“Easternlight”—a name that’s hard to forget. Known simply as “East,” he smiles as he recalls how people would often ask him twice when they first met. It was his father who named him in honour of Kachouphung, the easternmost village in the Ukhrul district of Manipur, where his roots run deep.  Ukhrul is in the northeastern corner of Manipur, at the crossroads of Myanmar and Nagaland. The region is known for its breathtaking landscapes, but perhaps its most famous treasure is the rare and elusive Shiroy Lily, a flower that blooms once a year.

His name itself is a nod to his heritage, a reminder of the cultural legacy he’s passionate about preserving. Growing up as the second youngest of eight siblings, East Zimik always felt like the odd one out. While his brothers and sisters followed more conventional paths, he was the one off in a corner sketching, drawing, and letting his imagination run wild. But back then, his talents didn’t exactly get the attention they deserved. Teachers would often shake their heads and ask, “Why are you scribbling on your textbooks?” Little did they know, this “scribbling” was the beginning of something much bigger.

It wasn’t until 2002, while flipping through a fashion magazine, that East had a lightbulb moment. He came across a feature on designer Manish Arora, and that was it—he realized that fashion design could be his way to make a real impact. Fast forward a few years, and East found himself at NIFT, honing his skills, before heading to Mumbai to work with a design house for four years. Success was coming, but as it often does, family called him back home to Ukhrul during the pandemic. That’s when everything changed.

Spending time in his village where weaving is slowly on the wane for lack of incentive, he works closely with local weavers. East's connection to his cultural roots deepened. He saw firsthand the untapped potential in the traditional handloom techniques passed down through generations. This became his mission — he wasn’t just a designer anymore. East became a cultural ambassador, determined to bring traditional Tangkhul Nagas’ wrap around, Kashan back in vogue.

Then came Shim, East’s debut collection in 2023 under his brand, EAST. In Tangkhul dialect, Shim means “home,” and it holds deep significance beyond being just a collection. Through Shim, East is determined to create a platform for weavers, particularly in his district, where weaving is a cherished tradition and a skill passed down through generations, mostly by clusters of women. He also aims to build the necessary infrastructure to protect and preserve these invaluable traditions.

In a chat with Northeast Stories, East shares his journey from Kachouphung to fashion design, highlighting challenges in funding and the need for incentives and elevate craft and, to preserve traditional textiles like Kashan.

What was the turning point that led you to pursue fashion design, despite the lack of role models or support from your community?

East: It’s a bit of a journey, honestly. Growing up in Ukhrul, a small district in Manipur, I was always drawing, sketching, and creating things — just letting my imagination run wild. But, back then, I didn’t see the value in it. The teachers would often say things like, “Why are you scribbling on your textbooks?” So, I never considered myself ‘creative’ in the traditional sense. In fact, I didn’t know that this kind of creativity could lead to something meaningful, especially where I come from. Back in 2019, there were no role models from my community in creative fields. It wasn’t something people really acknowledged or saw as a path.

But during my second year at Ambedkar College in Delhi University, I hit a turning point. I realized that I didn’t want to pursue the path I was on, but I wasn’t sure what I wanted to do either. Then, one day, I was flipping through a fashion magazine, and I came across an image of a designer I admired. And suddenly, it hit me. “This is it.” I thought, if someone from a place like mine can achieve this, why can’t I? That’s when I started exploring fashion design, and I came across names like Manish Arora, who was from NIFT. And that's how I stumbled upon this whole new world. But even then, my family and community didn’t see it as a real possibility. Nobody thought I would become a designer.

So, how did you navigate your way from there, despite the doubts and odds surrounding you?

East: It wasn’t easy, and I didn’t have a clear plan. In fact, even when I started out, I didn’t think of myself as a designer. For me, it was more about purpose than title. I wanted to do something that not only allowed me to explore my creativity but also gave back to my roots. That’s why, even now, when I design, I don’t think of it in terms of just being a designer. I’m still on this journey of discovery, creating work that resonates with my purpose.

My creativity spans across different fields now. I’m a graphic artist, I draw, I design. And it’s flexible—this creative process allows me to keep exploring. I’ve also started a brand, EAST, and it’s been a journey of trial and error. I’m constantly learning, evolving, but through it all, I’m determined to show the world the value of our identity – the Tangkhul Nagas and our craft. Our weaving unit is based in Ukhrul, and as we grow, we aim to expand into neighbouring villages, creating more opportunities for the local community.

How did the time in Ukhrul influence your work, especially in terms of local weavers and your cultural identity?

East: Returning to Ukhrul during the pandemic was incredibly transformative. I spent more time with local weavers, who have been practicing traditional handloom techniques for generations. I saw the incredible craftsmanship and artistry in their work but also recognized how undervalued it was. The traditional wraparound of the Tangkhul, called the Kashan, has a deep cultural significance, yet it wasn’t being worn by younger generations as much anymore. I’ve designed it to be both functional and relevant, with darts and belts attached to each wraparound, eliminating the fuss of putting it on. I saw the potential to bring this traditional garment back into the modern world, not just as a symbol of our heritage, but as something that could be embraced by the youth today. I want to encourage younger people to wear the Kashan, making it relevant and fashionable while respecting its cultural roots. It became clear to me that my mission wasn’t just about fashion design — it was about modernizing and preserving the traditional weaving techniques of my community, ensuring they have a place in the future of fashion.

Tell us more about your brand and the potential in home furnishing with NE textiles

East: EAST was born from my desire to build a system that allows our weavers to showcase their skills to the world, ultimately uplifting their lives and strengthening the community. Our goal is not only to empower local artisans but also to create infrastructure that preserves our traditional weaving techniques, which are at risk of fading away due to various challenges.

The brand is also committed to innovation within our textiles, exploring new craftsmanship techniques from our region, and applying them in diverse mediums. We aim to highlight our community and identity through clothing, music, landscape, and creativity. One of our key missions is to make the traditional Kashan from Northeast India more widely accepted in mainstream fashion, moving beyond the mindset that it’s only for people from the region, and instead incorporating it into the broader fashion narrative of our country.

We’re directly working with indigenous weavers in Manipur, creating jobs and providing a sustainable income to them. At the same time, we are working with the craftsmanship of the Himalayan range to create products that have a global appeal. Beyond fashion, the brand also seeks to address the brain drain of local youth to larger metros, which significantly impacts the political, social, and economic fabric of Ukhrul. Job creation is crucial in this region, especially considering Ukhrul’s vulnerability to conflict. By providing sustainable employment, we aim to help stabilise the community and promote the welfare of its people.

How can incentives be created for weavers?

East: For the weavers, a steady monthly income is crucial — it helps them support their families and allows them to showcase their skills in different markets. Additionally, this income supports the preservation of our traditional, indigenous craft and enables us to share our cultural narrative with the world.

What do you think you need most at the moment—investors or funds?

East: What we need most right now is funds. Our products are gaining recognition in various markets through different channels, and to continue this growth, we need financial resources. This will help us set up a larger and better-equipped workshop where we can experiment with different products and release them consistently. Furthermore, we aim to invest more in research and development to explore new materials, which will allow us to reach markets that appreciate the value of handmade craftsmanship and its skill.