We work with Indian textiles because they reveal more the closer you look and that is what makes them feel different to wear.
Light-as-air Cotton
Its roots are in Dhaka muslin - cotton handwoven to an extreme fineness using ultra-fine yarn, pit looms, and controlled humidity. It was a technical pursuit of one thing: making cotton as light as air.
That obsession with lightness is what interests us. In modern clothing, it leads us to work with cotton that has very little material presence - something rarely encountered in everyday garments.
It’s this difference that often makes our sarees noticeable, and worth talking about.
Colour Changing Silk
This silk appears in different regions under different names. In Marathi and Hindi, it’s called dhoop chaon - sunshine and shadow. The name doesn’t describe how it’s made. It describes what you experience.
As light shifts between sun and shade, the colour changes with it. That visible change is woven into the fabric itself. In our case, the effect is intensified because the silk is woven extremely fine and translucent - a level of transparency machines cannot achieve.
This relationship with light means the clothing doesn’t look the same every time it’s worn.
Floating Motifs
The idea of motifs that appear to float comes from Jamdani’s origins on Dhaka muslin - a technique once woven on cotton of extreme fineness and translucency.
That muslin no longer exists. So the question shifted to the technique itself: how do you recreate that effect without the original material?
Our weavers told us they could weave silk finer than any cotton produced today. That decision changed everything. In Jamdani, motifs are inserted by hand as the fabric is woven. On an ultra-sheer base, both sides must match. What you see is exactly how it is made.