A Different Approach to Stemware

Zahra Razvi was founded on the belief that an object made for the table can be as considered, expressive and visually compelling as anything created purely to be admired.

Our work centres on embellished stemware, transforming the familiar silhouette of a champagne flute through original design, hand-mixed colour and intricate ornamentation. Each creation begins as an idea rather than a predetermined formula, allowing influences from art, history, fashion, architecture and cultures around the world to take shape in unexpected ways across glass.

The result is stemware with a distinct identity of its own, created not simply to accompany an occasion, but to contribute to its visual language.

From an Idea to the Glass

Every Zahra Razvi design begins on paper.

The first sketches establish the composition, proportions and placement of the design, with careful consideration given to the curvature of the glass and the way the finished pattern will be viewed from different angles. A motif that works beautifully on a flat surface does not necessarily translate to glass, so every element must respond to the form it will eventually inhabit.

Colour follows its own process of experimentation. Rather than relying solely on colours straight from a bottle, paints are mixed and adjusted by hand until the desired shade, depth and finish emerge. Metallics require particular consideration, as their character changes considerably with light, opacity and the glass beneath them.

Only when the design and colour feel right does the work move onto the glass itself.

Painted by Hand, Embellished by Hand

Each glass is individually hand-painted, building the foundation of the design directly onto its surface. The process demands a steady hand and precision, particularly where painted forms must later align with the ornamentation that completes the composition.

Once the painted work is finished, embellishment begins.

Stones, pearls and decorative elements are selected according to their scale, shape, colour and reflective quality, then positioned individually to build the design piece by piece. Placement is never arbitrary; a few millimetres can alter the balance of an entire motif, particularly on the narrow, curved surface of a champagne flute.

This is also why no two pieces can ever be mechanically identical. Small variations are inherent to work completed entirely by hand, while the integrity and intended composition of the design remain consistent across every pair.

Designed as a Complete Composition

For us, embellishment is not simply the addition of ornament to an existing glass. Paint, colour, form, proportion and stones must work together as one composition.

A design must make sense from across a table and reward a closer look when held in the hand. It must respond beautifully to light without allowing ornament to overwhelm the shape beneath it, and it must retain its character from more than one angle.

This balance lies at the heart of Zahra Razvi, where detail serves the design rather than existing for its own sake.

My creative influences have never come from a single source. I find inspiration in literature, cinema, period dramas, history, architecture and the traditions that cultures preserve across generations. 

I have always been fascinated by the stories that beautiful objects carry, and by the way art allows history to remain present long after the people who created it are gone.

Living in Malaysia, spending time in Italy, experiencing the remarkable cultural heritage of Istanbul, and later calling Dubai home broadened my perspective in ways I could never have anticipated.

 Every place introduced me to different materials, aesthetics, traditions and ways of celebrating. Together, they taught me that beauty has no single definition.

It evolves through culture, through history, and through the countless ways people express identity, craftsmanship and celebration around the world.

Made Slowly, By Design

The nature of our process does not lend itself to mass production, nor do we intend it to.

From the first sketch and the mixing of paint to the final placement of each decorative element, the work requires time, concentration and repeated judgement by hand. We would rather allow a piece the time it needs than accelerate a process in which precision determines the final result.

For this reason, our creations are produced in considered quantities, allowing us to preserve the standard of workmanship on which Zahra Razvi was founded.

The Zahra Razvi Design Language


No single period, place or aesthetic defines our collections.

Our design language draws from a much wider world, finding inspiration in literature and cinema, historic ornament and architecture, fashion, decorative arts and the visual traditions of cultures across the world. Some influences reveal themselves immediately, while others appear only as a particular palette, line, motif or detail reinterpreted through a contemporary lens.

We do not seek to reproduce the past or follow the visual language of a single tradition. Instead, these references become starting points for original compositions, allowing every collection to develop a character and story of its own while remaining recognisably Zahra Razvi.

Beyond the First Collection

Luna and Helene mark the beginning of Zahra Razvi, introducing two distinct interpretations of the embellished champagne flute and establishing the foundation of our design language.

They are also only the beginning.

As the house evolves, so too will the forms, techniques and ideas we explore, with the same fascination for ornament, colour and craftsmanship extending into new expressions of decorative tableware and design.

What will remain constant is the philosophy with which Zahra Razvi began: to create objects where function provides the canvas, and artistry gives it character.