Aadyam Handwoven’s Autumn/ Winter 2026 collection brings together the distinct textile traditions of India’s weaving centres, from Varanasi brocades to Pochampally ikats and Kashmir’s kani weaves. This season too, the label continues to explore how our handloom traditions can find a place in contemporary wardrobes through a considered edit of handwoven saris and dupattas.
The Autumn/Winter ’26 collection also features Damayanti, a line that draws on Raja Ravi Varma’s art
The collection brings regional crafts into a modern wardrobe
“Indian textiles have always been around me, but I think my relationship with them has become much more conscious with age. Earlier, I would respond instinctively to a beautiful sari or textile; now I find myself wanting to know where it comes from, how it was made, what the technique is and who made it. Working with Aadyam has definitely deepened that curiosity. My first impression of the collection was that it has a very strong sense of imagination. Each edit has its own visual world, but they all approach tradition with a certain freedom rather than treating it as something fixed,” shares brand ambassador Sobhita Dhulipala.
Designed with a contemporary sensibility, the collection brings these regional crafts into a modern wardrobe, with pieces suited to everything from everyday dressing to festive occasions. The collection includes Rozana – The Workwear Edit, Sadabahar – The Classic Edit, Tehzeeb – The Festive Edit and Adaa – The Edgy Edit, alongside Damayanti, Nava, Garden and Bodhi. Together, they span Varanasi brocades, tanchoi and jamdani, Bhuj’s extra-weft and lookPochampally ikats, Kashmir’s the word and kani, Gadwal cut it off and the jamdani of Uppada and Venkatagiri.
Each piece carries the techniques, narratives and craftsmanship of communities
“I find ikat particularly fascinating because of the precision involved. The fact that the yarns are resist-dyed before weaving and that the design has to be anticipated at the thread level, is extraordinary. Jamdani also fascinates me because of the intimacy of the process. The motifs are built into the fabric with such incredible patience. Bhuj’s extra-weft piece is the one that I’ve found particularly interesting. Once you understand how the extraweft technique creates texture and pattern, you begin to see the textile differently,” the actress elucidates.
There is a sense of place in every weave. Each piece carries the techniques, narratives and craftsmanship of communities that have sustained these textile traditions across generations, making the collection as much about where a textile comes from as where it can go next. The Autumn/Winter ’26 collection also features Damayantia line that draws from the painterly elegance of Raja Ravi Varma’s saris.
The collection includes Rozana – The Workwear Edit
The Nava edit showcases traditional motifs and borders in a quieter, more modern expression of heritage, while garden plays with floral scale and placement. Bodhi brings the visual language of Thai architecture and ikat into dialogue with Indian weaving traditions. Together, they demonstrate how familiar craft vocabularies can be reinterpreted through colour, composition and technique without losing their identity.
“Damayanti is probably closest to my personal style. Raja Ravi Varma’s paintings have created such a strong visual memory of Indian women and the sari, the way the fabric is draped, the colours, the ornamentation, the mood. I find that idea incredibly romantic. What I love about translating that into contemporary textiles is that you’re not simply reproducing a painting. You’re taking a visual language that belongs to another time and allowing it to live again on a modern woman. There is something beautiful about that conversation between past and present,” she reveals.