Luxury brands’ secret connection with Indian ateliers

Meet the Indian embroidery ateliers behind the exquisite couture pieces of top luxury brands

The backdrop of Christian Dior’s Spring/Summer 2022 couture show celebrated the work of two Indian artists—Madhvi and Manu Parekh. Large-scale, hand-embroidered textile panels were installed throughout the show at Musee Rodin in Paris. The installations featured needle-weaving techniques wherein layers of raw jute threads were finely combed and woven with small needle-point stitches to create depth and texture. “The collective vision for this collaboration along with Maria Grazia Chiuri (the creative director of Dior women’s collections) and these artists was to create an immersive experience that celebrates the culture of craftsmanship and the interconnection between us all,” says Karishma Swali, co-founder of Chanakya Designs—a Mumbai-based embroidery atelier who made this a reality. “This collaboration with the artists aims to overcome the division between art and craft, invoking a shared language between the two,” she adds. This isn’t the first time Swali and her atelier has worked with an international brand. Their portfolio boasts of working with the likes of Balenciaga, Etro, Prada and Saint Laurent, among others.

India is known for its numerous techniques of embroideries and exquisite craftsmanship, which is tapped by major luxury brands. Chanakya Designs is one of the many ateliers who are the mediators between Indian artisans and international brands. But as these luxury labels strut their designs on runways across the globe every season, why is this connection with Indian artisans usually kept under the wraps? We speak to a few Indian ateliers to find some answers.

Being incognito

Over the last few years, India has strengthened its role as the go-to place for couture embroidery by providing services like design, sampling and production to some of the biggest luxury houses in the world. Mumbai-based embroidery house called Les Atelier 2M has worked with Chanel, Isabel Marant, Schiaparelli and Hermès. Chennai-based atelier Vastrakala provides fine craftsmanship which can be found in the collections of designers Robert Couturier and Christian Louboutin. Saks India, one of India’s oldest ateliers (founded in 1986), lends their expertise in Indian embroideries to Vera Wang, Marchesa, Elie Saab, Ralph & Russo and Zuhair Murad, to name a few.

So why is it that Indian craftspersons and ateliers don’t get the recognition they deserve from luxury giants? Gayatri Khanna, founder of Milaaya Embroideries, says it’s all about the mindset of the brand. “The mindset is to have really high-end embroideries, which are always done in Paris or Italy and cost ten times more. Most brands don't want finished garments from India because they don't want the ‘made in India’ label. For them, ‘made in France’ or ‘made in Italy’ has a higher value because generally people around the globe tend to think of India as a lower-end market,” says Khanna, whose zardozi and beadwork has been incorporated in the collections of designers like Roberto Cavalli, Versace and Prabal Gurung. Shuchi Singh, managing director of Mirandola Designs, believes that there is a lack of credibility and traceability in the fashion supply chain. “It is not only the handwork that is not spoken about, there are silent workers throughout the industry who have also traditionally been overlooked,” says Singh.

But in the age of social media, this veil of anonymity is slowly being lifted as platforms like Instagram and Facebook have helped the artisans showcase their works online more freely. “Not just artisans, but even consumers are questioning the sustainability and accountability practices in the industry,” says Singh. Smita Singh, creative director of Mirandola Designs agrees with her. “Social Media has made communication easier and democratic. Artisans themselves have started exploring social media by creating their own accounts, showcasing their work and approaching clients directly. This has helped them break barriers and create earnings for themselves,” she says. But how has this recent spotlight on the karigars helped build a sustainable business for these ateliers?

Handcrafting a better future

That India has a rich history of craftsmanship is a well-documented fact. Handwork exports, although a niche market, is valued at $4.35 billion in 2021-22, as reported by Export Promotion Council for Handicraft. In the same financial year, India exported $761 million in embroidered and crocheted goods. “India is in a unique position to become the hand-made production hub for the world. We, at Mirandola Designs, believe that this industry would see tremendous growth over the next decade. The dual factors to help scale up this industry include a focus on innovation in crafts applications and bringing higher efficiency in the supply chain,” says Singh.

Swali believes that the prospects for growth are infinite when it comes to exploring different verticals: art, couture, ready-to-wear, accessories and interior design. “Today, we are all experiencing a paradigm shift in creative culture. In 2017, we established the Chanakya School of Craft with the goal to preserve our cultural heritage through innovation and education. We work actively with master craftspersons to contribute to design innovation while honing their incredible talent to preserve our crafts. Our common goal as citizens of the world should be to preserve, promote and disseminate all forms of art and culture,” says Swali.

But it’s not been hunky-dory for all, especially since the COVID-19 pandemic halted a lot of artisanal work. “It's not the same as it used to be pre-pandemic at the moment and it will take a long time to get there,” says Khanna. “When the cost of the embroidery is high, the retail price of that particular clothing would also be higher than a normal, printed garment. Currently, because of the ongoing war between Ukraine and Russia, the European market is conservative and scared.”

Considering the global cultural and political situations that affect the industry, how does it bounce back on its feet? Khanna shares a possible solution. “You have to keep diversifying,” she says, having recently launched her own ready-to-wear brand called ‘Gaya’. “With Gaya, we use the same resources that we provide our clients with. By the end of this year, we are hoping to take the brand internationally and plan to get into home furnishings as well. The idea is to expand into other markets, because it’s the only way to keep it going,” she says. Swali agrees with Khanna when it comes to diversifying into other avenues. “The prospects for business growth are infinite as we continue to explore different verticals through art, couture, ready-to-wear, accessories and interior design. The goal is to amplify the voice of Indian craftsmanship through all these avenues and be able to represent our country’s incredible artisanal legacy,” she concludes.

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