when I work.
One word to describe your design approach: Collage
Where can we find you online?
@shweta._06
shwetarajesh.com
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