When I first heard that 100Hands, an Amsterdam-based luxury shirtmaker with roots in Punjab, India, was opening its first store on London’s iconic Savile Row, my initial reaction was one of intrigue. Savile Row, after all, is synonymous with British tailoring tradition—a place where heritage and craftsmanship reign supreme. So, what does it mean for a non-British, Indian-inspired brand to plant its flag on this hallowed ground? Personally, I think this move is more than just a retail expansion; it’s a cultural statement. It challenges the notion that Savile Row is exclusively a British domain, while also bringing a fresh perspective to the street’s centuries-old legacy.
What makes this particularly fascinating is the way 100Hands blends its Indian heritage with global luxury. The brand’s founders, Varvara Maslova and Akshat Jain, left their corporate finance careers to revive Jain’s family’s 160-year legacy in textiles. Their atelier in Punjab employs 435 artisans, each shirt taking up to 36 hours to create. This level of craftsmanship is a nod to India’s rich textile history, but it’s also a bold statement in an industry often criticized for fast fashion and exploitation. In my opinion, 100Hands isn’t just selling shirts—it’s selling a story of tradition, sustainability, and human skill.
One thing that immediately stands out is the brand’s commitment to detail. From superfine three-ply fabrics to hand-embroidered buttonholes, every element is meticulously crafted. But what many people don’t realize is that this level of quality comes at a price—literally. A linen chambray shirt retails for $510, and a cashmere sweater-jacket for over $3,000. This raises a deeper question: Who is the target audience for 100Hands? Is it the traditional Savile Row clientele, or is the brand aiming to attract a new, more globally minded consumer? From my perspective, 100Hands is betting on the latter—a customer who values storytelling, craftsmanship, and cultural fusion over brand name alone.
The design of the Savile Row store itself is another layer of intrigue. Designed by Indian studio Studio Lotus, the space will feature bespoke furniture crafted by Indian artisans and museum-quality lighting to showcase the garments. A detail that I find especially interesting is the use of leftover fabrics to create screens at the rear of the store. This isn’t just a design choice; it’s a subtle commentary on sustainability and resourcefulness. What this really suggests is that 100Hands is not just entering Savile Row—it’s redefining what it means to belong there.
If you take a step back and think about it, the arrival of 100Hands on Savile Row is part of a larger trend in luxury fashion: the globalization of craftsmanship. Brands are no longer confined to their geographic origins; instead, they’re drawing inspiration from diverse cultures while maintaining their unique identities. 100Hands is a prime example of this shift, blending Indian artistry with European luxury sensibilities. In my opinion, this is the future of fashion—a world where borders blur, and heritage becomes a shared language.
But here’s the provocative part: Will Savile Row embrace this change, or will it resist? The street’s history is deeply rooted in British tradition, and some purists might view 100Hands as an outsider. Yet, Savile Row has always evolved, from its 19th-century origins to the modern era. What this move really implies is that tradition and innovation can coexist—and perhaps even thrive together.
As I reflect on 100Hands’ bold venture, I’m reminded of the power of fashion to transcend boundaries. This isn’t just about selling shirts; it’s about challenging conventions, celebrating craftsmanship, and telling a story that resonates across cultures. Personally, I think 100Hands is not just opening a store—it’s opening a dialogue. And in a world that’s increasingly interconnected, that’s exactly what we need.
