Last month, against the backdrop of the Rambagh Palace in Jaipur, actor Ananya Panday walked the ramp in a fuchsia lehenga by Punit Balana, its intricate embellishments catching the light like the glow of a mirrored room. The designer’s latest collection, Amer, draws from the mirror inlay work of the Sheesh Mahal at Jaipur’s Amer Fort.
At first glance, the lehenga appears like it might weigh one down, but it’s surprisingly light. That’s because the Jaipur-based designer has spent six years perfecting a technique that replicates the look of mirror work without its heft. “We don’t want brides to miss out on their special moments because their outfit is heavy,” says Punit Balana.
The embroidery, known as chandi tilla ka kaam, mirrors the tikri inlay work of the Sheesh Mahal, but without the burden. “The R&D went on for years. We experimented with several materials before zeroing in on a foil that’s cut in different shapes to reflect light like mirrors. Few karigars are trained in this craft,” he adds.
The Amer collection is a nod to many such lesser-known crafts of Rajasthan and India. Other creations feature metallic coin embroidery, which carries the glamour of sequins but with an old-world charm. “The embroidery can be rendered in different styles with thread and metallic coins,” says Balana.
Even in its 10th year, his label remains rooted in Rajasthan. Prints reference Mughal motifs inspired by different parts of Amer Fort, alongside block prints and bandhani textiles. The latest edit borrows silhouettes and colours from previous collections that celebrate the state’s crafts—Bagru-printed skirts from Bagru, kedia sets from Mandana, handkerchief blouses from Lakshmi, and corsets from Johri. “The silhouettes could be modern, but the work is Rajasthani at heart. I love Jaipur and its crafts, and it’s so exciting to see that the city is now a complete experience of heritage, craft, and design,” he says.
Is there a craft he hasn’t worked enough with yet? “Maum ka chaapa,” he replies instantly. “The craft from Bikaner reimagines age-old wax printing. It’s not widely practiced and has never been considered a luxurious craft, but it’s beautiful.” Here, wooden blocks used in block printing are replaced with metallic blocks filled with gold or silver. The result is a striking print. “I hope to dedicate an entire collection to it someday.”
Balana doesn’t plan too far ahead, but he hopes to work on a collection of jadau jewellery at some point. “I don’t think I’ll ever be done with Rajasthan,” he says. “There’s always another craft, another story waiting to be told.”
