Designer Shikha Grover shares her tips for making the most out of your next visit to the creatively charged Thai capital, according to her favourite areas and districts
Uprooting oneself is never easy and for designer Shikha Grover, it was doubly hard. “I have called Malaysia home for nearly 13 years — long enough for it to seep into my bones,” she says.
After arriving in 2013, Grover, a native Mumbaikar, initially wanted to keep herself busy with charitable activities. Back home, she worked closely with Childline India Foundation for a decade and initially volunteered with Voice of the Children and at a school that supported refugee students. The creative Grover also found room for her first love — painting.
Of draping + designs
“I have always been an artist. And somehow, somewhere along the line, I began to wonder: why must art be confined to walls? Why not let it move?”
Travelling to Varanasi, India — a sacred city renowned for its spirituality and rituals but also famed for its silk sarees often featuring zari (gold and silver brocade) work — Grover explored ideas with local weavers. After two years of experimentation, of trying to translate paintings onto sarees, she launched her first collection of 75 uniquely beautiful pieces.
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“I like to think of it as art finding a new canvas,” she smiles.
Establishing her bespoke saree label Kimkara in 2017, she points out that the brand’s philosophy is built on wearable art and individuality.
“Beyond our one-of-a-kind sarees, we have also created jackets, tunics, kaftans, dresses and menswear — all of which have been received with equal appreciation.”
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Over the years, Grover continued to indulge her curiosity about melding the traditional world of sarees with art and fashion. A defining moment for the brand occurred two years ago when Kimkara showcased its collection in collaboration with Malaysian designer Syomirizwa Gupta during Kuala Lumpur Fashion Week.
“The collection was rooted in our original artworks — translated seamlessly into silk, movement and silhouette. The intricate interplay of zardozi, fine threadwork and hand-embellished detailing was met with an extraordinary response. It was a moment of affirmation — one that underscored Kimkara’s ability to hold its own within a global fashion dialogue,” she explains.
Although she has since relocated to Bangkok, Grover admits it was “not part of the original script. But sometimes, life edits your plans more decisively than you ever could. Bangkok, in many ways, feels like an extension of that creative energy. It is a city that engages all the senses — where beauty is omnipresent, from temple architecture to artisanal craft, from the poetry of wind chimes to the theatricality of its culinary culture. Inspiration here is not subtle; it is abundant, immersive and unapologetically expressive. It speaks directly to the artist within me. It is still too early to define what shape Kimkara will take in Thailand but what I do know is this — my journey has never been about reinvention for its own sake. It has always been about returning to my core: the artist, the storyteller, the dreamer.”
On what constitutes an ideal day in Bangkok, Grover stresses that it has to be a carefully curated balance between inspiration and indulgence.
“I would begin in Sathorn, where I live, with a slow morning — coffee in a thoughtfully designed café, preferably one that blurs the lines between art and hospitality,” she says languidly.
“Late mornings are reserved for exploring design districts — Siam for its energy or Talat Noi for its texture and history. Afternoons naturally transition into retail immersion so I can experience both global luxury and local design narratives in equal measure. I find this interplay particularly enriching. As evening sets in, I gravitate towards riverside settings or intimate dining spaces with a strong design perspective. Bangkok, at night, has a certain quiet glamour — less overt, more atmospheric. It is a city that rewards those who engage with it slowly and with intent.”
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City of Angels
The Siam district, in my view, forms the pulsating heart of Bangkok’s fashion ecosystem — buzzing with tourists and locals, it is a richly layered landscape that moves seamlessly between high luxury and experimental youth-driven streetwear. Destinations such as Siam Paragon, centralwOrld, Central Embassy, Emporium and Dusit Central, to name a few, present the expected constellation of global luxury houses — Hermès, Dior, Gucci, Prada and Balenciaga — alongside distinctive concepts such as Chanel’s café and hotel presence, a rarity in this region.
However, it is the Thai design voice that I find most compelling. There is a remarkable confidence in their aesthetic language — universal yet deeply rooted in context. The textiles, particularly silks, are exquisitely attuned to the tropical climate, and the visuals are both restrained and innovative.
What stands out equally is the sophistication of branding and retail presentation. Pop-ups are conceived almost as installations — thoughtfully choreographed across flooring, display structures and spatial storytelling — paired with an exceptional level of client engagement that rivals and often surpasses international standards. Siam Centre, often referred to as “Ideapolis”, champions cutting-edge creativity and serves as a vital platform for emerging Thai designers. The “Absolute Siam” concept further amplifies this narrative while Siam Discovery remains a personal favourite. Its “retailtainment” philosophy — particularly the Exploratorium — offers a futuristic, immersive retail environment defined by clean architectural lines and intelligent spatial design.
IconSiam is another extraordinary discovery. Its dedicated art and craft zones — spanning multiple levels — showcase an impressive breadth of Thai artisanal excellence. On the fourth and fifth floors, The Painter & The Smith parts of Icon Craft are particularly evocative, presenting a refined curation of blue porcelain, gilded lacquerware, jewellery, sculptural works and artisanal furniture. What resonated most with me were the handwoven silks and contemporary garments that reinterpret traditional embroidery techniques with remarkable finesse.
The sixth floor introduces a striking 15m indoor waterfall installation, where light and water become artistic mediums. It is, quite effortlessly, one of the most compelling backdrops I have encountered — one that would lend itself beautifully to a fashion presentation.
River City Bangkok has also become a favourite — a sophisticated hub for arts, antiques and exhibitions, set within the historic Talat Noi district. Its character and spatial versatility make it an ideal setting for fashion showcases and creative collaborations. While I have always appreciated Kuala Lumpur’s café scene — particularly its teh tarik and mamak traditions — Bangkok offers a more evolved, lifestyle-driven “clubhouse” culture. Each neighbourhood carries a distinct sensibility, from industrial modernity to heritage-inflected charm, as seen here.
In my own neighbourhood of Sathorn, I discovered The Little Prince Café — a quietly enchanting space where art, sculpture and hospitality converge. It transitions effortlessly from a contemplative coffee setting to an intimate evening experience, complete with jazz, a koi pond and an almost poetic sense of calm.
Another fascinating shift I have observed is Bangkok’s emergence as a subtle Japanese cultural enclave. This evolution can be traced back to decades of industrial collaboration, with companies such as Honda, Toyota and Canon establishing strong manufacturing and infrastructural roots here. Over time, this has translated into a broader cultural exchange — visible in the proliferation of Japanese cuisine, high-grade matcha and a distinctly Japanese approach to retail and fashion.
The aesthetic — clean, considered and often playfully “cutesy” — has influenced local design approach, with elements such as pleating and precision construction becoming increasingly prominent across Thai labels.
Phahurat Market, on the other hand, is Bangkok’s definitive destination for textiles — a place that any designer would find overwhelming and irresistible in equal measure. It is where the city’s sartorial backbone quietly resides. And it will be my go-to for the next Kimkara collection.
The Old Siam Plaza, a historic, colonial-style shopping arcade in the Wang Burapha district, is often described as a “living museum”. It is, quite charmingly, where many Thai brides begin their wedding journey. If you linger long enough, you might well leave not just with fabric, but with the beginnings of an entire trousseau.
As for the world-renowned Chatuchak Market, it remains on my list. However, recovering from an ankle injury has meant postponing what is, by all accounts, an expansive and physically demanding experience. I would prefer to approach it when I can fully engage with its scale and energy.
