Stitching sustainability and heritage into fashion
Fashion designer Shaily’s love for sustainability was rooted in her upbringing, shaped by her mother who never wasted fabric and always found ways to reuse even the smallest scraps
Shaily's journey into fashion began at home, watching her mother make dresses for her and her sister on a sewing machine.
"It is still there, gracefully aging with her," she shared.
As a child, Raisha Amin Shaily loved following trends, but she did not just copy them. She put her own spin on her inspirations and showed them to her mother, asking her to bring them to life. Those quiet, creative moments became her earliest lessons in fashion design.
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While many children dreamed of becoming doctors or engineers, Shaily already knew at a young age that she wanted to be a fashion designer.
But pursuing that dream was not easy. "My relatives told me people like us can't make a career in fashion," she said. "They discouraged me in every possible way."
Yet she found inspiration in designers like Bibi Russell and Humaira Khan, who proved that passion and perseverance alone could pave the way.
At Shanto-Mariam University of Creative Technology, Shaily discovered that fashion required more than creativity. "I used to think being creative was enough," she said. "But fashion is about research, experimentation, and learning from mistakes. Education gives you the space to explore."
Her love for sustainability was rooted in her upbringing, shaped by a mother who never wasted fabric and always found ways to reuse even the smallest scraps. Watching her create something from nothing sparked Shaily's fascination with design. Growing up in Bangladesh, where hand-me-downs were a part of everyday life, she learned to see clothes not just as garments but as carriers of memories and stories.
That sense of resourcefulness inspired Shaily to launch her brand Khush in 2020 during the pandemic, a name combining the initials of her mother, sister, and herself. Khush promotes sustainable, versatile fashion, encouraging people to restyle and reuse what they own.
It began with handmade masks that quickly gained popularity and later expanded to designer dresses and jewellery pieces that were multifunctional and eco-friendly. Today, the brand is widely recognised for its handcrafted designs, reflecting Shaily's focus on creating pieces that are unique and practical.
Her commitment to creativity and sustainability gained recognition when she participated in the Up-cycle Universe competition organised by Fashion Revolution Bangladesh. "It was the first time I decided to trust my instincts," she recalled. "I wanted to face my fears and see where it took me." She became one of the Top 10 finalists and later worked there as a community coordinator.
For the competition, she designed a dress inspired by Cyclone Mocha, which struck Saint Martin's Island in May 2023. Using old denim and cotton-linen fabric, she captured both the strength and sorrow of the storm.
Patchwork and Nakshi Kantha embroidery told a story of loss and hope. Swirling patterns represented wind and sea, uneven shapes reflected the cyclone's power, and the turbine-shaped sleeves symbolised motion.
Deep blue and grey tones mirrored the dark sky and turbulent ocean. The fabrics came from her old jeans and unused curtain fabric from her mother, turning forgotten materials into something meaningful.
A major milestone that brought Shaily national recognition was designing a rickshaw-themed gown as the national costume for Miss World Bangladesh. The design went viral online, earning her praise from designers and fashion enthusiasts across the country.
The idea first came while she was daydreaming about what such a costume might look like. "This was a dream I never imagined would come true so soon," she said. "At first, I made it just for myself and my faculty. It was an assignment for marks," she laughed.
Eventually, Shaily's design caught the attention of Azra Mahmood, a prominent figure in Bangladesh's fashion industry, who selected it for Miss World Bangladesh. What began as a university project soon made its way to an international stage, proving how passion and persistence could turn imagination into reality.
Her inspiration came from Dhaka's rickshaws and their colourful artwork. In August 2024, while stuck in Dhanmondi traffic, she found herself admiring their vivid designs. "The red from the July Revolution was still fresh in the air, and it found its way into my imagination," she said. That vision evolved into a gown made entirely from authentic rickshaw materials, complete with a hood that resembled a rickshaw canopy.
Every detail carried meaning. The gown featured hand-painted motifs, and on the back, the phrase "Maa-Babar Doa" (Parents' Blessings) stood out. "Just like rickshaw pullers paint it for protection, our parents give us courage," she said. "I designed the tail to reflect that sentiment." The tail could be draped over the shoulder to symbolise both grace and resilience.
Bringing the idea to life was no small feat. She travelled across Dhaka in search of the perfect rickshaw designs. "Every area has its own style. The hoods in one part of the city look completely different from those in another," she explained. Many artisans were hesitant because the material was fragile and the concept unconventional. "After many requests, Ujjal Bhaiya [who represented the weavers] and his team finally agreed to help," she recalled.
The gown was made of crystal georgette with a layer of polythene on top, making stitching a risky challenge. "I was scared to sew it," she admitted. "One wrong move could have ruined everything. I didn't expect the outcome to turn out as well as it did." What began as a classroom assignment became a national sensation, celebrating Bangladesh's artistry and craftsmanship while showcasing Shaily's fearless creativity.
One of her most recent and ambitious works, The Fusion Shari with Umbrella, was conceived as a visual protest. "Throughout history, destructive forces have tried to erase our heritage," she said.
"Muslin weavers once had their fingers cut off to stop them from making fabric, and Jamdani and Tangail shari have been falsely claimed by other countries. These incidents deeply moved me."
Determined to honour Bangladesh's heritage, she designed a fusion shari embellished with Nakshi Kantha embroidery, using mostly GI (Geographical Indication) products. The motifs captured the essence of the country, such as the Royal Bengal Tiger, Shaheed Minar, the Doyel bird, Hilsa fish, rivers, tepa putul, and old coins. The anchal was designed to resemble a braid, inspired by the long braids of rural women.
The body of the shari was made with Rimi cotton, while the umbrella incorporated Rajshahi muslin.
To complement the shari, the umbrella symbolised protection, woven with motifs of national pride such as the Bangladeshi flag, Language Movement symbols, rickshaw art, Jamdani patterns, a ten-paisa coin from 1977, and the phrase 'Mache Bhate Bangali,' some of which were also present on the body of the dress.
The colour palette reflected the rich greens and golden hues of Bangladesh's fertile land, symbolising abundance, resilience, and pride. The project took two months to complete and remains one of her most meaningful creations.
Reflecting on her journey, Shaily urged aspiring designers not to limit themselves by comparing themselves to others. She concluded with encouragement, "Take inspiration from others, but always be brave enough to dream and achieve more, because the sky is the limit."
