Craftcore fashion finds its most unlikely champions—in Gen Z men

A skim through model-entrepreneur Arjun Dutta’s Instagram reveals snapshots of his travels, a penchant for cycling, and some cosy café corners. And the fashion that binds this digital documentation? A fondness for craft-centric fits. We see a camp-collared shirt with floral embroidery that’s often borrowed by his girlfriend and a hand-appliqué jacket made from a 1970s bedcover sourced from Kutch, styled with a pair of pleated trousers. “What attracted me to modern craft is how a single piece of clothing can make a statement through intricate detailing and rich heritage. It’s not just about the look; these pieces add personality to even the simplest outfits,” he shares. Dutta is one among a budding demographic of consumers that’s becoming aware of the many powers of craft-oriented clothing. The merits are innumerable—it’s gender fluid, pocket friendly, and offers Gen Z something it loves the most—bragging rights about owning something entirely unique.

The end of the basic bitch era

For a while, new-age menswear was facing an identity crisis. There was the young male consumer who was content with the same t-shirt in several colourways, while others were opting for the templatised uniform of graphic t-shirts and cargo pants prescribed by streetwear labels. For the style-forward male consumer, these mundane options just didn't make a mark. A gap that craft has unexpectedly filled.

While the movement to make Indian craft more accessible has already been underway thanks to labels like New York-based Bode, Jaipur’s Harago, and LVMH semi-finalist Kartik Research, there’s a new guard that’s picking up the mantle, but in a more pocket-friendly manner.

Take New-Delhi based Hindostan Archive. Co-founded by NIFT grads Sahil Meenia and Shaoni Ray, the brand reimagines traditional techniques into silhouettes that feel relevant—you’ll find a pair of double-knee trousers, a silhouette synonymous with American workwear, reiterated in indigo-dyed bandhani fabric, or a sporty sweatshirt crafted in an ajrakh-patchwork textile. “There are many brands based in the West that use Indian textiles but most of them don’t truly represent our identity. I thought it would be ideal to use our own craft resources to present a global vision—a truly handcrafted, ‘Made in India’ product. We aim to be the link between artisans and a wider audience, helping bring their work to the world stage while preserving the integrity of their craft,” says Ray. The designers work with a large network of craft clusters around the country, including Bhujodi weavers, Bagru block printers in Jaipur, and hand-knitters from Kullu.

This homegrown aesthetic has also found fans among NRIs. Rishabh Sharma, a 25-year-old business consultant based in Singapore, says, “As someone who grew up abroad as a minority, I often experienced a void in mainstream media—a lack of representation in the stories and styles I encountered. So, discovering these craft brands felt like finding a bridge to my Indian heritage through a medium I’m passionate about.” Sharma describes his personal style as a ‘hybrid’ look that leans toward mainstream cuts, but incorporates the crafts. His favourite is a block-printed silk jacket from Kartik Research. “It is so well crafted that it takes a second glance for people to realise it’s made of reworked fabrics. Plus, it doesn’t hurt that Lewis Hamilton has been spotted in the same piece.”

Another frequent client of these brands is Aditya Singh, a 26-year-old engineer from Washington who adopts a more maximalist approach, sporting curated pieces from each of these labels in a head-to-toe fit. His Instagram feed reveals a wardrobe filled with brands like Karu Research, Pantano Clothing, Kardo, Harago, and Delhi-based Perte D’ego.

“It’s limited-edition”

We live in the era of gatekeeping, and if there’s one thing that’s catnip for the young consumer, it’s the allure of exclusivity. For Gen Z in particular, having a one-of-a-kind piece of clothing can be a major sartorial flex. That’s why Samaaj, a brand founded by former footwear designer Raman Chawla, takes a season-agnostic approach to design. Embracing a ‘drop model’ synonymous with hype brands, the label releases single pieces on Instagram spanning a diversity of techniques. Phulkari-embroidered shirts are made from old dupattas, Rabari saris are given a new lease of life as camp-collared shirts, and woollen shawls are converted into statement jackets. Alongside each piece is a caption that educates the buyer on the piece’s origin and craft technique. “Most of our customers discover us through Instagram, which significantly enhances the shopping experience by making it more impactful and immediate, and less daunting compared to traditional mediums,” shares Chawla.

This quest for singularity has also favoured Jaipur-based Day & Age. The brainchild of Sharan Adka and Shreya Parasrampuria, former classmates at the National Institute of Design, the brand has found a cult following among young musicians and actors including Armaan Malik and Prateek Kuhad. Deeply influenced by art, the designers tapped into nostalgia for their next collection that’s set to release later in the year. “The starting point for the First Impressions collection emerged from my grandfather’s compilation of National Geographic magazines from the 1980s and his college textbooks from the 1950s. Design iconography from natural history engravings, water colours used in old encyclopaedias, vintage geological maps, and scientific illustrations have been the core influences,” shares Adka. The brand’s most popular pieces include vibrant tie-dye co-ord sets and panelled trousers made from old quilts and deadstock jacquard from factories in Tirupur and Karur.

Pumped-up fits

There’s a special sense of gamification that makes buying from craft-led brands particularly exciting—the chance to discover the story of a piece, where its textiles came from, who made it, what their lives were like; all of it makes for an engaging topic of conversation to its wearer. This sense of novelty is what drives Kosch, a Lucknow-based label that pays homage to Awadh’s rich cultural heritage. Founder and fashion entrepreneur Barsha Tiwari works directly with 150 artisans across Uttar Pradesh to contemporise indigenous techniques—think languid dress shirts treated to intricate mukaish work, chikankari embroidery on gossamer organza blouses, or a lustrous ivory khadi coat chock full of delicate jaali and peshni motifs. These thoughtfully crafted designs reinvent the concept of occasionwear, being versatile enough to be donned for gallery-hopping and weddings alike.

This overarching sense of storytelling is what’s helping the consumer connect more deeply with these brands. For Sharma, craft evokes fond memories of his loved ones, “I spent my childhood in Dehradun and my grandmother is a huge fashion enthusiast. When she would come back from routine trips to the tailor, she’d show off her outfits, telling me elaborate stories about the embroidery on a particular sari or how she’d procured a certain textile from a far-flung town. These conversations are similar to the narratives behind the craft-led pieces I wear today and remind me of my roots.”