Amit Hansraj’s latest collection continues its quest for making heritage a part of everyday life
Like most other designers, Amit Hansraj didn’t open his label in a jiffy. It’s a well-thought-out labour of love, created after two decades of work experience in the world of fashion. Born over three years ago, Amit’s label Inca stands for what he believes in—turning heritage, into a part of our daily life. Inca’s new collection, too, surprises us with his approach to craft. The couturier employs heritage crafts, be it shibori, bandhani, leheriya, or ajrakh, in his creations in a way that actually delves deep into the rich and varied heritage of Indian craftsmanship. In his studio in Lado Sarai, over 15 craftsmen, mostly women, are personally trained by Amit, to preserve the age-old crafts and make them globally appealing. He takes us through his latest collection.
Amit Hansraj is weaving India’s craft legacy into everyday luxury
Tell us about your latest designs.
Inca has never really been about seasons—it’s more of a living, evolving practice. Each collection flows into the next, and in that sense, it’s always a work in progress. For this, we worked with a combination of crafts — shibori, leheriya, bandhani, kantha, and block printing —paired with vintage textiles sourced and reinterpreted in new forms. The palette moves from soft ecrus, and indigos to richer tones of madder red, moss, and charcoal. The silhouettes are flowy yet structured and includes kaftans, draped tunics, quilted jackets, fluid saris, and easy separates. The textures are layered and imperfect by intent; they carry the human touch that makes each piece one of a kind.
What’s the idea behind this collection?
The idea behind Inca has always been to relook at tradition and translate it into contemporary life. I’ve never believed heritage should be preserved behind glass—it should live with us, breathe with us. This collection continues that thought but brings together a wider range of crafts and techniques than before. If the first collection was about exploring shibori and texture, this one builds more dialogue between multiple crafts, from the meandering stitches of kantha to the geometric rhythm of leheriya.
What’s happening in accessories now?
Jewellery, for me, comes from the same instinct as clothing — it’s about memory, found beauty, and the joy of repurposing. As with the clothes, jewellery at Inca keeps evolving. We keep adding new pieces, often inspired by what we find, what we lose, and what we choose to hold on to.
You play with flow and structure in your silhouettes—take us through your design thoughts. What inspires you?
I like contrasts. The softness of drape against the geometry of tailoring, the quietness of cotton against the sheen of silk — these create tension, and that’s where I find beauty. My inspiration often comes from small things like museum visits, fragments of vintage embroidery, an old sari border, or even a photograph from my travels. I still go back to the Crafts Museum in Delhi when I can; it’s where my earliest encounters with Indian crafts began. Watching artisans at work there as a child shaped how I see design even today — rooted, yet fluid.
The best-dressed celebs according to you.
Rahul Khanna and Konkona Sen Sharma.
What are you working on next?
I’m working on a small capsule that blurs the lines between clothing and objects — pieces that bring together fabric, metal, and memory.
