Resham Khiani on her path to fashion design

by Sophie Macdonald

For many designers, fashion is framed as a vocation discovered early and pursued relentlessly.

Resham Khiani’s path, however, resists that linear narrative.

Founder of House of Galani, Resham entered the industry later than most, bringing with her a layered creative identity shaped by childhood exposure to Indian textile culture, a career in journalism, and rigorous technical training.

Her work, which blends Indian embroidery with the clean restraint of Italian silhouettes, reflects both personal heritage and an ambition to position Gibraltar within an international fashion landscape.

Resham’s relationship with fashion began long before she considered it professionally viable.

After leaving journalism, she enrolled at Dorcas Fashion Academy in 2019, a decision she describes as marking “exactly one year since I had given up journalism,” and signalling what she felt was “a start to things.”

Yet her creative instincts had been shaped much earlier, through childhood visits to India where she accompanied her mother to sari shops and became immersed in textile craftsmanship.

Reflecting on these formative experiences, she recalls being recognised for having “a very good eye for picking out materials and styles and colours” from an early age.

It was during the early development of these skills that Resham received the message that would redefine her professional direction.

Being scouted for Miss Europe Continental was, she admits, initially met with caution rather than immediate excitement.

“The moment I was scouted from Miss Europe, I was sceptical,” she said, questioning whether the opportunity was legitimate.

Her apprehension was intensified by the fact that she was informed she would be the first Gibraltarian designer approached, leaving her without local precedent or guidance.

Extensive research and multiple conversations with organisers eventually persuaded her to accept the offer.

Crucial to this turning point was the influence of her mentor, Dorcas Hammond.

Resham recalls Hammond’s decisive advice: “You have to take this opportunity… because if not, you’re going to regret it for the rest of your life.”

Accepting the challenge required Resham to produce two pageant gowns despite having no previous experience designing within that genre. The process demanded rapid technical development, with Resham acknowledging that she had to “work extremely hard” to refine her sewing, pattern construction and finishing techniques while balancing a full-time job.

The resulting designs embodied both her cultural influences and her emerging technical confidence.

Resham approached the dresses with a focus on craftsmanship and structural precision, explaining that she wanted the garments to communicate independent of explanation, ensuring that “the fabric would speak” and that “the construction would speak for itself.”

Her green gown, titled Emerald Sculpture, represented her most ambitious undertaking, incorporating extensive hand-stitching and couture embroidery.

Through these pieces, Resham sought to demonstrate that “construction and finishing and the delivery of the dress… is and always will be extremely important.”

The international reception of her work in Naples confirmed the significance of the opportunity.

One dress was worn by Miss Bulgaria during the competition’s final stages, while the second was selected by an Italian judge and model.

For Resham, the experience carried symbolic importance beyond personal achievement.

She describes feeling “very proud to be a Gibraltarian in Italy,” viewing her participation as evidence that designers from smaller creative communities can operate within global fashion spaces.

What began as a tentative exploration of fashion evolved into a clear vocational commitment, with Resham concluding that the opportunity affirmed that “this is my path” and strengthened her ambition to develop House of Galani as an internationally-recognised label.