The zardozi embroidery on a Dior dress, the T-strap leather sandals at a Prada show, the mirror-work technique used on a Fendi bag – for decades, the skill of Indian artisans has been an invisible force behind some of the world’s most coveted fashion. Now, that work is beginning to claim its own place in the spotlight, and the Mumbai-based textile and embroidery atelier Chanakya International is at the forefront. Chanakya marked its 40th anniversary this month, celebrating with three exhibitions that trace its journey from an embroidery powerhouse to a present-day craft and cultural institution.
The person steering it is 49-year-old Karishma Swali, whose father set up the group’s operations in the 1980s. Among the techniques they have revived is the Mughal-era silver filigree lace, or chaand jaal, reintroduced in a lighter form that has since become a regular feature in couture collections. In 2023, Dior held a show at Mumbai’s Gateway of India, showcasing its partnership with Chanakya, in a high-profile acknowledgment of Indian craftsmanship.
The runway saw sari-inspired skirts, vibrant madras-checks sets and Nehru-collar jackets. These collaborations are supported by expert craft knowledge passed down and refined over generations, and they need institutional support to survive. The Kalhath Institute, a craft-preservation centre in Lucknow, runs residencies that pair artists from across the world with local artisans.
Kalhath’s co-founder Mohammed Amine Dadda tells me that Indian craftsmanship’s defining quality is “intelligence of the hand” – a sensitive, slow and cumulative process underpinned by patience and dexterity. When it comes to jewellery, global luxury brands have long sought Jaipur-based the Gem Palace, established in 1852 by the Kasliwal family, who still run it today. Samarth Kasliwal, 33, says part of the appeal lies in the visual language of Indian artistry itself.
These motifs are universal, and travel across the lines of culture and language. One recent collaboration Kasliwal is particularly proud of is a collection for Dior featuring green onyx and rock crystals, with engravings of birds, animals and flowers. The combination, he says, is reminiscent of traditional Indian jewellery, while drawing on techniques that remain central to the atelier’s work today.
With increased visibility, the question of credit and appropriation has become harder to ignore. Last week, a Ralph Lauren gown from the designer’s spring 2027 collection attracted criticism after many Indians pointed out that the embroidery the brand described as “embellishments” looked a lot like Indian zardozi, but without any accompanying credit. (Ralph Lauren did not respond to my request for comment.) Then, Fendi came under fire when people noticed that a baguette bag from its autumn/winter collection featured mirrorwork often seen in Gujarati crafts. In April, Fendi credited Chanakya artisans in a social media video showcasing the same embroidery.
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