Since the first painted dupatta
The Atelier
“We wanted to make the kind of thing our grandmothers kept wrapped in muslin — something you do not throw away after one function.”
Aasthaba & Dhrutibaa
How it started
One dupatta, one cousin, one godh bharai
House of Ewaraa did not begin as a business. It began because a cousin needed an odhni for her baby shower and nothing in the market felt personal enough. So Aasthaba drew the layout, Dhrutibaa painted it, and the two of them stayed up finishing the border the night before the function.
People asked. Then people asked for their own. The studio grew out of a dining table in Gujarat into a practice that now paints sarees, poshak, cholis and ritual keepsakes for families across India and abroad.
It is still just the two of them. That is deliberate — it is the only way to promise that the hand you are paying for is actually the hand that painted your piece.
What we hold to
Four quiet rules
Heritage motifs, honestly drawn
Temple borders, lotus butta, peacock pallu, kanku pagla — we draw from what our families wore, not from a stock library.
Two hands per piece
No contractors, no karigar chain. Aasthaba sketches, Dhrutibaa paints, and both of them sign it off.
Colour that survives the wardrobe
Fabric pigment, heat-cured and tested on a swatch of your own drape before the full piece is begun.
Kept, not worn once
We build for the second wedding, the next godh bharai, the daughter who will ask to borrow it.
The process
How a commission moves
- I
The Conversation
It begins in your DMs. We talk occasion, palette, drape and the motifs that mean something to your family.
- II
The Sketch
Aasthaba and Dhrutibaa draw the layout by hand — border, pallu, body and butta — and send it for your blessing.
- III
The Brush
Pigment meets fabric. Every petal, vine and footprint is laid by brush, then cured so the colour stays true for years.
- IV
The Finish
Edges are pico-finished, tassels knotted, and the piece is wrapped in muslin and sent to your door.