Mughal · Delhi
Zardozi
Gold and silver wire coiled into raised motifs — birds, florals, paisley. A court embroidery that once adorned royal robes, now revived stitch by stitch in our studio.
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The garments we make are archives. Each stitch carries the memory of a tradition — a region, a family, a generation of hands that learned by watching and by doing. We work with six craft forms, all practised in partnership with artisan families across India.
Gold and silver wire coiled into raised motifs — birds, florals, paisley. A court embroidery that once adorned royal robes, now revived stitch by stitch in our studio.
Delicate shadow-work in white on white — pulled thread, satin stitch, and the whisper of petals in fine muslin. The poetry of restraint, practised over five centuries.
Real gold and silver threads shuttled into silk on the handlooms of Varanasi — patterns so intricate they require months to set up, lifetimes to master.
Silk thread on silk cloth — satin stitch, stem stitch, long-and-short shading. Our karigars work from hand-drawn sketches, translating each motif needle by needle.
Tiny dots of resist-dyeing tied by hand before the cloth meets colour — a process that leaves patterns of light in a field of deep indigo, crimson, or saffron.
Small shisha mirrors stitched into geometric lattices — light caught and scattered back. A craft of desert light-play, now finding its place in contemporary couture.
No piece leaves the karkhana in fewer than eight weeks. Here is every step that makes it worth the wait.
Every piece begins not on a screen, but in a sketchbook. Our designers immerse themselves in the heritage motifs of Lucknow — the florals of Mughal architecture, the jaali patterns of Awadhi craft — and draw until one idea insists on being made. This sketch becomes the blueprint: every proportion, every density of thread, every placement of motif resolved on paper before a single karigar is seated at the frame.
We travel to the mills of Varanasi, Surat, and Chanderi to choose our cloth — not from swatches, but from the full bolt, held to daylight. Silk katan, fine muslin, weightless georgette: each fabric is tested by hand for how it drapes, how it receives embroidery thread, and whether it will still feel alive in twenty years. Only natural fibres enter the karkhana. No synthetics, no compromise.
This is the heart of everything. Stretched on wooden frames in our Lucknow workshop, each panel is handed to a karigar who works in near-silence — needle by needle, stitch by counted stitch. Zardozi raised in real gold wire. Chikankari in white on white muslin. A single bridal lehenga may carry four months of embroidery alone. We do not look for shortcuts, and we do not find them.
Before any garment is assembled, every embroidered panel passes under a full-spectrum daylight lamp. Thread tension, motif alignment, stitch behaviour under stretch — each is inspected by our senior karigar. If anything falls short — a pulled thread, an uneven density — the panel returns to the frame. A piece only moves forward when it moves right.
The final garment is assembled by our head tailor and fitted twice: once at muslin stage, once in the finished cloth. Closures are sewn by hand. Ends are finished with the care of things meant to last a century. The piece is pressed, inspected a final time in daylight, and then wrapped in acid-free tissue — ready to be worn at the moments that matter most.
We source only natural fibres — silk, cotton, linen, wool — from mills and weavers we know by name. No synthetics. No blends that compromise the way embroidery sits on a body.
Custom Order
Every custom order starts the same way — with a meeting and a cup of tea. We want to know the occasion, the cloth you love, the details that matter to you. The garment follows from there.