In a day and age when Instagram algorithms define and dictate bridal trends, designer Aditi Gupta is creating something more enduring: a body of work rooted in tradition, yet decidedly au courant for the modern bride. With Chitrakatha, Gupta turns to the old art of storytelling, bringing hand-painted Srikalahasti Kalamkari, intricate embroidery and contemporary silhouettes together to give Indian mythology a new life. In a tete-e-tete with Manifest, the designer shares the vision behind her new collection and why brides today are more inclined towards craft.
Manifest: What was the starting point for Chitrakatha? Was it the craft, the story of Ram and Sita, or the idea of bringing the two together?
Aditi Gupta: The starting point was actually storytelling. I have always been drawn to Indian mythology, not simply for its visual beauty, but because these are stories we have grown up with and somehow carry within us. When I encountered Srikalahasti Kalamkari more closely, I realised that storytelling was already at the heart of the craft. Traditionally, artists painted entire episodes from our epics onto cloth. That became the starting point for Chitrakatha: could we work with the artists to interpret these stories by hand and bring them into a contemporary wardrobe without taking away their soul? Ram and Sita became an important part of that journey, but Chitrakatha eventually grew into a larger world of Indian mythology.
M: Why did you choose hand-painted Srikalahasti Kalamkari as the medium for this story? What does the craft bring to the narrative that another textile technique might not?
AG: What fascinated me about Srikalahasti Kalamkari is that it is almost like painting a manuscript onto cloth. The artist works freehand with the kalam. There is no print or mechanical repetition, so every expression, tree and figure carries the artist’s hand. We worked closely with the artisans on the narratives and compositions, while allowing their own artistic language to remain visible. That individuality gives Kalamkari its emotion. For a collection rooted in mythology, I wanted the story to be more than decoration. Here, the textile itself becomes the storyteller.
M: You have brought together hand-painted Kalamkari, embroidery and contemporary silhouettes. How did you determine where each technique should come into play?
AG: I was very conscious that the embroidery should never overpower the painting. Kalamkari was always the hero, and everything else was built around the artwork and its narrative. Zari, zardozi, resham, dabka and beadwork were used almost like highlights, adding depth without taking away from the painting. Every technique and silhouette was chosen with longevity in mind, so the piece never feels tied to a trend. The idea was to create something relevant today, yet timeless enough to be worn years later and eventually passed down as an heirloom.
M: How long does it take to create a piece like the Ram–Sita sari, from the initial sketch and painting to the embroidery and final construction?
AG: The Ram–Sita sari is created on a Kanjivaram silk sari, bringing together two distinct craft traditions. We begin by developing the narrative with the Kalamkari artists, after which the artwork is drawn and painted entirely by hand. Once the painting is complete, zardozi embroidery is carefully worked around the artwork, adding depth without overpowering it. From the initial composition to painting, embroidery and final finishing, the piece can take several weeks to a few months to complete. It is a process that simply cannot be rushed.
M: The modern bride is increasingly looking beyond conventional bridal lehengas. Do you see the saree making a stronger comeback as a statement bridal choice?
AG: Absolutely. Brides today are looking for more than just a beautiful wedding outfit; they want something meaningful, with a story and a soul. The saree lends itself beautifully to that. It feels traditional yet deeply personal, and when it carries a narrative through craft, it becomes more than something worn for one day. It becomes an heirloom that holds a story and can be passed on for generations.
M: Which wedding functions do you think the Chitrakatha pieces lend themselves to? Could you see them working for the pheras, reception, mehendi or even a more intimate wedding ceremony?
AG: I don’t like assigning Chitrakatha to only one function because every bride connects with a story differently. A Ram–Sita or Kalyanam narrative can be beautiful for the pheras because there is meaning behind what she is wearing. Some of the lighter Kalamkari pieces work beautifully for a mehendi or an intimate ceremony, while the richer lehengas and sarees naturally lend themselves to a reception or wedding evening. I would rather a bride choose a piece because its story speaks to her, rather than because it belongs to a particular function.
M: What are some of the biggest shifts you have observed in the way Indian brides are dressing today?
AG: The biggest shift is that brides are asking more questions. They want to know who made the garment, what the craft is, where it comes from and what story it carries. There is also much more confidence in personal style. A bride no longer feels she has to wear a certain colour, silhouette or amount of embroidery simply because that is what is expected. She wants to look like herself on her wedding day. I find that shift beautiful because it creates space for craft, individuality and meaning.
M: What are some bridal trends you expect to see gaining momentum over the next wedding season?
AG: I think we will see a move towards quieter, more meaningful luxury. Not necessarily less craftsmanship, but one that feels more considered. Hand-painted textiles, heirloom saris, softer colours, interesting blouses and pieces that can be styled again will become more important. Brides are moving towards choosing something extraordinary for its craft and story rather than simply its weight or embellishment. For me, the most exciting direction is bridal clothing that is worth preserving, wearing again and eventually passing on.