Ruchika Sachdeva starts show days with 12 minutes of meditation

Contrary to one’s perception of designer fashion, Ruchika Sachdeva of clothing label Bodice could say that she’s been making some version of the same clothes for a while. Her second show at Lakmé Fashion Week, in 2011, already featured the pleated shirts and skirts that would go on to become her signature. By 2012 she simplified her silhouettes even further, focussing on cleaner tailoring, while the white binding that’s become synonymous with her designs had become a key design element, highlighting pockets and collars in unexpected ways. A pair of sari-pleated trousers emerged in 2014, almost 10 years ago, and they’ve been a bestseller ever since. “I like to approach my collections almost as a wardrobe,” says Sachdeva over a Zoom call from her studio in south Delhi. “And within a wardrobe, you’re not completely throwing everything out each year just because it’s spring/summer 2025. Why would I stop making something simply because someone on Instagram wants to see something new?”

Nevertheless, Sachdeva isn’t one to disappoint, because we’re chatting on the morning of a show to reveal a new collection in collaboration with Bemberg, a 100 per cent regenerated cellulose fibre developed by Japanese multinational Asahi Kasei. As she holds up photos of the looks on models, she describes how the line will offer plenty to delight both long-time admirers and new entrants to the growing cult of Bodice. “I’ve become more comfortable taking risks, leaning into raw textures and bolder contrasts, and embracing imperfection as part of the process. It was also about the realisation that dressing real women is the most joyful thing for me as a designer,” she says. 

Sachdeva is not thinking of what you’re going to wear on the red carpet or at a sangeet. She’s got in mind the job interview, the family dinner, even that moment of quiet when you sit down with a book and just yourself for company. These are clothes that now retail around the world, from Harvey Nichols in London and Doha to Isetan in Japan and, of course, multiple boutiques across India. Here, she speaks to The Nod about her morning routine, her Tokyo itinerary, and how she feels when she sees her designs get knocked off.

What are you doing the night before a show?

If I’m lucky, I get to sleep—and I was very happy to be able to do that last night! Even at school I was always that person who would be reading notes outside the exams, prepping till the last minute. I actually live where I work—my store is right next to my house—so last evening we moved all my furniture into the garden area and converted it into a little outdoor set. There will also be a backstage team coming to set things up.

So, the show is happening in your garden.

Yes. It’s where we work everyday, so it just feels very wholesome to do it here. My love for Japan also shows in my aesthetic: the studio, my house, my clothes, of course. So, the collaboration with Bemberg also felt very organic in this space.

How did the collaboration with Bemberg begin?

I was already working with the material, so I’ve been in touch with them the last three years. I had been looking for something new that could be like the material of the future. The Bemberg team have been wanting to collaborate for a while, and I decided I wanted to be a part of this messaging because the fibre is quite interesting.

What makes it special?

Cotton obviously comes from a seed, and once they take out all the big fibres, what’s left—the seeds—are usually used by the oil industry. The seed is covered in a much shorter fibre, and once compressed this cotton linter is usually thrown away, like vegetable peel. At Bemberg, they’ve come up with the technology to convert this waste byproduct into a new fibre that is completely biodegradable. But beyond its environmental credentials, I was drawn to its natural sheen, and the way it drapes, as it allowed for silhouettes that feel fluid yet structured, and for garments that transition effortlessly through the day.

Did you visit Japan to learn about it further?

Japan has always been a creative touchstone for me, especially their philosophy around design and material. I went there to fully explore the process behind the fibre first hand and immerse myself in that world. I find a lot of parallels between India and Japan, especially in how both cultures value craftsmanship, ritual, and a certain mindful approach to everyday life. There’s a shared respect for tradition, for textiles, and for process.

What are your must-visits in Japan?

I usually take a few days out to stay with a friend who has a café called Café RoJean; it’s quite a buzzy spot. Nakameguro and Daikanyama are my favourite neighbourhoods in Tokyo. They have tons of nice places. Another friend of mine (he owns a jewellery brand called Shihara) took me to a Japanese restaurant called Tama that serves Okinawa food, which I love. Other spots on my itinerary are Tsutaya Books (it’s a massive bookshop), a brand called Visvim, which has many beautiful stores, and the Japan Folk Crafts Museum to go and learn about things.

What’s the first thing you do on the morning of a show?

I’ll usually drink my tea, Earl Grey from a French brand called Mariage Frères, take a walk in the garden, and maybe do some yoga. I like to have my breakfast at my work desk. I know it’s a bad habit, but it just helps me start thinking. My two dogs—Setu, after [yoga pose] setu bandhasana, and Rumi, after the poet—will also probably be hanging out with me.

What’s your yoga routine like?

It’s like a modified surya namaskar that starts with me standing and centring myself, then things like cat-cow, downward dog, and planks, followed by lying-down poses like twists or bridge. Finally, a bit of savasana followed by some meditation.

How long do you meditate for?

I do at least 12 minutes of meditation. There’s this amazing author, Dr Amishi Jha, who says that in high-stress environments all you need is 12 minutes. No matter how busy I am, that hour in the morning is really important for me. I pay for this app-blocking service, and one of the things it does is that even if you open an app it gives you a little time and says, take 10 seconds, just pause before you open it up.

Did you set an intention for today?

Only not to stress extra, still be centred, and just enjoy the process. We’re not in school anymore, this isn’t an exam. We’ll have other shows, other opportunities. I’ll just be working till the end.

You’ve created a space where you can lead this idea of an artistic life, where home and work all come together in one.

Yes, because for me Bodice is about elevating the everyday. So, whether it’s the clothes you wear or the routine you have, you want to celebrate every moment.

How does that reflect in your spring/summer 2025 collection?

I don’t make red carpet dresses or occasion wear. I want women to be able to express the best version of themselves in the moments that are important for them. So, this time I was thinking that the white kurta is such a classic, but what’s the Bodice version of it? What we’ve made is not Indian or Western, it’s just a kurta. We’re also doing a lot of modular things, like a shirt dress where you can remove the skirt and it’ll become a shirt. Or a trench coat where you can remove the bottom and use it as a scarf, or even turn the coat into a shorter jacket.

Through buttons?

Yes, it’s so simple, but it’s functional. At the same time, these pieces are classics. Another thing I enjoy is a cotton dupatta, so I’ve made a shirt that has a scarf you can just attach. I’m loving this idea of softness with structure and very minimal drapes.

Is there a sari as well?

Yes. Two, in fact. As I’m getting older, I’m getting into saris more. It’s a personal reflection of who I am as well.

How do you feel seeing people wearing your clothes?

I love it. That’s the biggest compliment, right?

What about seeing people wear imitations?

By now so many people are using the binding as a trim, like it’s lace. When I started doing that, no one else was, and it makes me sad to even see people copying the pleats with the white binding. I mean, come on bro, don’t make me not believe in humanity! It’s like when you go to an art gallery and you’re think I could have made that plain piece of paper with a line on it. But you didn’t take that risk for the first time, someone else did. We are not just making clothes, we are also making statements about what is designer fashion.

What’s your plan for the morning after the show?

I have booked a massage, so I’m going to be at the spa just by myself. And then I’m going to a friend’s sundowner. On Sunday I will spend time with my sister, she’s just had a baby in February, so I’m a new maasi. I just want to do something wholesome.