Indian Festival Wear manufactured in Surat and shipped to Sydney, Melbourne, Brisbane, Perth and Adelaide — mixed lots, private label and festival-ready supply windows for Australia retailers and boutiques.
Festival wear runs on the calendar — Diwali, Eid, Navratri and Holi each create retail windows that concentrate a year's demand into weeks. Shops that plan containers against those windows capture the season; shops that order late watch it pass.
Sarees, kurtis, lehengas and kids ethnic wear, with steady growth in Pakistani suits and gowns.
Sea freight runs 3–4 weeks to Sydney and Melbourne; air freight for festival windows. Documentation and packing prepared to Australian import standards.
Size runs are graded for the market we ship to. We grade our size runs for the market we ship to — Australia buyers typically request fuller cuts or extended sizing, and our pattern team adjusts the base grading on confirmed orders.
The entry path is deliberately low-risk: an enquiry with your quantity range, a video walk-through of current stock and catalogues, then physical samples of the shortlisted pieces. First orders typically run 20–50 pieces per design mixed across sizes and colours for garments, or 500–1,000 metres per shade for fabric programmes — enough to test the shelf without warehousing a season. The buyers who scale fastest treat the first order as a market test: they watch which designs move in the first fortnight, then use our mixed-lot structure to reorder the winners in depth while dropping the slow movers quietly.
Repeat programmes run on reserved capacity. Once a Australia buyer confirms a seasonal programme, we hold loom and finishing slots against their calendar, keep their shade standards on file, and dispatch on a schedule their merchandising can plan around — the difference between a supplier who ships and a partner who plans.
Tell us what your programme needs — constructions, weights, volumes and the retail window you are buying for. We come back with availability, indicative pricing and a realistic dispatch date, and buyers are welcome to verify quality with a trial lot before scaling up.
The fabric programme behind this page is mill-direct Surat supply — weaving, dyeing, printing and finishing under one accountable desk, serving Australia with the construction discipline that serious fabric buyers audit for. We develop and run natural fibres, regenerated cellulose, synthetics and the blend families between them, across the weight bands and finishes the trade actually specifies.
What that means practically: cotton programmes from voile-light shirting through canvas-heavy utility weights, silk and art-silk registers for the premium trade, the full polyester and nylon range from challis to technical constructions, and the fashion fabric families — georgette, crepe, satin, velvet, organza, jacquard, brocade — that garment programmes cut from. Printed, dyed, embroidered and textured finishes run on the same programme.
Bulk fabric supply runs on spec discipline: GSM tolerances held across the run, shade cards matched and archived per buyer, width options in the trade standards, and lot-level documentation that travels with the shipment. Development sampling moves in days because the clusters are local — the speed advantage that built this city's fabric trade still shows up in every programme we quote.
Fabric engineering is weight, weave and finish discipline:
The fabric ladder runs from voile-light summer cloths through mid-weight Challis and poplin families, the suiting and shirting weights, and up to canvas and heavy furnishing constructions. Natural fibres cover the comfort trade; regenerated cellulose — viscose, modal, the Tencel family — carries the drape-led programmes; synthetics hold the technical and price-disciplined tiers.
Finish determines shelf behaviour as much as the base cloth does. The same 100 GSM cotton reads crisp or soft depending on mercerising; the same georgette drapes clean or stiff depending on the finishing heat profile. We hold those finish specs on file per buyer, because reorder drift in finish is as damaging as shade drift — and both are preventable with archived standards.
The saree and dress trade built this city before the export business did. Surat's weaving families supplied India's saree counters for generations — the zari work, the jacquards, the printed georgettes that moved by the million through wholesale halls around Ring Road. That domestic trade taught the cluster something export markets now benefit from: how to hold quality at volume, week after week, at price points real retailers can mark up.
When export demand arrived — Gulf fabric houses first, then diaspora boutiques in London, New Jersey and Nairobi, then the trade buyers of West Africa and Southeast Asia — the cluster simply aimed the same machinery at new specifications. Kandora shirting, abaya bases, kurti sets, hotel linen: the looms do not care what the end product is called; the discipline is in the GSM and the shade card.
What has not changed is the trading culture. Deals still close on trust and trial lots, reputations still travel by word of mouth through community networks, and a supplier who ships clean three times earns a buyer for a decade. That is the history we operate inside, and it is the honest reason a Surat desk can promise what bigger-sounding operations cannot: the person who quotes your order is the person accountable for it.
Ajmera Export is a Surat-based textile and ethnic wear export house built around a simple operating rule: quote honestly, ship clean, and treat the reorder as the real product. The company runs a consolidated sourcing and finishing operation across the city's weaving, dyeing, printing and stitching clusters, which means a buyer deals with one desk — ours — instead of chasing five vendors through a supply chain they cannot see.
The range we manufacture and consolidate covers the full ethnic wardrobe — sarees, kurtis, lehengas, gowns, salwar and Pakistani suit programmes, menswear, kids ethnic — alongside home textile lines in towels and bedsheets, and the fabric yardage trade the city itself is famous for. Every programme is export-graded: shrinkage-tested, colourfastness-checked and packed to destination-market shelf standards.
What we ask of new buyers is the same thing we give them: straight answers. If a lead time is tight, we say so. If a construction will not hold the embroidery weight you want, we propose the one that will. Export relationships that start on candour tend to still be running five years later — and that is the only growth strategy this company has ever needed.
Begin with a straightforward enquiry: category, target quantity band and your market. From there we map the programme — which constructions or styles to sample, what MOQ the first order runs at, and what the production calendar looks like against your launch or season date. Counter-samples move within days, and nothing enters bulk production until you have approved the physical sample in hand.
Use the enquiry form on this page or message the desk on WhatsApp — both reach the people who actually run the programme. Buyers consolidating multiple categories can plan one shipment calendar across all of them, which is where the freight economics of a single-supplier relationship really start to show.
Most of our indian festival wear export orders start at 20–50 pieces per design mixed across sizes and colours. Bridal and premium lines run on smaller MOQs with higher per-piece work, while daily-wear volume programmes need larger commitments for the pricing to work. Send your quantity range and we will structure the order around it.
Sea freight runs 3–4 weeks to Sydney and Melbourne; air freight for festival windows. Documentation and packing prepared to Australian import standards.
Yes — private label tagging, custom packaging inserts and barcoded labels are routine for our buyers. Share your label artwork and packaging spec at order confirmation and we handle the rest before dispatch.
Featured Range
We grade our size runs for the market we ship to — buyers outside India typically request fuller cuts or extended sizing, and our pattern team adjusts the base grading on confirmed orders at no extra cost.
The usual path is a short enquiry, then a video walk-through of the collection, then physical samples of the specific pieces you are considering. Sample costs are adjusted against the first bulk order, so serious buyers only pay for the bulk they actually place.
Yes — every large buyer we work with today started with a trial lot. First orders run at accessible MOQs, and we scale the programme as your sell-through proves out. What we ask in return is clear communication on timelines so production slots are planned honestly.
Yes. We run private-label programmes with your woven labels, hang tags and barcode stickers applied at our finishing floor before packing. You send the artwork, we manage application, and the goods arrive shelf-ready under your brand name.
Your approved strike-off, trim card and size spec are archived against your buyer file. A reorder six months later references the same dye recipe, the same loom programme and the same stitching spec, which is why our reorder deviation complaints are close to zero.
Commercial invoice, packing list, bill of lading or airway bill, certificate of origin, GSP where applicable and any fumigation or quality certificate your destination customs office requires. Documents go to your forwarder before the vessel sails, so clearance is never waiting on paperwork.
Every lot passes a four-point inspection — fabric checking on the greige, in-line checks during stitching, a pre-packing audit and a final AQL sampling before cartons are sealed. The report travels with your shipment so your team can verify against the same checklist we used on our floor.
