Anamika Khanna is not holding back anymore

Anamika Khanna is gearing up for her first marathon. Literally. Not the metaphorical one she’s run the past few weeks, with her clothes garnering notable appearances on the red carpets of the Met Gala in New York and at the Cannes film festival (on Isha Ambani and Janhvi Kapoor, respectively); the opening of two stores (AK|OK Anamika Khanna at Jio World Plaza in Mumbai, and Anamika Khanna in Hyderabad); and the launch of a bejewelled handbag line.

“I push myself every day. People look at me and think I’m not physically strong,” she says, laughing. “But hey, if I punch you, it will hurt. I run often, and a 10k is on the agenda.” For a writer, this admission is ripe for excavation. She’s had an enviable run, after all—a three-decade-long career where she defied a lack of formal training to create a unique voice, one that’s been imitated in every corner of the country. She’s done it on her own terms, in her own cadence. And she never seems to tire.

Over a video call from her studio in Kolkata, Khanna says she reacts with two words to every diktat thrown at her: ‘Why not?’ “If someone says the bride cannot wear this to a wedding, if a look is not considered appropriate... Who is making these rules? I’m questioning everything, including my existence,” she laughs.

Even when it came to the buzzy showcase of her contemporary ready-to-wear label, AK|OK Anamika Khanna, at the 25th anniversary of Lakmé Fashion Week in March, she threw the traditional show format out of the window, including doing away with the coveted front row. “I wanted a democratic show. Why should the seating reflect how much you matter to me? It’s about the experience and having fun.” She also brought in international talent, like London-based Anna Trevelyan, who styled the show. “I gave her complete creative freedom. This show was really how I dress everyday. It was a big departure for me to put myself out there.”

Over two decades ago, Khanna had launched Ana-Mika at London Fashion Week. The clothes, with what are now considered Khanna’s trademarks (draping, soft tailoring, and craftsmanship through textural embellishment and Indian fabrication), got picked up by Harrods immediately. In four years, she was stocked in over 100 stores and was on the line-up at Paris Fashion Week. It was hubris and some strong constructive feedback that gave her and the label momentum. In hindsight, she rues the hubris.

Rapid expansion without the proper back end was difficult to sustain, and the label shut down. “There was no plan. The idea was to be the first to showcase a label out of India, which was, at that time, mainly a manufacturing hub. I was so confident in my embroidery, but I realised that internationally it was all about fit, tailoring, patterns.” There was the bump in the road, yes, but learnings too. “They don’t want a costume; they want a strongly edited collection. And that learning I applied even to the domestic market. I became fearless, approaching my designs in a new way—mixing in international elements, tampering with the sari, playing with the silhouettes. It was scary initially; I remember wondering what would happen. Now, it’s the same cycle again, knowing that I don’t know enough and it’s all learning.”

After Ana-Mika shuttered, Khanna shifted focus to her namesake label, which specialised in bridal couture; the more accessible AK|OK Anamika Khanna, which she launched in 2019; and more recently, a handbag range.

For her second act, she’s built a stronger foundation—resting on strong numbers and a dedicated local client base.

The through-line in the past three decades has been the establishing of a strong trademark. What Khanna does so beautifully is mould silhouettes, cultural touchpoints, artisanry, and a global outlook in timeless, rooted designs. She is focused on the drape (knotted Greco-Indian toga dresses, dhoti pants, majestic capes) and tailoring (embellished vests, a feminine take on the sherwani). She has played with texture (crushed silks, sheer nets, three-dimensional zardozi embroidery) and digital prints. She has mined traditional dress from across the country and paired them with denim and leather.

All of it has the distinct stamp of her touch—you can spot an Anamika Khanna design a mile off. “To build a brand out of India that means something to the world has always been my mission. We can’t be restrained to just an outfit worn to a masquerade ball or a foreigner wearing a sari at an Indian wedding. We have to break out of that cocoon,” she says.

What’s also different this time around is that she has additional support in the form of her now-grownup twin boys, Viraj and Vishesh. “It’s re-energised the brand and me,” she says with a laugh. “They keep me on my toes. A lot of things sometimes feel dated, and they come in with a strong viewpoint, which I value.”

How has her parenting evolved, now that they are older? “I can honestly say it has remained the same. We’ve always had that level of trust. I’ve never raised my voice at them,” she says, an admission she knows will raise some eyebrows. “For me, the weight of both their opinions is the same. What’s interesting is how protective they can be. When they see me pushing myself, when they see me hyperventilating, they calm me down. It changes the dynamic. And really, it makes going into work more beautiful,” she says with pride in her voice.

Vishesh is currently studying at Central Saint Martins, and Viraj is an artist known for his ability to tap into the cultural zeitgeist as well as for being a proponent of textile arts. Both look after the prêt extension and also help in managing logistics, finances, marketing, and social media. (“I understand the importance but I don’t go on my own social media; it messes with my creative process, it gets into my system, and frankly, I’m not looking for that kind of feedback.”) They bring unique strengths. Vishesh, she says, “is a duplicate when it comes to design and perspective, but Viraj tends to be more practical, more cut-throat when the situation demands”. “Vishesh will look at something and ask, ‘Would you have worn these when you were 25? It’s not short, it’s not sexy, young kids will not want it.’ These conversations happen everyday. They force you to wake up.”

“I’m at that point again where I’m trying to disrupt what I’ve done over the last many years.”

It’s hearing the younger generation that keeps her inspired. For someone who is not on social media, she’s quite aware. I ask her what it’s like to design for the Gen Z bride, a generation whose tastes and proclivities are much discussed and dissected. In response, she tells me about her most fascinating bride, who was marrying a foreigner and wanted a version of a pantsuit at the pheras. “It was the perfect amalgamation. It wasn’t disrespectful, and it looked divine. We did it in red, added a dupatta, some zardozi, and it made me realise that when you aren’t closed off to new ideas, when you open your heart, magic happens.”

And there’s a big dose of that magic on the horizon. A jewellery line is to come soon, and AK|OK Anamika Khanna will expand into living. “Anything, everything, everyday. It was never just about clothes. Home is what I want to do. I’m not going to restrict myself anymore.”

In the nearly two decades that I’ve known Khanna, so many conversations have included her need to challenge herself, her refusal to stick to what’s easy and comfortable. Is that the secret to her success? Most likely. But also her career longevity. “I’m at that point again where I’m trying to disrupt what I’ve done over the last many years. For the longest time, I’ve stayed within the parameters—acceptable experimentation, I call it—but I want to move on. It’s not only about being bored, it’s about questioning,” she says.

Along with being experimental, she’s also exacting. Her need for excellence translates into every last detail, including how she lives. “I’m a good cook. Through COVID, I experimented, mostly Asian food and salads, everything vegan, gluten-free and healthy. But I’ve been brought up to know everything. I can fold and fry a samosa to perfection, brew a great cup of tea. It needs to be pretty, tasty, served beautifully—an occupational hazard,” she laughs.

What she’s no longer doing is taking her work, or her life, for granted, especially since she suffered a stroke in 2019, which took her a year to recover from. Self-care is now more important than ever, and for her that means meals with her family and friends, visiting her parents who live in Kolkata, watching courtroom dramas, and reading, and her favourite movie is Scarface. “I’ve always been driven. I still am. But I know how to take care of myself now. I value relationships more, and small things have stopped mattering. I know how much I’m cared for, and the importance of giving myself that time, and saying no when it doesn’t serve me. I’ll make certain choices to do what I need to do in my life. I don’t explain them. It’s simple. If you want the extraordinary, you have to go beyond the ordinary.”