The Shawl Edit

Crimson, the colour of celebration. A deep red ground scattered with fine gold embroidery. Surkh is the boldest piece in the edit, and the one that needs nothing worn beside it.

Stone grey, worked in thread of its own colour. Sukoon asks to be noticed slowly: restrained, softly falling, and light enough to wear every day of the week.

Bands of blush, sage and powder blue meeting a finely patterned end panel. Bahar carries colour the way spring arrives in the valley, lightly, and all at once.

Pale silver grey, drawn with cool oversized paisley inside a finely articulated border. Chandni is architectural in composition and serene in tone, like light lying on snow.

A field of charcoal, taupe, stone and burgundy, broken by dusty rose and pale green. Naqsh takes the oldest surface work of Kashmir and sets it into a modern grid.

Blush pink traced with alternating bands of antique gold and silver. Gulnar catches light softly rather than brightly. It is made for festive dressing, without excess.

Cool grey run through with narrow reflective silver. Noor is clean, fluid and quietly luminous: a study in a single colour, and in the way light travels across it.

Fine ivory vines travel across a mushroom-taupe ground, framed in muted green, dusty rose and blue-violet. Sabzar is the Kashmiri word for a meadow, and it wears like one.

Charcoal black marked with ivory pinstripes, curled scroll motifs and a hand-crossed end border. Shab is precise, graphic, and made to outlast the season it was bought in.

Ivory, articulated with charcoal paisley inside a finely drawn frame. Sadaf balances graphic clarity with an unhurried drape, the quietest way to wear pattern.

Tonal taupe finished with a narrow rose-and-ivory border, and nothing more. Sada is the piece reached for without thinking, and the one most likely to be kept the longest.

Checks of fuchsia, cobalt, olive and warm gold, punctuated with small metallic motifs. Satrang brings saturated colour into a precise grid. Joyful, and still disciplined.

Emerald green traced with delicate pale vinework and a softly framed end panel. Panna feels fresh and fluid, and turns ceremonial the moment it is put on.

Warm taupe covered in fine ivory filigree, closed with a composed plain end. Jaali is named for the carved screen: intricate from across a room, remarkable up close.

A warm golden ground scattered with miniature pastel flowers and edged in fine embroidery. Zarrin holds light with heirloom softness rather than shine.

Soft grey-taupe marked with sparse ivory-and-gold flowers and a delicate border. Shabnam is light, simple and quietly feminine. Dew, before the morning warms it away.

Taupe adorned with delicate ivory embroidery, scattered motifs and an intricately worked border. Nazneen moves between everyday wear and occasion without changing character.

Black, embellished with luminous ivory embroidery and statement floral motifs inside a finely detailed border. Anjum is monochrome, and effortless for a formal evening.

Ivory grey, decorated with delicate multicoloured paisley and finely striped borders. Resham is named for the thread itself. Soft in the hand, graceful in the fall.

Deep forest green with ivory paisley, delicate florals and a richly detailed traditional border. Deodar takes its name from the cedar that stands watch over the valley.