Nargis – نرگس – is the Persian and Urdu name for the narcissus flower. Unlike the Sitara line, the Nargis motif carries a distinctly Persian lineage. In classical South Asian poetry, the nargis appears as a recurring figure: the symbol of the beloved's eye, wide open and unblinking, its gaze both beautiful and searching. Rumi wrote of it. Mir Taqi Mir wrote of it. The flower entered the textile tradition as a motif of longing and presence – and of beauty in its most searching form. Nargis is all about beauty, and what beauty costs to hold.

In the Nargis line, three independent strands of crystal and bead move across each panel, the way a flower moves in wind rather than the way one is pressed into a page.

The compositions are botanical in their precision and architectural in their scale. Each piece requires 12–30 hours of Karigari work depending on the silhouette. Each motif is mapped individually before beading begins, ensuring the curvature of the flower follows the curvature of the body underneath it.