The garments themselves? Meticulously crafted. A blend of vintage influence and detailed couture, Jigya Patel’s collections feature real silver and gold embroidery, with fabrics that reference Gujarat’s folk traditions. The colour palette is bold and intentional. But more than the clothing, it was the presentation that stood out. Pieces were placed with care on mannequins set against rich wall art and detailed inlay furniture, highlighting the designer’s attention to spatial composition. These elements gave structure to the collection and reflected Jigya’s broader vision. The textiles were handwoven, stitches drawn from rarely practiced regional techniques, and traditional methods like gota patti and zardozi were used with technical precision. Patterns came from archive materials tied to Gujarati history. Jigya’s active engagement with rural artisans plays a direct role in sustaining traditional crafts. This isn’t only about fashion, it’s about maintaining ecosystems of skilled work, respecting artisans’ expertise, and ensuring that craft has a future.

What stayed with us long after stepping out wasn’t just the artistry in cloth, but the ambience surrounding it. There is serious intent here to grow Jigyam into something much larger than a clothing label. Jigya Patel is clearly laying the groundwork for a design universe. During our visit, we spotted early signs: embroidered tapestries hinting at home collections, furniture prototypes resting in corners like shy debutantes. It feels inevitable that Jigyam will soon step into the world of interior objects, collectibles, perhaps even collaborations with artisans in ceramics, wall finishes, and lighting. And when it does, it will already have the visual language built in.

Jigyam isn’t just a flagship store. It’s a philosophy. A reminder that design can hold reverence and rebellion in the same breath. And for anyone charting Mumbai for its design touchpoints, let us just say, put this one on your list, and circle it twice.