How NorBlack NorWhite became one of India’s most influential fashion labels

We never called ourselves designers. Mriga [Kapadiya] and I always say we’re artists. And that’s how we navigate our practice with NorBlack NorWhite (NBNW),” Amrit Kumar, one half of NBNW, tells me as we are seated across from each other at the brand’s Dhan Mill Compound store and workshop in Delhi. The founders’ creative practice, one intended to operate beyond the workings of a traditional brand, turns ‘sweet 16’ this year, evolving into a broader cultural shift today. The said shift has increasingly embraced homegrown craft, individuality, and self-expression through the course of their blooming friendship in Toronto, returning to India together, digging deeper into their roots, learning about old-school textiles, and reinterpreting traditions into fresh formats. 

 

Some may associate NBNW with their signature tie-dye iterations, eclectic details, while others can’t get enough of the iconic ‘Aunty’ tees, ikkat reimagined through contemporary silhouettes, embellished socks, ‘Protect Your Spirit’ bindis, or the Madras check accessories—it’s safe to say we all have our NBNW favourites. Kapadiya and Kumar attribute every sense of their collective achievement to the community they have built over time. What started as a curious exploration into the grey space of culture from a 300 sq ft home studio in Mumbai between 2010 and 2016 has only levelled up to multiples. From runway debut at Lakmé Fashion Week in 2016, international pop-ups across Dubai, Canada, and Brooklyn, to dynamic creative collaborations, and launching the first flagship store in New Delhi’s Dhan Mill compound in 2023. But Mumbai, or Bombay (as Kumar likes to refer to the city), holds a special place in her heart. “I tell everybody it’s my favourite city in the whole wide world. I love how Bombay moves. I love how the city welcomes. I love that there’s so much chaos there, but it still has a flow to it. And I think obviously the water is there and has to do something with it, there’s just something really magical about that place,” Kumar shares. Having the city as their landing pad, fresh in India, resulted in a collective of like-minded people for the duo. “There were five of us together going through this experience and having each other in a city like Bombay. We made things, we did experiments, had jam sessions, organised supper clubs on our terrace before it was even cool,” she reminisces with a smile on her face.

More recently, their journey has extended into new creative territories with the launch of AMMA Studios. This multidisciplinary practice builds on their textile foundation to explore installation, spatial design, and sound, debuting at the Kochi-Muziris Biennale 2026. “It’s been 16 years of us creating together, and AMMA Studios felt like a natural progression. Neither did we go to any design or art school, nor are we technically trained. We see it through a very different lens. Even the clothes that we make, we don’t create too many styles and work on small numbers. And for us, the pieces we made were art.” Over the last two to three years, they have been working on commissioned tapestries and pieces for people’s private homes and spaces. AMMA, a play on their names, is an extension of their creative ingenuity while symbolising ‘mother’ and ‘genesis’. “This is how we were able to apply our self-taught knowledge in a new form, a new medium. It made sense for us to work towards that direction,” Kumar makes a point. Their debut installation, titled Church of Palm, featured an altar with a coconut palm made out of rose quartz and nickel base veiled inside a fishing net. Next to the altar, plastic chairs were stacked and covered in vibrant tie-dyed fabrics. It questioned the stature of what’s worth worshipping while reflecting on the culture and community of Kerala.

Art and design explorations through innovative concepts are at the core of NBNW. The duo feels design, per se, can make a difference in the world of crafts and textiles and influence culture. It all started with bandhani for them. “We love Bandhani. It was the first technique we got to interact with on our trip to Kutch, Gujarat. We went to Kalaraksha and met Judy Frater, who has done exceptional work in preserving the textiles and crafts of Kutch, and is now one of our mentors. Through her, we got introduced to our bandhani artisans, the Khatri brothers, Aziz and Suleman bhai [Khatri]. They have become family to us.” While Kumar and Kapadiya still work with tie-dye, over the years, they have diversified into other textiles, including ikkat and Northeastern textiles, working closely with the Mising tribe of Assam. Kumar points out to the Eastern Horizon Frock that she is wearing, emphasising on the multiple ways it can be worn or styled.

“We can’t wait to see where AMMA Studio is headed.”

 

The modern Indian wardrobe often raises the question of distilling elements to their essence. It comes down to deciding on the aspects of Indian craft to highlight or simplify to create designs that resonate both culturally and aesthetically. “In the beginning, it was just the two of us on the team. We created based on who we were, what was catching our eye, what we wanted to experiment with, and what we wanted to wear. I think a lot of designers start like that, especially the ones who aren’t technically trained,” Kumar explains. Even as they were experimenting on the design front, comfort has always been NBNW’s mainstay. “The way we practice design, not everybody sees it. We’ve had to learn over the years how to edit and relive that. The way Mriga and I are going to wear a piece of clothing is very different from how it is usually worn. As we get older, what we like and our inclinations also change. Our current online stuff is reeled back. I feel like it’s a little bit more elevated. It’s not as crazy as it used to be because that’s how we’re feeling right now,” she laughs. The duo is wearing a lot of black these days, and that’s evident on the website as well. “When we started 16 years ago, we were kids. We were like, we’re gonna make whatever we want to make. But now we also look at the data. What sells, people like the stripes over the bandhani. Now, we also have to make those informed decisions. Because it is a business at the end of the day. Thoda toh karna padta hai (you have to do this bit)!” she elaborates. 

Smaller drops have always been the highlight over extensive collections at NBNW. “We have a lot of things living on our site that have been there for five or six years. We don’t believe in taking them off. They’re selling because people like it. For instance, the last whatever drop we did, my biggest thing was that we neither bought nor sourced fabric.”

The team is also challenged to think differently. The process always starts with a conversation between the duo, who like to bounce ideas back and forth. “It’s been 16 years, so that dialogue and flow are natural, and we’re really lucky to have that. It goes into creating a brief for the team, and then the team starts showing us visuals. It could be a mood board. From a mood board, it could be a colour story. From a colour story, it could be sketches. It just kind of flows effortlessly.” Their goal is to make even smaller drops. “I’m trying to make less, because I feel there’s too much out there, and I’d rather make 10 things in a year that are very textile or design forward that we love, versus making a hundred.”

Having worked with brands and artists including Nike, Fila, Raveena, Yara Shahidi, and Major Lazer, NBNW’s diverse collaborative projects are rooted in love for every medium. The end goal is to discover cultural crossovers, celebrate heritage, and explore the intricacies of creation. “We’ve said no to collabs before if we feel it’s not the right fit, even if they pay a lot of money. Nike was a no-brainer because we had just started building our relationship with them and were approached directly by the global team.” In general, one has to weigh the goals and then take the plunge. “For us, it’s always about whether the collaboration will help us move forward. We like to ask the questions—what are we excited about, or what do we want to learn?” On one hand, the future of Indian crafts and textiles on a global platform excites Kumar. On the other, the pay disparity for craftspeople concerns her.

“The way people are paying attention to craft over the last five or six years has changed. When we started in 2010, we went to Paris for our first trade show. We took our ikkat shirts to a New York men’s trade show in 2012, but people didn’t get it. But now craft is celebrated. Everybody’s wearing craft. People want to be connected to their roots and their heritage. I feel it’s going to keep evolving. The attention has to shift towards the craftspeople because making clothes through them and then selling them for a ridiculous amount of money is a major disconnect and doesn’t make sense to me at all.” It is one of the prime reasons they turned to selling clothes directly online, putting an end to the cycle moving through wholesaler, retailer, and then consumer. “I love the fact that a lot of young brands are making and selling it directly to their people.”

This year is going to be a transformative one for NBNW, Kumar is hopeful. “It’s the year of the horse. She’s (Mriga) a Virgo sun, I’m a Pisces sun. Supposedly, 2026 will be the year for Pisces and Virgo, at least that’s what Instagram is saying,” she laughs. The duo is in the process of reviewing and evaluating everything to make decisions on their way ahead. “We have a couple of collabs in India with two brands that we’re excited about. We can’t wait to see where AMMA Studio is headed. We’re hoping to spend the next year working on a show that we’ve been talking about for the last few years. It will be our ‘thank you’ to India,” Kumar signs off.

Photography: Tongpangnuba Longchari 

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