Mohit Falod understands something the industry keeps forgetting: that the most extraordinary things don’t need to be invented, they need to be found.
The Baqsa Archival begins with a bridal trousseau. Not a mood board, not a reference folder — an actual, physical inheritance spanning generations, with sarees that have outlived every trend cycle they’ve witnessed. Falod doesn’t replicate them. He works with them.
Banarasi and zari sarees are carefully deconstructed, their original weaves reworked onto fresh bases: mulmul, silk, organza, handloom tissue, velvet. The process allows each textile to retain its identity while finding relevance in a contemporary form. The result? Something that feels at once deeply old and quietly of-the-moment.
The techniques too read like a love letter to Indian craft.
Kheem khaab. Pitta. Kasab. Gotta patti. Mukesh. Tamba patti. Block appliqué. Miniature paintings. Each one carried forward with intention, not nostalgia. And threading through it all — literally — is the brand’s signature casting polki, a design constant since 1998 that feels, here, less like a signature and more like a homecoming.
Each piece within The Baqsa Archival is one of a kind, shaped by the saree it originated from, and therefore impossible to replicate. In a landscape driven by repetition, this rarity places the collection closer to collectible couture than occasion wear.
The colours, too, resist trend cycles. Drawn directly from the original trousseau, they have evolved over time, softened and deepened in ways that cannot be artificially recreated.
The Baqsa Archival doesn’t ask you to keep up. It asks you to hold on.
