‘Kaarigar’ translates to an artist, one who specializes in creating artisan pieces using a revered form of techniques that are passed down generations. The Kaarigari collection by Suchita Stylista celebrates the different forms of traditional Indian weaves, showcasing the unique beauty of each, reimagined with the modern Indian woman in mind.

Kaarigari Weaves Reimagined by Suchita Pandey

Gotta Patti is an ancient Indian form of appliqueing involving the use of thin metallic ribbons in the shades of gold and silver that are stitched onto fabric to create intricate, delicate designs and motifs.

It was traditionally reserved for royalty as threads of pure gold and silver were used. The introduction of more affordable materials has made Gotta Patti more commonplace in Indian festivities.

Zardosi is yet another priceless form of traditional Indian embroidery originally reserved for the aristocracy.

Apart from the high-value materials used including yarns of pure gold and silver zari, the intricate embroidery and traditional motifs can take even the most experienced Zardosi master long, tedious hours to complete thereby increasing the hourly wages of its creation.

Another opulent form of traditional embroidery is Tilla, hailing from the North Indian state of Kashmir. It was brought to India by the Moghul dynasty and adorned the rich silks and pashminas worn by the royal courtesans and nobility in the courts of King Akbar, Jahangir, and Shah Jahan.

Those of lesser knowing will tell you it is another name for Zardosi, yet the highly trained artisans at Suchita Pandey clearly help you demark the difference. Often used synonymously, Kashmiri Tilla and Zari stand a world apart. The former uses a metallic underwire coated with gold or silver while the latter uses a silk thread as its base which is covered by silver and golden hues. The usage of the metallic underwire makes the tilla thread much thicker than the Zari one.

The motifs used in Tilla embroidery also set it apart. Paying homage to its Persian and Kashmiri roots, Tilla embroidery is a beautiful play of florals including roses, lilies and tulips as well as almond blossoms and the revered Chinar leaf, all within a golden lattice that symbolizes the rich abundance of Kashmir Valley.

Another prominent motif is the paisley design, a teardrop shape that carries a symbolic representation of the cypress tree, a revered symbol in Persian culture. Often associated with life and eternity, the paisley motif is a testament to the enduring nature of art and craftsmanship. Geometric patterns in Tilla embroidery echo the architectural influences that have shaped Kashmir’s cultural landscape. Intricate squares, rectangles, and hexagons showcase the mathematical precision inherent in Islamic art. These geometric motifs not only contribute to the visual appeal but also carry a historical narrative, reflecting the region’s rich architectural heritage.

Chickankari is yet another traditional Indian embroidery form popularized by the Moghuls. It hails from Lucknow (Uttar Pradesh), the city of Nawabs and is possibly the world’s very first introduction to white-on-white embroidery. It has since evolved in many beautiful hues and adorn both casual and high-fashion pieces by Suchita Stylista.

Whilst no gold or silver is used in this embroidery form, Chickankari is renowned for its highly intricate, labor-intensive patterns that make it a prized, invaluable possession over mass produced fast-fashion. This beautiful lehenga-choli creation by Suchita Pandey combines traditional chikankari embroidery with the dazzle of mirror work where tiny discs of mirror are adorned to make this outfit extra special.