In an age driven by speed, scalability, and surface-level luxury, handcrafted textiles continue to speak a slower, deeper language, one rooted in touch, time, and intention. Velvet, Zardozi, and hand embellishment
are not merely decorative techniques; they are sensory experiences shaped by discipline, patience, and respect for material. Together, they form a textile vocabulary that resists shortcuts and rewards those who take the time to truly look.
For Kailash Poojary, founder and CEO, V V. Exports Universal Pvt. Ltd, this language is deeply personal. Velvet, he explains, carries a presence that goes beyond visual appeal. It is rich without being loud, its luxury lies in restraint. The fabric absorbs and reflects light differently with every movement, holding colour in a way that feels instinctively comforting. “When you touch velvet,” he notes, “you immediately sense depth. It responds to the body and the environment, which is what gives it that quiet elegance.”
Zardozi, however, evokes a different emotion altogether, one anchored in history and control. Traditionally worked with metallic threads, coiled wires, and spangles, Zardozi demands precision and patience. According to Poojary, the beauty of this embroidery does not come from embellishment for effect, but from experience. “Every stitch is intentional. Nothing is added without reason,” he says. The resulting sheen is subtle, earned through years of handling the material and knowing exactly where to stop. Zardozi does not seek immediate attention; its details unfold slowly, holding the gaze over time.
That philosophy resonates strongly with Siddharth Bindra, Managing Director, BIBA, who describes Zardozi as a living language shaped by devotion rather than efficiency. Originating in Central Asia and flourishing in India, Zardozi is traditionally executed on luxurious bases like silk, brocade, and velvet. Gold and silver flat wires, fine spring-like coils, pearls, and silken threads are sewn painstakingly onto stretched fabric mounted on a wooden frame known as an adda. Artisans sit around this frame, embroidering by hand, sometimes for days, sometimes for months until the design is complete.
“The weight of Zardozi is literal and symbolic,” Bindra observes. “Each stitch carries intention, hours of skill, and the understanding that true luxury is never rushed.” While more cost-effective techniques exist today, they cannot replicate the grandeur or intricacy of traditional Zardozi. As a result, the craft survives largely in centres like Lucknow, Kolkata, Bareilly, Bhopal, and Agra, sustained by artisans and patrons who continue to value the process as much as the product.
Hand embellishment is where this respect for craft becomes most tangible. As Poojary reflects, one can always tell when something is made by hand. The slight variations in pressure, the rhythm unique to each artisan, and the subtle irregularities give the fabric a sense of life. Uniformity is not the goal; authenticity is. Machines may deliver precision, but they cannot replicate the human instinct that tells an artisan when a piece feels complete.
When velvet, Zardozi, and hand embroidery come together, fabric transcends surface. Weight, texture, and embellishment settle into harmony, prompting the wearer or the viewer to pause and acknowledge the labour behind the beauty. For both Poojary and Bindra, this is where true value lies: in respecting the skill, the time, and the traditions that continue to guide handcrafted textiles.
These are not materials meant to be rushed or replaced. They are designed to endure, to be lived with, and to age gracefully. In staying true to process and craft, leaders like Kailash Poojary and Siddharth Bindra remind us that in a fast-moving world, handcraft remains relevant precisely because it is honest.
