ProcessFrom your garment to a checked set.

We agree what the pieces are for: catalogue, editorial, campaign, social, or a mix. For each piece we choose the house model, the space and the direction against that space's real colours and light, with a one-line reason it works there.

Every shot is written down before anything is made.

A flat lay, a hanger shot, an on-model photo or unstitched fabric all work; a phone photo is enough. We study it piece by piece: the cut, each piece's own colour, the print scale, where the border runs, the embroidery zones, what each trim is made of.

Any other model's face in your photos is cropped out first, so it can't carry over. Where a close-up is missing, we ask for it. Where a detail needs its own approach, we agree it with you before we start.

Each house model is fixed: a straight-on and a three-quarter face, identity marks such as a mole on one cheek, a measured skin tone that is never lightened, a recorded height and figure that is never slimmed.

Each space starts as one photograph and becomes a set of empty views: wide, medium, seated, reverse, a surface from above, each with its own camera height and light. The model is photographed inside the view, not pasted onto it, and the views never change between frames.

Each campaign gets one direction: the styling, the expression, the light, the colour grade, and a standard for realism (real skin texture, natural asymmetry, real fabric weight). Shots come from a library of catalogue and campaign framings, each with its pose and camera written out.

Because every frame follows the same direction, the frames agree with each other. The space's own light always wins.

Each garment's standard front is made first, alone, as a large master when details will be cut from it. It is checked at full size against every photo you sent before any other view exists.

Every later view copies this frame, flaws included. So this is the check that protects your garment.

Every other view is made against the approved front: back, three-quarter, seated, walk, portrait, hands, still life, group frames, film key frames. The front carries the garment's design; only the pose, the framing and the view change.

Backs start from your back photo and drop front-only details. A dupatta stays on the same shoulder. Group frames put every face front-on, in a fixed order. Colourways and product-only frames come from the same references.

Two layers on every frame. First our tools: a hands-and-feet count, the near-copy test, colour per garment piece against your photo, and any lettering they see.

Then a person at full size, top half and bottom half, never a thumbnail: the face against the model card and its mark, hands and feet, every garment against its own photos, the space, no invented logos, no jewellery we didn't ask for, every label and tag read.

Films start from approved frames. Each clip gets every person's face references and is asked for one continuous shot. Every take is scanned for hidden cuts, the opening trimmed, and the shots cut on motion with one grade, one grain and a music bed.

Fine embroidery is filmed with a moving camera and short cuts, which shows it best in motion.

Colour is corrected against your photo: hue and saturation move, the frame's light and folds stay. Logos and labels are replaced with your real artwork, set into the frame's perspective and light. Small unwanted marks are retouched with the frame's own grain. Details are cut from the large master, never enlarged.

Then the grade, and crops for the store and every feed. Files are named by campaign and shot and carry copyright and a made-with-AI label in their metadata. Revisions go through the same checks.