All 24 pieces. Each woven by one artisan over six to twelve months.
A deep madder field with a single ivory medallion, drawn from a 1920s archive.
Undyed wool, dusk tones, the colour of light at the end of the day.
Indigo and silk. A geometric meeting of straight lines and curved restraint.
The auspicious one. Walnut and madder tones, woven as a wedding piece.
An architectural piece. Sharp lines, deep colour, designed for considered rooms.
The quiet one. Cream, ivory, the faintest blush. For rooms that ask for stillness.
A celebration of geometry. Concentric diamonds in madder and indigo.
Earth tones. Walnut brown melting into undyed ivory. Grounded.
Cloud-grey wool with silver silk drifts. Soft underfoot.
Pure indigo. Dark as a Jaipur midnight. An exercise in restraint.
Rose madder blush. The quieter cousin of red, for rooms with morning light.
Tradition, abstracted. Classic motifs rendered in contemporary negative space.
Gold pomegranate dye radiating outward. Warm as the late afternoon.
Star motifs scattered across a deep field. Navigation by starlight.
Raw earth pigments. Ochre and umber. Before colour, there was this.
Moonlit ivory with the faintest indigo edge. For bedrooms.
Floral abstractions in cochineal rose. Not literal — suggested.
Lake-still blue. Indigo deepening toward the centre.
Stone. Ash. Sandstone. The colours of Rajasthan's architecture.
Pure silk. A shimmering plane that shifts with the sun.
Border upon border. An exercise in framing. The field is empty.
A narrative piece. Pictorial motifs tell a story across the field.
White on white. Texture visible only as shadow. For the purist.
Clay. The first colour. Warm, yielding, honest.
