For most of its 200-year history, Thomas Goode was a Mayfair institution -the kind of British name that whispered luxury without ever raising its voice. Its China, crystal, and silverware were found on royal tables and in the homes of those who believed that dining deserved ceremony. But over the last few years, the brand’s story has taken a new turn -one that’s unfolding in India.
When Indian entrepreneur Shashank Bhagat acquired Thomas Goode, it marked more than a change in ownership. It was a moment of cultural return - a brand once exported to India now finding its second home here. Under Bhagat’s and his wife Reshma Khattar Bhagat’s direction, Thomas Goode has moved beyond its heritage showroom roots to become part of a larger conversation about design, craftsmanship, and how India is reshaping the idea of luxury.
Legacy, Redefined
Thomas Goode’s history is full of grand commissions -fine bone-china services for the British monarchy, hand-cut crystal for European aristocrats, and bespoke dinnerware for stately homes around the world. Yet what makes the brand relevant today is not its pedigree but its philosophy.
In an era obsessed with speed, Thomas Goode’s craftsmanship feels almost radical. Each piece is still made with the precision and patience that has defined the brand since 1827. Bhagat, who has spent years collecting and studying fine porcelain, understands that the true worth of these objects lies not in their price but in their permanence.
“India has always valued continuity,” he says. “We’re a country that treasures things passed down through generations -saris, silverware, furniture. Thomas Goode fits naturally into that mindset.”
Camellia and the Collections That Followed
When Thomas Goode launched Camellia in collaboration with Makaibari Tea Estate last year, it was the brand’s first major statement in its new India chapter. The collection -inspired by Makaibari’s Darjeeling gardens and finished with 24-carat gold detailing -captured the essence of two heritages meeting halfway: British restraint and Indian soul.
The launch at the Makaibari Bungalow inside Kolkata’s Taj Bengal felt perfectly pitched -intimate, thoughtful, and layered with nostalgia. Guests sipped tea poured from porcelain pots that gleamed in the afternoon light, each piece telling a story that moved effortlessly between the hills of Darjeeling and the ateliers of England.
But Thomas Goode didn’t stop there. Its more recent launches from the House of Herend and Studio Glass built on that foundation.The collaboration with House of Herend explores the way India places religious beliefs and spirituality at the forefront when it comes to festivities and approaching festivals. Together, these collections mark a shift in how Thomas Goode approaches design in India: respectful of its past, yet open to new narratives.
India’s Quiet Appetite for Craft
India’s luxury market is maturing, but what’s fascinating is where the growth is coming from. It’s not just about couture or cars anymore; it’s about the home. Over the last few years, there’s been a noticeable turn toward collecting.
The new Indian collector wants objects with depth. They want pieces that say something about who they are -cultured, connected, rooted. Thomas Goode’s tableware speaks directly to that sentiment. Its China and crystal don’t just adorn the table; they set the tone for how one lives - deliberately, beautifully, and with intent.
Collecting as a Modern Ritual
There’s something personal about collecting Thomas Goode. It’s not fast fashion, it’s slow possession -pieces chosen for meaning. A set of gilded teacups to mark a wedding. A dinner service to celebrate a milestone. A decanter to pass down.
In Indian homes, where family, food, and ritual intertwine, these objects fit seamlessly. They add grace to festive tables and lend intimacy to everyday tea hours. They remind us that the joy of owning something lies not just in its beauty, but in the memories it helps create.
Bhagat often describes his vision for Thomas Goode in India as ‘a quiet luxury.’ And that phrase fits perfectly. There’s no excess here, no attempt to modernise for the sake of relevance. Instead, there’s a focus on continuity - the belief that refinement never really goes out of style.
An heirloom future
As India steps confidently into the global design conversation, Thomas Goode’s story feels particularly poignant. A brand once defined by royal patronage is now being shaped by Indian collectors, curators, and hosts who understand that true elegance lies in thoughtfulness.
As the festive season unfolds, you’ll likely find Thomas Goode’s China and crystal glinting under the warm light of Indian dining rooms -part of the country’s growing love affair with design that lasts.
Because here, where elegance and legacy meet daily over a shared table, the brand has found what it always sought: homes that understand that luxury isn’t loud. It’s lived.