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Of our heritage, for our bodies

What Upasana is endeavoring to see is, if through fashion, can a certain dimension be added to bring out the best out of a being? What we are also interested in is to capture a glimpse of India, the great richness and wisdom it has to offer to the whole world particularly through textiles. 

Uma says, “It came to me that this nation has some role to play. Everything this country does has some deeper meaning.”

Kalamkari is a textile that was used to write the story of gods on textiles. And it started in the temple. When you look at the block prints from Rajasthan, the kind of motifs they have, and ikat from Orissa, it has a very direct influence of the temple of Lord Jaganath.

What we do at Upasana, is arrange the fabrics according to the states of India. We go to one state every year, do a research and study, and get that fabric into Upasana. So every year one state is added. India has 29 states, so one day we hope to have all the 29 states. So this way, we try to revive the traditional fabrics of India which the market is not able to get, because they are in small villages, and those fabrics are dying, because there is no one to bring it to the market. They help the small villages to bring the fabrics to the market, and tell India, this state makes this fabric.

“We have learnt now, that what we would like to do is design a system. A system which allows people to be happy and creative, irrespective of what we are, irrespective of how good we are technically in certain things, and if we are not, even if we are illiterate, how can we be most expressive in our capacity with what we hold. That is what creativity is for us, in this moment”.

It is our guiding belief that, “Creativity doesn’t come inside a box, it’s comes outside, it’s like a fragrance. It’s everywhere, and it has to be”.


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