Here Are The Indian Crafts & Embroidery That Never Disappointed

In an era of screens and quick-flip micro trends, what can age-old craft offer fashion? An original Banarasi saree takes no less than 240 hours to weave. That time isn’t just about making a product, but about carrying forward a legacy. It teaches us patience, and replaces the need for speed with meaning.

Every weave is a labour of love, and generations of skill that no algorithm can replicate. And this truth isn’t limited to the Banarasi alone. Every corner of India carries its own language of craft. Together they form a vast reservoir of skill and imagination, a living archive of fashion’s future.

Because if the industry is to find depth again, it will be here, in India, where we see tradition intertwined with transformation and change. You’ve seen the cummerbund, dupattas rebranded as Scandinavian scarves, and the most recent polarising example of Kolhapuris from Prada’s Spring/Summer 2026 presentation in Milan.

For decades, some of couture’s most memorable moments have had an Indian fingerprint on them; only the credit tag was often sewn on somewhere else. It’s interesting how the intricate beading and embroidery we admire so much on Parisian runways often take shape in India, before actually reaching the ‘mecca’ of fashion. And this relationship is not neoteric. 

Early in the 17th century, the French courts of Marie Antoinette and Josephine Bonaparte sourced textiles from India while the French tailors received credit for it. Since Indian independence, global luxury fashion houses cultivated a special kinship with our crafts. And from the ’80s onwards, the holy trinity of luxury, Dior, Chanel, and Hermès, has been quietly dialling India for backup. Not just because the ateliers here could pull off what a very few others could, but also because the craftsmanship came at an affordable price.

“India’s role has been one of a strong collaborative. partner in the global world of fashion. For decades, it was in the hushed ateliers and karkhanas that couture was handmade by our skilled artisans and barely talked about,” says Anjali Patel Mehta, founder of Verandah, an international resort womenswear brand with racks at Bergdorf Goodman, Missoni, Erdem, and Neiman Marcus.

However, secrets don’t really stay under the radar in the modern era. In a world of technology, people are becoming increasingly aware of the global supply chains, and equity and transparency are almost imperative for growth and recognition.

Craftsmanship can be moulded to fit the vision of couture. But vision alone is never enough. It comes alive only through the hands of the makers whose contributions are too often overlooked. At its core, it’s about recognising the unrecognised and celebrating their story. Louis Vuitton’s Spring/Summer 2026 menswear collection did just that, where the gestures towards India felt quiet yet powerful.

From architect and founder of Studio Mumbai, Bijoy Jain, whose snakes & ladders inspired runway set the stage, to A.R. Rahman’s scintillating score and signature LV trunks studded with micro beads, lace, and embroidery, were signals that India is not only being appreciated but also shaping influence on a global stage. 

“I have always admired Maharaja Bhupinder Singh of the erstwhile kingdom of Patiala. Not only did he have a remarkable sense of style and was an important patron of jewellery making, but he also commissioned Cartier to create the iconic Patiala Necklace, which still stands as a symbol of India’s impact on the global fashion, design and craft discourse,” says Manisha Sharma, founder of Pitambara. This Indian design house recently collaborated with Prabal Gurung for Diljit Dosanjh’s Met Gala 2025 look. 

“We used India’s signature crafts, zardozi and aari embroidery, but with a refined hand so the work felt modern and precise. When this collaboration came to life, it felt personal. It was my culture, my roots, and my identity being represented globally, and that made it incredibly special,” she says. 

CELEBRATING THE SOURCE

“Craft collaborations are fantastic,” says Patel Mehta. “We had the privilege of being invited to design a collection in collaboration with Sarfaraz Khatri of Pracheen studio back in 2017 for Paramparik Karigar’s ‘Craft is Cool’ show at Lakmé Fashion Week. Khatri has worked with Yohji Yamamoto and Donna Karan and is a master craftsman in Ajrakh”, a traditional Indian block-printing technique originating from Gujarat.

The beauty of such collaborations is twofold: they put the craft and its makers in the spotlight while also creating a sense of exclusivity. Since large-scale commercialisation isn’t always feasible, the pieces remain rare and, in turn, far more valuable. 

“Makers are as important as designers. They bring the designer’s ideas to life. But the industry has always been brand and designer-led, so the value of the makers has often been ignored. This is why most customers do not connect designs to the people who made them. Credits and labels that usually highlight designers and photographers should also mention the makers.

This is starting to happen more often now,” shares Nishanth Chopra, founder of Ōshadi, a womenswear label rooted in ancient Indian agricultural practices and artisanal heritage. More than a label, Ōshadi functions as a regenerative supply chain and a collective of farmers, weavers, dyers, and printers, preserving age-old practices while shaping a more sustainable future of fashion. 

For a long time, there has been a lack of open communication in the industry, and we haven’t fully recognised the true potential of our own craftsmanship and craftspeople. Without that confidence and visibility, our creative role has not been truly acknowledged, agrees Chopra.

Having collaborated with international brands including Stella McCartney, Mara Hoffman, and Abacaxi by Sheena Sood, he believes that the true essence of India lies in heritage workmanship and slow production. Traditional systems were inherently circular; they respected natural resources, worked seasonally, and supported communities. While heritage alone won’t solve everything, it offers a blueprint for a slower, more respectful industry, and that’s true luxury. 

KEEPING LEGACY ALIVE

According to reports, India’s textile industry is a major global player, with a market size estimated at $179 billion in 2024, including both domestic and export markets. The industry is a significant contributor to India’s economy, accounting for 8.63% of total merchandise exports, employing a large workforce, and ranking as the 6th largest exporter of textiles and apparel globally, holding a 4.1% share of the world market.

But here’s the real question: are the very artisans spinning looms and threading needles actually earning enough to live on?

“Our family has been in this craft for centuries,” says Sufiyan Khatri, a 10th-generation Ajrakh artisan from the original Khatri community. With no design degree, business school training, or big investments, artisans like him let the craft itself lead the way.

Collaborations with UK-based designer Simon Marks and Indian fashion houses like Péro and Anita Dongre have helped them grow from just seven artisans to nearly 140 today.

Yet, the worry remains: what happens next? As the cost of natural dyes and fabrics continues to rise, cheap machine-made imitations are flooding the market, leaving traditional crafts fighting for survival.