In New York City, a metropolis bursting with an array of striking colors, melodies, and aromas, your eyes feel naturally drawn to the diverse faces populating the city. Here, in this very melting pot of cultures, a passionate mother, fashion enthusiast, and entrepreneur connects to her Indian roots and brings the past to life.

Meet Jigisha Patel, Founder and Creative Director of Bella Mews. Early last year, in the home she now calls New York City, Patel combined her love for Indian fabrics and design knowledge to launch her company and, with it, an adventure through the rich history of her heritage. 

Bella Mews. How did you come up with the name? Where does it come from; what does it represent?

This is a very personal and a very emotional project. When I do shows or I’m attending events, people always ask me if I'm Bella. I'm not. Bella is the combination of both my daughter's middle names: Ella and Belle. And at that time we lived in England in a mews. They've got mews all throughout London, but the word mews also is a play on one's muse. They are my muse.

Your brand acknowledges sustainability and inclusivity as some of the brand's core values. This is something you're able to connect to saris being one of the earliest and long-lasting examples of slow and sustainable fashion, which through history, simultaneously catered to a diverse range of social classes and body types. Would you say that this was your primary introduction to a sustainable approach to fashion, or was it almost a merge between your earlier influences and the presence of saris in your life?

When I started learning more about where the fashion industry was going at the same time, I was starting to get more interested in the sari. How it's made, what its meaning is and what its history represents. So, it kind of made sense all this time. I've grown up so interested in the sari that now, I'm learning, I'm understanding what it means to have to be sustainable. It's almost like it was just waiting to happen. It was just a matter of time. There was no doubt in my mind that I wanted to work with the saris, and I have had a lot of people suggest, “well, why not just work with new fabrics? Why not work with new sorrys?”. I've stayed stubborn in my determination to work with these used pieces.

I think there's that little bit of poetry to the thought that we don't know where these saris came from; who wore them and what their story is and what their life was like. There's something beautiful in imagining what the story of the sari would’ve been. Whoever ends up purchasing my handbag -the one below- can create their own story as to what kind of life it lived before it became a handbag. It’s just like a rebirth of the sari. It lived its life, and now it's going to have a new life, and it's going to create its stories. 

Additionally, this ties in with a more sustainable and aware approach. Your production relies on genuine collaboration with local craftspeople. What led you to handle the production of your business this way? How did you meet these craftspeople and what do these collaborations look like?  

When you work and live in New York, and you're about to pursue something in fashion, you're in the right place. I did my research, I found that there were a handful of handbag manufacturers around the city. I knocked on a few doors and very quickly got turned away because they used to work with larger brands. In addition, they didn't want to take the risk of working with silks. It was still an experiment and not a guarantee. I was stubborn and very sure that this was a beautiful product, if it was done right. I just needed to find someone who's willing to give me a chance. I prepared three prototypes and I found someone who still now I can discuss new design with. I have the creative vision and they have the expertise of over three decades. It’s fun, and when we come up with something beautiful, that works, and I've been fortunate that he's been willing to take on a smaller brand with smaller production runs.

You ensure that the saris you use are pre-loved, as well as that the materials are eco-friendly, organic and biodegradable. How do you source your saris and materials?

I love vintage shops, I love thrifting. I love having unique pieces. I found few people online who are selling strictly vintage, they state that the clients are mostly from Western countries because they see the potential in the saris. I think some are just interested in wearing them, but many people will repurpose them. So, I'm not doing anything new and unique. There are lots of people that have found beautiful uses for these saris. Many times the saris are vintage and used, you can find they have stains, often they have tears. You could just tell the silk sometimes shows signs of wear, but I like the challenge of working with these used pieces.

Saris are a traditional women's garment throughout much of Southeast Asia, and despite New York being home to a significant population of individuals from Southeast Asia, it is essentially a melting pot of cultures. Consequently, your brand is exposed to that diversity. How did you feel about introducing a heritage-based brand to such a variety of cultures? Did you have any specific expectations or concerns?

I think I was lucky to come to New York because for someone who grew up in Montreal it was the fashion Mecca. People have an incredible sense of fashion there. They have their own voice. You're going to wear what you want to wear. Moving my business in the city, I found out that many people, coming to my boot during shows, recognized the fabric. They actually appreciated the uniqueness of the piece. Bella Mews’ bags are different. It's not your average colorful handbag. And when they learn that they're pre-loved saris, they even love it more. I think people now are starting to really become more aware of the state of our world and fashion's impact on it, they like to support brands who are doing something responsible. Despite challenges of a small reality, it's given me the confidence to continue pursuing this.

Recently -and more than ever- global brands have started to incorporate transparency. You are clearly very authentic when it comes to share your practice. So, what allowed you to make the decision to be so open about your business?

I have nothing to hide, really. I think the creative process is always so interesting, people are fascinated. It's really something when you're a one woman show and a small brand at the same time: it's your sketch, it's me literally on the floor or in the dining room, making samples.

I only came to New York when the garment industry had already seen its decline. Naively, I fantasize about bringing that back. New York has the machinery, the talent, the passion. I would love to, down the line, create a documentary or just show more behind-the-scenes of the studio where our stuff is made. They have a rich history, they have stories of clients from 20, 30 years ago and how they started. It's beautiful, and I think, again, it adds value to my pieces. 

Aside from a deeper dive into the behind-the-scenes of the brand, what does the future hold for Bella Mews?

There’s this vision I have in my head of just needing more people who are like-minded here, and in India, I would love to visit someone's home where they have a loom, where they've been weaving saris. I'd love to be able to bring more awareness around the sari. I know that there are some incredible people in India who are doing their best to bring more attention to it. I'd like to collaborate with those who are focused on sustainability. I'm experimenting right now with the scraps of our handbags — what else can we make with them? What can we do with all the little shreds? It's just a really fun and creative process. It's just trial and error.