Architectural Digest India – September October 2022

ABOVE: ON THE VINTAGE ARMCHAIR IS A THROW FROM
ISTANBUL; THE RUG BELOW IT IS FROM MIRZAPUR,
UTTAR PRADESH. AROUND IT ARE (FROM LEFT) A MID-
CENTURY WOODEN PARTITION FROM THE KARNATAKA
HIGH COURT; A PATTACHITRA OF THE GODDESS DURGA
VANQUISHING THE DEMON MAHISHASURA BY KOLKATA-
BASED ARTIST PRIYODORSHI CHITRAKAR; A WOODEN
DEER’S HEAD MADE BY A FRIEND; AND A KALIGHAT
PAINTING OF GODDESS KALI, BY ARTIST MAMONI
CHITRAKAR. ON THE WALL, BEHIND THE VINTAGE DINING
TABLE AND CHAIRS FROM PUDUCHERRY IS A HAND-
PAINTED PAPER FAN FROM RUMTEK MONASTERY IN
SIKKIM. THE FRAMED COMMEMORATIVE SIGNAGE OF
KATE MOSS BY BANKSY IS FROM THE MOCO MUSEUM,
AMSTERDAM. THE PATTACHITRA ON THE WALL TITLED
RAAS LEELA IS FROM CUTTACK, ODISHA. RIGHT: THE
VISHNU BUST IS FROM KUMBAKONAM, TAMIL NADU;
THE STONE PIGEON IN THE NICHE BELOW IT IS FROM
PARADISE ROAD, COLOMBO. ON THE CABINET NEXT TO
IT ARE A LARGE PAINTING AND PORCELAIN STATUE, FROM
THE CAT STREET ANTIQUE MARKET, HONG KONG. THE
HANDMADE WOODEN “K” IS FROM DE NEGEN STRAATJES,
AMSTERDAM; THE VINTAGE WIND-UP MECHANICAL TOY IN
FRONT OF IT IS FROM LES PUCES DE SAINT-OUEN, PARIS.

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THE MAIN BEDROOM—THE VINTAGE WOOD-AND-JUTE MANNEQUIN WAS ACQUIRED AT THE MERCATONE DELL’ANTIQUARIATO, ALONG THE NAVIGLIO GRANDE
CANAL IN MILAN. ON THE MANNEQUIN ARE AN EMBROIDERED PRINCESS COAT AND PASHMINA SHAWL, BOTH FROM SRINAGAR, KASHMIR. ON THE HEADBOARD ARE A
PRINT OF K.G. SUBRAMANYAN’S RADHA RANI FROM THE NGMA, DELHI; AN OIL-ON-WOOD PAINTING FROM COLOMBO; AND AN OIL-ON-CANVAS PATTACHITRA BY AN
UNKNOWN ARTIST. THE HAND-KNITTED THROW IS FROM ANTHROPOLOGIE, NEW YORK; ALL OTHER BED LINEN AND FURNISHINGS ARE FROM DASTKAR, BENGALURU.

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k what I was looking for in a house,” he Kaustav’s first purchase as a collector,
Kaustav Dey’s apartment in Bengaluru’s recalls. The space back then was com- and to him, it seemed serendipitous to
Marathahalli suburb is not easy to find, pletely empty with stark white walls but start with an artwork of Ganesha, the
being one of thousands in a seemingly something about the light struck him and Hindu god of auspicious new begin-
endless row of apartment complexes off he recognized its potential. “It spoke to nings. The pattachitra, like many of the
a noisy main road. So his offer to meet me and I realized it could be transformed artworks and curios in Kaustav’s home,
me at its gates is very welcome indeed. into a space I could call home.” is by an unknown artist, and is one of
As we walk towards his home, Kaustav the many such objects he would collect
warns me: “It’s a super-tiny house!” I’m Slight and soft-spoken, the 39-year- and cherish over the years. “I don’t have
prepared for a matchbox (I’ve lived in old Kaustav is far from the in-your-face a fixed process when it comes to coll-
Mumbai) but what I find when I enter is and on-your-screens stylistas of popular ecting. It’s just about whatever speaks to
the Goldilocks principle at work. At culture. Style, to him, has always been me,” he says.
approximately 1,700 square feet, rather “excruciatingly personal”—a medium of
than large or small, the house, for a expression and identity, whether on Among the many strange and
single man and a self-confessed seeker of himself, or in his space. The day we meet, beautiful things that have spoken to him
beauty, is just right. he is wearing a leaf-green kurta-pyjama over the years and across geographies are
Kaustav moved to Bengaluru 15 years and shawl, a single silver anklet, and Kalighat paintings, carpets from
ago for work, and this apartment was just most surprisingly to me, a nelli—the Mirzapur, vintage erotica from Japan,
the second one he saw. “I was very young traditional South Indian wedding ring. ceremonial masks from Indonesia, and
at that point and I didn’t really know He wears the anklet for the music of it vintage posters of Atatürk from Istanbul.
(“And why should music be gendered?”); These objects’ many layered stories were
the nelli, simply because he loves its fluid a particular comfort to him during the
form. But in wearing these two pieces, two years of the pandemic. “They be-
Kaustav is also quietly championing the came a reminder of everywhere I had
causes he believes in: gender non- ever been in my life. And even though I
conformance, the idea of fashion as was alone in my own home, I felt like I
sartorial dissent, and that jewellery is for was still in the centre of the world.”
everybody—including men. Despite
being a bit of recluse in his private life, in Kaustav has always found himself
2017, he stepped onto a TED stage to give drawn to the idea of vintage—in outfits
a moving talk on the power of fashion, and in objects, believing that craft, age,
and in 2021, on a Vogue India panel, along and usage imbue them with stories. Over
with heavyweights like jewellery designer the years, this ability to interweave stories
Hanut Singh and global editor at large of has led to an aesthetic that sings of a dis-
Vogue and editor in chief of The World of tinct and arresting old-world charm. His
Interiors Hamish Bowles, he spoke fashion pairings too are unexpected: an
evocatively about the rise of gender- Armani dress shirt offset with a pearl
neutral jewellery. choker from Hyderabad’s Laad Bazaar;
the fine pleats of his father’s Bengali dhoti
His work as the vice president of contrasted with a hand-embroidered
marketing for Tommy Hilfiger, Calvin Kashmiri pheran; a shimmering silk-
Klein, and Arrow involves big name and-zari Banarasi shawl draped on one
brands, but his home is as far from the shoulder of a sharply cut Tommy Hilfiger
world of billboards and big names as suit. The effect is entrancing and it’s hard
possible. Homes display the truths of to look away.
our selves in ways other expressions
cannot and Kaustav’s description of this Even the furniture in the house is
one as his “refuge from the world” is vintage: a cane sofa acquired from Jew
apt—everything in it mirrors his pref- Street in Kochi and lovingly restored; an
erences, his journey, his experiences. “I electrician’s cabinet that he repurposed
believe that personal style can only be as a sideboard; the distress-finish dining
informed by your story, and what you table and chairs from Puducherry. “I like
believe in,” he says, adding, “You have the aesthetic of the world gone by,” he
to be true to yourself.” says, his hand lingering gently on the
sofa’s carved wooden armrest. In a world
The many pieces that went into mak- that does everything it can to ensure
ing this house a home began with a conformity, Kaustav’s style stands out as
pattachitra from Odisha that occupies the a manifestation of who he is—singular,
largest wall in his living room. It was authentic, and one of a kind.

SEPTEMBER-OCTOBER 2022 AD ARCHITECTURAL DIGEST 103

MANISH MALHOTRA HAS DEFINED FASHION AND BEAUTY FOR
AN ENTIRE GENERATION WITH HIS UNAPOLOGETIC FLAIR FOR
GLAMOUR AND BLING. AT HOME, HOWEVER, HE’S A NOSTALGIC
SOUL, SEEKING QUIET AND COMFORT, ARRANGING FRESH
FLOWERS EVERYDAY, WORKING “48 HOURS IF I COULD” IN
A N E W LY D ES I G NE D ST U DY, A N D LE T TIN G LIF E P L AY O U T
I N H I S I M P EC CA B LY D EC O R ATE D PA L I H ILL TOW NH O US E .

STYLIST: SAMIR WADEKAR. VISUALS EDITOR: HARSHITA NAYYAR. PRODUCTION: SHALINI KANOJIA. WRITER PRIYANKA KHANNA PHOTOGRAPHER ASHISH SAHI

MANISH MALHOTRA IN HIS BANDRA HOME, WEARING A BOMBER JACKET FROM HIS LATEST BRIDGE LINE. THE LIVING ROOM OF THIS FIVE-
STOREY HOUSE IS AN EXPANSIVE SPACE WITH VARIOUS NICHES AND ISLANDS TO SIT IN AND LOUNGE. LARGELY PANELLED IN WOOD, IN ITS
ORIGINAL BROWN GRAIN AS WELL AS AN IMPECCABLE WHITE, IT IS A FINE MIX OF MODERN DESIGN TOUCHED WITH CLASSICAL ACCENTS.

SEPTEMBER-OCTOBER 2022 AD ARCHITECTURAL DIGEST 105

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A COLLECTION OF RAZAS AT THE ENTRANCE OF THE LIVING ROOM. “ART HAS ALWAYS BEEN A BIG PART OF WHO I AM. WHEN I WALK INTO MY LIVING ROOM, THESE RAZAS ARE THE
FIRST THING I SEE EVERYDAY,” SAYS MALHOTRA. FACING PAGE: A DEEP BURGUNDY SOFA, UPHOLSTERED IN VELVET WITH DRAMATIC FLARED-ARMS, ADDS A SIGNATURE GLAM TOUCH
TO THE INTERIORS. IT IS PAIRED WITH A TUFTED, VINTAGE LEATHER SOFA THAT INSPIRES A CLASSIC GRUNGY LOOK. A PHOTOGRAPH OF NEW YORK IN THE 1970S ACCENTUATES
THE MOOD, AND NEXT TO IT IS AN UNTITLED ARTWORK OF “A MAN LOOKING FORWARD AND UP IN LIFE”. THE FINE SILK PERSIAN CARPET IS ONE OF MALHOTRA’S FAVOURITES

SEPTEMBER-OCTOBER 2022 AD ARCHITECTURAL DIGEST 107

"I spend the whole
day with bling and
shine and embroideries
and colour. When I come
home, it’s not what I want
at all.” —Manish Malhotra

ABOVE: THIS INTRICATELY CARVED ANTIQUE WOODEN
CHEST, ONE OF MANY, FROM THE GREAT EASTERN
HOME IS PLACED TO OFFSET THE OTHERWISE MODERN
INTERIORS. RIGHT: THE ENTRANCE FOYER ALWAYS HAS
FRESH FLOWERS ON TOP OF A CHEQUERED CONSOLE
TABLE BY GAURI KHAN; AN ANDY WARHOL–ESQUE
MARILYN MONROE ARTWORK BY CHINTAN UPADHYAY IS
MOUNTED ON THE ADJACENT WALL. “THERE ARE PEOPLE
WHO ADORE MONROE’S SENSITIVITY AND OTHERS
WHO LOVE THE WAY SHE NEVER STOPPED TRYING
TO MAKE HER LIFE MORE FULFILLING. I ADMIRE ALL
HER PERSONALITY TRAITS AND THIS PAINTING SPEAKS
OF ALL HER COLOURS.” FACING PAGE: MALHOTRA’S
LOVE FOR SILVERWARE AND GLASSWARE IS EVIDENT
AS HE DECORATES TABLETOPS WITH FRAMED
FAMILY PHOTOGRAPHS, FRESH FLOWERS, AND OTHER
ACCESSORIES. “AND NOTHING LIKE A CHANDELIER TO
BRING A DASH OF OLD-WORLD CHARM INTO MY HOME.”

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THE VILLA IS ON A HILLTOP AND SURROUNDED BY TREES. THE LIVING AND DINING AREA IS FLANKED BY AN OUTDOOR VERANDA ON ALL SIDES, WITH
NATURAL LIGHT POURING IN THROUGH FLOOR-TO-CEILING ARCHED WINDOWS. FACING PAGE: A VIEW OF THE LIVING ROOM FROM ACROSS THE DINING AREA.
EVERY MORNING, MALHOTRA HAS A RITUAL OF DECIDING THE THEME OF THE FLOWERS FOR THE DAY AND BOUQUETS ARE ARRANGED ALL OVER THE HOME.

SEPTEMBER-OCTOBER 2022 AD ARCHITECTURAL DIGEST 111

CARVED WOODEN CHESTS, LIKE THIS ONE, FROM THE GREAT EASTERN HOME ADD A VINTAGE TOUCH TO THE INTERIORS. SILVERWARE, GLASSWARE, AND PERSONAL FAMILY
PHOTOGRAPHS ARE MALHOTRA’S FAVOURITES. ANOTHER WORK BY CHINTAN UPADHYAY PROVIDES A DRAMATIC BALANCE TO THE ANTIQUE WOODEN BAR. “HIS ART IS A
METAMORPHOSIS OF CLASSICISM INTO THE CONTEMPORARY.” FACING PAGE: A MARBLE STAIRCASE CONNECTS THE ENTIRE FIVE-STOREY VILLA, ADDING A NEOCLASSICAL
TOUCH TO THE HOME. THE STAIRWELL IS DOTTED WITH ART, FROM TANJORES TO THE PROGRESSIVES, THAT MALHOTRA HAS RECEIVED AS GIFTS OVER THE YEARS.

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THESE PAGES: THE STUDY–CUM–FITTINGS ROOM
WAS RECENTLY REDESIGNED BY GAURI KHAN.
BOLD STRIPED WALLPAPER, HOUNDSTOOTH
UPHOLSTERY, AND PALE COLOURS CREATE A
LOVELY MUTED BACKDROP TO MALHOTRA’S
GLORIOUSLY EMBELLISHED FASHION. “IF I COULD
WORK 48 HOURS A DAY, I WOULD. AND WHO BETTER
THAN GAURI TO CREATE MY WORKSPACE FOR ME.”

"For me, home is not only
about beautiful things....
I like to make people feel
special, I like to remember
what they like. It’s about that
special effort.” —Manish Malhotra

SEPTEMBER-OCTOBER 2022 AD ARCHITECTURAL DIGEST 115

MALHOTRA WEARS HIS OWN LABEL, DIFFUSE, IN HIS NEWLY DESIGNED STUDIO–CUM–FITTINGS SPACE IN HIS BANDRA HOME,
RECENTLY REDECORATED BY GAURI KHAN. ON THE RACK BEHIND ARE CLOTHES FROM THE DIFFUSE AND MIJWAN COLLECTIONS.

116 AD ARCHITECTURAL DIGEST SEPTEMBER-OCTOBER 2022

w [Khan],” Malhotra says, about the love whites and off-whites, a lot of
While spring cleaning a few months ago, I additional 5,000 square feet that he is greenery, filled with fresh flowers, a lovely
came across a Manish Malhotra–designed adding to the existing 11,000-square-foot fragrance (vanilla, jasmine, and Oud from
piece, circa 1998, his initial foray into home, designed in collaboration with the Jo Malone are favourites), and for the
ready-to-wear with the boutique Reverie. interior designer. “It’s an extension, and home to be welcoming.”
Lilac, with spaghetti straps, a sprinkling of in a way a new look. I want it more mod-
sequins and embellishments, the top has ern, more minimal, but still a home; it And there’s no shortage of warmth in
Y2K written all over it. has to have my art, my personality. I also Malhotra’s home. Notch it up to his
want a strong ‘Made in India’ focus, Punjabi genes and his mother’s influence,
Gen Z would definitely approve. spotlighting young talent.” he’s known to be a generous host—with a
Over the past nearly two decades, I’ve deep rooted love for entertaining. “For
seen Manish Malhotra create his ready-to- Malhotra moved into this townhouse, me, home is not only about beautiful
wear brand from the ground up—as an an anomaly in a city known for its tower- things, but it’s the way I serve, the way the
awe-struck pre-teen at his shows for ing skyscrapers, seven years ago, and along food is laid out. If I’m serving thalis, the
Sheetal Design Studio (my very first with designer Kunal Shah, set out to re- table will be covered in mogras. I like to
fashion show that cemented my future in model the space to create a haven for him make people feel special, I like to rem-
this industry), his seamless translation of and his parents with their own personal ember what they like. It’s about that
on-screen styling to off-screen, and his floors, a lounge and dining area, and the special effort.” He takes immense pride in
most recent partnership with Reliance terrace, all in line with vastu and feng shui having people over, his dinners designed
Brands, which promises a global course. principles. “The idea of owning a home by theme and mood, always ensuring he
But through it all—over three decades was very important to me. When I found goes that extra mile. “I remember seeing
combined in design, a footprint of over this house, I was doing Ae Dil Hai Mushkil, Yash Chopra films, and being enamoured
35,000 square feet across the country, over and we were shooting in London. I was so not only by the clothes, but also by the
500 movies, nearly 9 million followers on inspired by the design in the city, all lifestyle. I’m observant: Over the years,
Instagram—the underlying ethos of the detailing, the use of wood, pillars, I’ve picked up details from different peo-
Malhotra’s brand has never wavered: a and mouldings, the light-grey palette, ple and places, and I enjoy bringing it
signature dose of glamour, a blend of the constant bringing together of old all together.”
contemporary and traditional, a focus on and new.”
textural detailing, and an inspired colour It’s late evening, and shoot wrapped,
palette. He’s evolved, innovated, experi- It furthered his approach, seen in the we’re now chatting on Malhotra’s personal
mented, but at the heart of it, you know a mix of Roche Bobois furniture and Great floor, the 55-year-old designer comfortable
Manish Malhotra design when you see it. Eastern Home antiques; in the use of in his favourite leather chair—the one he
It strikes me, while sitting in Malhotra’s traditional silver vases and urlis, filled to spends time ideating and meditating in at
five-floor townhouse, located in a leafy the brim with fresh flowers procured 5 a.m., while the sun comes up. “What
bylane of Bandra’s Pali Hill, that his home weekly from the Dadar flower market, and makes this house is that each floor has its
is also a natural reflection of that very placed insouciantly on a black-and-white own vibe; it has greenery surrounding it,
sensibility. But, not in a “hit you over the chequered cabinet or on a glass and and the patios all open to sky. I’ve realized
head” way, that is to say, there are no chrome table; it’s in the inlay work and the as I’ve gotten older that I need that feeling
embellished throws, cushions, upholstery, jewel-tone Persian carpets that line the of openness,” he points to the terrace
bright colours, et cetera. (“I spend the cool, white marble floors, and the Razas surrounding his impeccably maintained
whole day with bling and shine and on the wall. “It’s about a twist in the tale. bedroom. “ I need that physical space, those
embroideries and colour…so when I come I’ve curated every single piece. I want it to clean lines. That’s why I love Dubai: You
home, it’s not what I want at all.”), but be unpredictable; I don’t want it to look look out of the window and everything is so
rather a common thread: Malhotra’s like it’s straight from a magazine,” he says perfectly symmetrical, there’s so much
impeccable eye for detail and his mix of with a somewhat ironic smile. “Generally, expanse, there’s no clutter. I need that for a
vintage and modern. designers like their homes to reflect their peaceful mind. To me, it’s what makes the
“That’s exactly my brief to Gauri work, but for me, I love tranquil spaces. I feeling of coming home.”

SEPTEMBER-OCTOBER 2022 AD ARCHITECTURAL DIGEST 117

style book
DESIGN NEWS, TRENDS AND MUST HAVES
FROM THE MARKET

TIME FOR A
SHOWER

A connoisseur of mindful design, Queo
brings together the best of European
minds to craft bathrooms that resonate
with the Indian sensibility. Case in point:
This bathroom (pictured) features a wall-
mounted water closet called F-Fiordo,
in a minimal choreography of geometric
shapes; and the over-the-counter basin
F-Fiordo, that promises to bring a slice of
the beauty of Scandinavian fjords right into
your bathroom. (queobathrooms.com)

SOFT SEAT

A highlight of Cattelan Italia’s striking 2022
collection with its sculptural, enveloping
contours is the Mariel chair (pictured),
designed by Paolo Cattelan, that offers equal
parts of comfort and charm. Softly padded
and upholstered in fabric or leather, the
backrest of the chair becomes an embracing
shell that gently holds the body. Available in
a range of customisable upholstery options,
Mariel also comes with wooden legs, or a
metal version, that makes the chair lighter,
and more manageable. (cattelanitalia.com)

118 AD ARCHITECTURAL DIGEST SEPTEMBER-OCTOBER 2022

CURTAIN CALL

After a successful debut last year, Nesterra,
a premium home furnishings brand in the
upholstery and drapery segment, has launched
a fresh series of eight new curtain collections,
highlighting the company’s versatile range of
fabrics. From Bloomington, which evokes the
beauty of country gardens, the embroidered
sheer curtains of Breeze, to the diaphanous
silk fabrics of Shangtun, Nesterra has
something for everyone. (nesterra.com)

WOVEN STORIES

House of Knots recently unveiled its debut
collection of handcrafted rugs, made in
collaboration with designer Eshita Marwah.
Tapping into age-old carpet-weaving
traditions of India, and crafted with New
Zealand wool and viscose, the graphic
rugs create abstract renditions of everyday
sights—from the urban landscape, the
palette of the natural world to the vibrant
colours of streetlife—turning the mundane
into the magical. (houseofknots.com)

SEPTEMBER-OCTOBER 2022 AD ARCHITECTURAL DIGEST 119

SHOW FLOORS

The colour of a floor does a lot for a
room, especially when the floors are
wrapped in wood. Lighter shades of
wood add depth to any space, while
darker hues add a dash of luxury.
Greenpanel flooring solutions cover
a range of wooden panels for unique
settings, while also ensuring their
abrasion class meets the purpose.
Whether it be the Prima collection,
that is perfect for residential spaces,
or the Persona range, meant to
be used in commercial areas—
Greenpanel offers the best of both
worlds. (greenpanel.com)

A THING OF BEAUTY

Redolent of the design of the ‘70s and a
“certain Japanese feeling and mood”, the Õru
collection, imagined by leading designer Patricia
Urquiola for Andreu World, presents chairs,
armchairs, stools, a lounge chair version with
an upholstered backrest and a range of tables.
While both the upholstery and the foam is made
from recycled fabric and fibres, the star of the
show is the joinery between the wooden pieces
and the upholstered parts, that makes each
object from the Õru collection a thing of beauty.
(andreuworld.com)

120 AD ARCHITECTURAL DIGEST SEPTEMBER-OCTOBER 2022

WINDOW WOODWORK
DRESSING
Whether you’re looking for a classic
The AIS Windows Experience wood plank or a technically engineered
Centre in New Delhi, that recently parquet in a herringbone or chevron
took home two awards at the pattern, when it comes to wooden
VMRD Retail Design Award 2022, flooring solutions, HKS 1835 has the
opens up to an extraordinary world right fit for every requirement. Their
of glass and fenestration solutions arabica-core smoked and natural oiled
and offers a seamless phygital floor (pictured) makes for a perfect
experience. Available in a range example—it combines a top oak layer
of customisable options, their with a base layer of birch plywood,
windows lend themselves to both and is smoked to achieve an uniform
residential and commercial spaces, colour and then oiled to highlight that
and are crafted to offer top-notch wooden gleam. (hks1835.de)
acoustic comfort, privacy and
security. (aiswindows.com) SEPTEMBER-OCTOBER 2022 AD ARCHITECTURAL DIGEST 121

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IT'S WHAT'S NEW NOW

PHOTO: TARUN VISHWA/GQ INDIA

The
Curator

AMIN JAFFER

For our style issue, here is
a leaf out of 17th-century
Mughal fashion—a satin
jacket embroidered in silk with
peacocks, butterflies, deer, and
tigers, meant to be worn while
riding or hunting. How fitting!

PHOTO: COURTESY OF V&A.

Admirers of Mughal painting will interspersed with rabbits, deer, and seen in the tomb of I’tim-d-ud-Daulah
have often wondered what the rich tigers, all set among flowering trees and on the Taj Mahal, and on fine and
figurative textiles depicted in miniature and plants with hillocks in the back- decorative arts—miniature paintings,
paintings of imperial courts were ground. Some of the animals are in textiles, metalwork, and jewellery—
actually like. A measure of their confrontation—in combat or devouring made under imperial patronage, this
sophistication may be understood one another—while others sit peacefully coat being an example.
from a rare surviving example—a satin in a garden-like setting. The subject
hunting jacket from the early 17th matter reflects the use of the garment, a The quality of the embroidery
century in the Victoria & Albert sleeveless coat intended to be worn for and the composition suggest that the
Museum that is embroidered in silk riding, probably when on a hunt. coat was made for an imperial prince.
with fine representations of animals Similar motifs adorn the borders of It must have been at the height of
among flowers and foliage. The manuscripts commissioned during the fashion—an early-17th-century portrait
composition of the images is complex, reign of the Mughal emperor Jahangir in the British Library of Babur, the
with a dense arrangement of figures and (1569–1627), whose diary entries evince founder of Mughal rule in India, shows
foliage that one expects would be more his deep interest in animal life and his him reading in a garden wearing a
easy to realize in painting than in profound love of nature. coat similarly decorated with images
embroidery. Chain-stitch needlework of animals among foliage. Richly
of this type was executed by male Commissions from artists of Jahangir’s worked coats played an important role
embroiderers of the Gujarati Mochi and Shah Jahan’s (1592–1666) courts in Indo-Islamic culture as ceremonial
community, who produced textiles for include portraits of rare and exotic gifts bestowed by a superior to his
royal courts in India as well as for export animals as well as of flowers, some of subordinates or favoured vassals.
to the West. which are inspired by European books In wearing a robe of honour—or
of botanical species—or herbals. These khil’at—the recipient acknowledged
The animals embroidered on the coat Western models began to influence the the superiority of the giver, pledging
include peacocks, butterflies, and ducks representation of plants on architecture, allegiance to him.

124 AD ARCHITECTURAL DIGEST SEPTEMBER-OCTOBER 2022

PHOTO: BIKRAMJIT BOSE/AD INDIA

THE MOST BEAUTIFUL HOMES IN THE WORLD

THE MOST BEAUTIFUL HOMES IN THE WORLD

PHOTO: JIGNESH JHAVERI/AD INDIA