One evening in New York, couturier Mayyur Girotra and stylist Diya Mehta Jatia quietly commanding the global stage with The कढ़ाई Chronicles, their latest edit of Indian craftsmanship, presented not at a glitzy showroom or gallery, but in the warmth of artist Vivian Riess’s home.
Fifty pieces, each more emotive than the next, stood as proof that embroidery can hold memory. Denim trenches adorned with zardozi. Gender-fluid jackets inspired by Kutch. Kaftans that shimmered with the kind of quiet power only mirrorwork can conjure. This was the duo’s first international outing for The कढ़ाई Chronicles, and the guest list made it clear they’d landed right where they belonged. From Hasan and Beena Minhaj to Vijay Sethupathi, from Fern Mallis to Jessel Taank, the room was a tapestry of culture, curiosity and style.
Mayyur, whose love for heirloom techniques like zardozi and mirrorwork runs deep, described the collection as “soul work.” And it showed. Nothing about the edit felt forced. There was a languidness to the silhouettes, a lived-in quality to the embroidery. These were pieces meant to be worn, remembered, passed on. “Every piece is rooted in tradition,” he said, “but made for the now.”
And that’s where Diya came in. Her styling offered the kind of global finesse that made the entire collection feel intuitive. Mirrorwork wasn’t heavy-handed. Kaftans felt as comfortable at a dinner in Manhattan as they would at a sundown gathering in Jaipur. “It was about knowing when to add and when to hold back,” she shared. “Letting the garments speak.”
If fashion is a language, The कढ़ाई Chronicles is a love letter; to artisans, to memory, to the magic that happens when craftsmanship is given room to evolve. It didn’t scream or try too hard. It simply stood still and shimmered.
Images: Mayyur Girotra