Long before her label took shape, Archana Rao was absorbing a world of textures — heirloom sarees, old photographs, the gentle ritual of dressing up at home. Today, those early impressions find expression in a design language that feels both intimate and timeless. Beyond the runway, her work in cinema — spanning films like Mahanati — has further expanded her creative vocabulary, earning her national recognition. While she continues to work on films including the upcoming Telugu film Ranabaali starring Vijay Deverakonda and Rashmika Mandanna, the result is a body of work that turns nostalgia into something strikingly contemporary. In conversation with CE, she reflects on her journey, the evolution of her aesthetic, films and more.
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What part of your early journey still shapes you as a designer?
Back then, I was a very naive designer. I didn’t fully understand the business side of things, but I was discovering everything for the first time — new techniques, new ideas, a fresh perspective. In many ways, I miss that version of myself. That sense of exploration still stays with me today. Every time I begin a new collection, I approach it with the same mindset — as if I’m building something entirely new. It’s a perspective I never want to lose.
What was the turning point that made you feel your brand had truly come into its own?
It was the Vogue Fashion Fund. I was very young, just a year into running my brand, when I got that opportunity. Being mentored by designers like Sabyasachi Mukherjee and engaging with industry leaders was incredibly validating. Winning the national award for costumes for period drama, Mahanati in 2018, gave me confidence that my vision had a future. From that point on, I wasn’t afraid to take risks.
How do you bring a different aesthetic in films?
Now for example with Kalki 2898 AD, it was the first time I worked on a film that’s sci-fi, mythological of this scale. Once we wrapped up the colour palette, we tried to create the textiles that work with each world and then we came up with the silhouettes. So we wanted every language to be extremely different from one another. Meanwhile, with Ranabaali, we looked back to the early South Indian archival.
How do you balance nostalgia with modernity while reinterpreting Indian craft traditions?
At heart, I’m a traditionalist. I’ve always believed in simple, time-honoured techniques. Early in my career, I explored crafts like zardozi quite extensively. Over time, as the brand evolved, our embroidery language became more personal. But everything remains deeply rooted in being Indian, it’s just expressed in a way that feels relevant today.
What draws you to the dreamy, gossamer textures?
Everything I create comes from memory or nostalgia. My collections are often inspired by moments from my childhood — watching my mother and grandmother dress up, old photographs, even what I studied in fashion history. All these fragments come together to shape the textures and mood of the garments.
How do you see Hyderabad’s couture scene evolving while staying true to its roots?
No matter how much the city modernises, its heritage is incredibly strong. Even with all the new developments, the spirit of the old city remains intact. That cultural grounding ensures that Hyderabad will never lose its identity.
What does revival mean to you?
For me, revival goes beyond fashion. I’m inspired by interiors — carpets, tapestries, upholstery. I try to bring those influences into my embroideries. Even something like the contrast borders of woven sarees has translated into colour-blocking in my work. It’s about reinterpreting familiar elements in new contexts.
As someone who works closely with karigars, how do you ensure sustainability and long-term craft ecosystems?
We consciously work with scrap fabrics, reusing them in embroideries. We also operate on a slow fashion model — producing limited pieces and often working on made-to-order designs. I don’t believe in mass production. It’s important to preserve both the craft and the process.
Is there a craft you’ve consciously protected or reintroduced?
Cross-stitch is something we’ve consistently explored. We reinterpret it in multiple ways — from traditional handwork to geometric, oversized versions that almost resemble weaves. I also love working with pearl embroidery. These techniques are personal to me, they remind me of things like a cross-stitched napkin from my childhood. That emotional connection keeps me coming back to them. When I started out, our minimal designs were often misunderstood. People didn’t always see the value because the craftsmanship was subtle. I believe in ‘silent fashion’ — where the detailing is delicate, almost blending into the fabric. Over time, audiences have begun to understand and appreciate that quiet complexity.
What’s next for you?
There’s a lot happening right now. We’re really enjoying working on costume design for films. At the same time, we’re planning a new store and developing a new collection. It’s an exciting phase.