TRADITIONAL

is the new
BLACK
THE
URBAN
PICK

Draw
on
Craftsmen

EMERGENCE
Summer 2019
 Content 's
THE URBAN PICK
01

The effect of globalisation on indian crafts

THE BRIDGE
02 The effect of Indian fashion and styling on
Global trends

DRAW ON CRAFTSMEN
03

Pros and cons of middlemen when it comes to economy

and the merging of craftsmen with designers

TURNING MISFORTUNE INTO FORTUNE

04

Share of crafts in indian economy and pros

and cons of modernisation

UP CLOSE AND PERSONAL

05

A Leather Toys craft artisans interview

FROM STONE TO BRICK

06

The evolution of crafts and their techniques

over the time

INFUSION
07

International designers getting influenced by indian

crafts and collaborations for the same

MICRO TO MACRO
08

Influence of crafts on architecture and interiors

 Editor<s Note

SHREYA MISTRY

Modernisation has brought a lot of change into the lifestyles of people all around
the world. Modernisation is just a charade as the root of all our modern inputs
are the ancient crafts, culture and traditions. The 2019 spring summer edition of
Emergence features the textiles of Gujarat with a western approach. The concept
of infusing cool, trendy and urban touch into the traditional styling, keeping
in mind the culture and individualism. This issue revolves around the reinven-
tion of crafts and tradition to keep up with the global market. Talking about
India, craft is the backbone of designs. We bring to you the urban pick on the
age old traditional crafts. This issue of Emergence celebrates the reinvention of
crafts and brings to you the recognition of how important it is to preserve the
crafts and improvise on them in order to make the design more sustainable as
well as competitive. Featuring international designers who have collaborated
with Indian designers and craftsmen, this feature also celebrates the bridge that
has been built between India and overseas and how this bridge has its pros and
cons in terms of contribution to the countries economy has also been addressed
IMAGE
THE URBAN PICK

Traditional north-east woven blouse

paired up with upside down denim shorts.
“Fashion has roots, which is why we see tradition holding its ground”
– Parmesh Shahani.
In a society defined by sharp contrasts between ancient tradition and
modernity, Indian style is displayed in a combination of ethnic and West-
ern fashions.
In 2012, to prevent
deforestation, Mad-
Handcrafting was man’s first step to technology. Indian handicrafts have
a very ancient origin and a history of rich and diverse cultural traditions. hubani artists created
It is like a legacy of portrayal of an individual’s imagination carried for- colourful masterpiec-
ward and modified over generations. Craft is a self-expression. es on tree trunks.

With the passage of time, Indian society and economy has changed dras-
tically. It adapted to globalisation in early nineties. Major changes initi-
ated as a part of liberalisation and globalisation strategy. Indian economy
experiences the existence of both traditional handicrafts and modern
mechanised production. Globalization, all together has ample of positive
effects in the long-run in many sectors of our economy and society. The
growing opportunity for handicrafts in global market is observed when
the Indian handicrafts export crossed Rs 1220 crores in 1990-91 from
merely 10 crores in the mid-fifties. During globalization, the growth in
handicraft sector amounted in increasing demand for ethnic and culture-
specific goods as a result of growth in world tourism. Indian Handicrafts
are said to be just another precious stone of its great culture and heritage.
Whether it is the intricately decorated metal craft or marble inlay work
or some marvellous paintings or spectacular wood works, Indian handi-
crafts are going places with their ethnic designs and exquisite textures.
Indian handicrafts have aesthetic richness and decorative values which
has gained popularity all over the world. For example, the artisans who
made Patta chitra and applique work exclusively for the religious func-
tions in the Lord Jagannath temple in Puri, for which people from Orissa
developed their skill to make this craft internationally well-known. In
addition to this, the Madhubani paintings of Bihar, Kalighat paintings of
West Bengal and a number of striking metal crafts, stone carvings and
wood carvings from Karnataka, Tamil Nadu, Rajasthan and Madhya
Pradesh have become popular both in our native as well as international
markets.
https://in.pinterest.com/
 Indian handicrafts constitute a significant segment of the decentralized
sector of its economy and it provides employment to millions of artisans
scattered especially in the weaker sections of society such as SCs, STs and
the women, producing goods worth thousands of Crores of Indian Ru-
pees per year. Industrialisation extensively altered the nature of the tex-
tile trade worldwide. In the late 19th century, booming British factories
were cheaply manufacturing large quantities of yarn and cloth, both to
satisfy Britain’s own needs as well as for export. India, with its vast popu-
lation then under the control of the British government, was a prominent
market for industrial manufacturers. By the 1890s the resulting influx of
foreign fabric into India was increasingly seen as a threat to its domestic
textile economy. This sparked mass protest and gave rise to a political
movement to liberate India from British control. In the wake of great
social unrest and emerging nationhood, Indian textiles were used as sym-
bols of protest and national identity. After winning independence from
Contrary to popu- British rule in 1947, India’s new government prioritised modernisation,
lar belief, Tanjore or and textile-makers had to respond to increasingly urban environments.
Thanjavur paintings Today, Indian craftsmanship remains in demand across the globe. Inter-
don’t just have Hindu national designers as well as British high street brands use Indian skills to
Gods as subjects. produce garments with hand-beading and embroidery.

Unfortunately, Craft artisans today face a struggle for survival, compet-

ing against the cheap, rapidly produced products of the modern age. It is
time for modern industry to help these artisans claim their rightful share
of the global market. Creating opportunities without uprooting the youth
from their environment is perhaps the best way to create sustainable and
socially relevant solutions for India today. The designers displayed in
International Impact have cultivated mutually beneficial business rela-
tionships with the Indian artisans they employ. They appreciate the great
diversity and quality of skills available in India and the ability to create in-
novative designs for an international clientele. Over the following years,
they adapted their skills to ensure their continued cultural, economic and
global significance.

The last decade has seen several designers and entrepreneurs redefine
and explore new avenues of business with the reinterpretation of tradi-
tional craft forms through design interventions and collaborative ini-
tiatives with craftspeople. The government’s ‘Make in India’ initiative is
breathing life into some relatively unknown varieties of indigenous fab-
rics. Fabrics such as ikat and uppada silks are seeing a surge in popularity,
as are the more popular Banarasi and khadi varieties. This has, in won-
derful ways, formed a bridge between rural and urban India and produc-
ers and consumers.

Sustainability is the way forward, which implies both survival of crafts

integrated with livelihood prospects and environmentally sound practic-
es. The handicrafts sector has a low carbon footprint since it is essentially
driven by human power.
However, most of these crafts are practiced making them temporal assets,
dependent on communities and future generations for survival. Over the
past 30 years, the number of Indian artisans has decreased by 30%, indi-
cating the need to re-invest in artisans to safeguard history, culture and
an important source of livelihood.

Forepassing all the ups and downs that india has seen in terms of textiles
and economy, Informed by a rich craft heritage and a culturally diverse
population, Indian fashion today is more than a sum of its parts. Its de-
signers blend a vast array of influences, in the process forging a design Kutchi embroidered kediyu
language as surprising and intriguing as India itself. paired up with skin fit
denim and nude heels ac-
cessorised with a classic
golden watch and rayban
 The Bridge
The Impact of Indian fashion and styling on
Global trends

“Indians at heart are maximalists and so, will always remain connect-
ed with elegant excess “ – JJ Valaya

A design language of the ‘now’ requires responsiveness to broader social

issues and economic aspects. The textile industry in India is among the
largest segment of India’s capital goods sector. As per the report published
by Indian Brand Equity Foundation (IBEF), India is the second largest
exporter of textiles in the world. Furthermore, favourable demographics
and rising income levels are believed to be the key growth drivers of the
Indian textile and apparel sector in the coming years.

Every trend has its roots somewhere in history and trends are really what
fashion world goes around. Innovation and reinvention is a big wave that
is currently in vogue. It can be anything, right from the Retro style ‘Bell
Bottoms’ to body modulation such as tattooing, piercing or surgeries.

The apparel trends and its impact has inspirations from our history
which goes back to 4000- 5000 BC. Right from Indus valley civilization
followed by Maurya, Sunga, Satvahan, Kushan, Gupta, Mughal& British
periods showed identifying fashion trends. Even after the strong Impact
of the Britishers, Indians have continued the traditions and carried for-
ward, but the ongoing and upcoming western trends are engulfing our
Indian society when seen from a broader perspective. Thus, Indian cul-
ture is getting blurred and we should now be worried as it would be on
the verge of extinction with time. Yet Indian culture souls will stay ever-
green. It can never die. Our offspring’s will only see the left over India’s
culture in museums. Promoting our cultural heritage is essential so that
the superficial layers of other cultures do not overpower our culture; in-
stead bring out the Indian culture and trends on to world platform to
keep the country’s treasure alive.
Traditional Kutch embroidered
Ghaghra worn as a tube dress,
paired up with olive trench coat
For centuries, Indian Costumes and Textiles have been admired for their
great aesthetics and cultural values. Costumes are used not only to cover
the body and embellish it; they also constitute a significant non-verbal
medium of communication that serves to establish the cultural identity
of a community or country of origin at any given historical period. They
help understand fashion trends prevalent during historical time-frame. It
has been observed that fashion trends usually move towards new direc-
tion every ten to twenty years.

Indian designers have already marked their prominent places in fashion

market. Exquisite designs developed by designers have created a great
impact on uplifting Indian clothing trend in world. These designs have
increased the acceptability of Indian clothing in the international textile
market. Today Indowestern Fusion which gives a contemporary look is
highly demanded garments across the world. As time goes, Indian cloth-
ing trend continues as an evolving subject.
The Indian Folk Prints and The Pheran Shifts
The Kashmir print and design of the clothing is the new nerd fashion
trend. The oversized kurta with trousers adorned with balanced colour
variations or prints are the recent comfort. A very balanced global fash-
ion is appreciated and retrived from the basic Kashmir folk culture. The
big floral Pheran prints from Kashmir and abstract contemporary de-
signs are very much in trend.

The diversity of the Indian Culture makes it possible for a variety of

prints in the fashion world. There is a range to pick from- from Chanderi,
Madhubani, Block and many other popular prints available. The Western
designers have picked up a fusion of this diversity and have come up with
bright hues and big Indian prints.
 The Wrap Around

Wrap Arounds are a basic skirt version of the Sari. It is comfortable to

wear and immensely stylish to flaunt about. North East India has a long
history of fashionable wrap around skirts and Mekhala Chadar. The re-
cent hit in the West is a tradition in India.

The thousand year old

art form of Patachitra
is no longer just about
epics & folklore.

https://www.thevanca.com/indian-fashion-touch-western-fashion-world/

The Indigo

The most in demand and in accuracy with the summer style and nature-
The Indigo Print is the new market favourite. The very subtle prints of
nature or mandala designs have their origins in India. It has gathered
momentum in the name of the Indian classic! Adorned with a ravishing
indigo print apparel and minimalism with basic mid part or braided hair
is the Indian picture of calm fashion that the West is loving today.
Organic Indigo Dying
Recently Cavalli T-shirts with Indian gods made international headlines,
at the Milan Fashion Week last year. Giorgio Armani too put out jodhpu-
ri trousers in his lines, and Roccobarocco paid tribute to Bollywood with
prints of hand-painted posters on shirts. In the United Kingdom, young
fashion sensations like Mathew Williamson too are becoming stars, rid-
ing high on zari (golden or silver threads) inspired by Jaipur. And in the
United States, recent upcoming designer Zac Posen has recently drawn
inspiration from India in his “tribalite” selection.

The influence of Indian fashion and design is getting stronger each pass-
ing day. The Indian designers have already started recognising the market
trends and are moving with the times. Though the process is slow, the
shift has begun. Indian designers will soon take over the world.
Indian clothing style have conquered fashion textile across the globe
but the Indian themselves are unaware of the treasure they have gained.
Indian fashion has transformed through years, harnessing both the tra-
ditional and cosmopolitan look. The western influence is so strong on
Indian culture that it has paved the way for a difference in style. The fu-
ture of fashion will be very different from its past. Globalization, and the
accessibility of cultures, and the connection of people over the internet
and through mass media has forced a convergence of fashion trends in
architecture, music, online presence, and clothes.

https://in.pinterest.com/pin/36028865755516896/
DRAW ON CRAFTSMEN
“We’re not handling things any- endeavour to popularize regional
more before they arrive on our weaves from labourers, ensuring
doorstep. I like to feel how thin por- continuous loom production ca-
celain can be, run my hand over a pacity and providing a point of
textile, see if I want to sit in a chair.”- sale at his stores with no additional
Nate Berkus. mark-up. His opinions are rele-
vant, crisp and often nationalistic.
In India, the ability to synthesize
craft and fashion is already rec- In an interview with Border and
ognized as our USP, yet the real- Fall, When Sabyasachi Mukhar-
ity is far more different than it jee was asked: Would you call this
may seem. Design intervention, your version of Corporate Social
even well-intended, often leads to Responsibility? His answer was: “I
cross-pollination of crafts across see it as convincing craftsmen not
regions, raising significant ques- to give up their trade. Our com-
tions about hybrid craft versus mitment lies in creating grassroot
preserving traditional skills. Crafts level employment; otherwise these
require a deep commitment over people will completely lose touch.
many seasons. Those that don’t fit Patan Patola, for instance, is a fam-
the frameworks imposed by fash- ily trade wherein the children went
ion run the risk of dying out with off to study and very few families
the current generation of crafts- know how to maintain the pro-
men. At the same time, ‘the death cess. If you don’t create a demand
of craft’ and its origins ‘contem- and supply by creating awareness
porary craft’ already are fatigued within the market … I have ear-
terms to both media and readers. lier worked closely with actors like
Vidya Balan to create awareness
Talking about crafts; a Kolkata for craft in this country. I made
based designer Sabyasachi Mukher- her wear saris that were not even
jee capitalizes on traditional craft Sabyasachi, I collected them from
techniques amongst his bridal cli- Khadi Bhavan. The fact is that
ent base whilst meaningfully sup- every piece of Indian clothing you
porting the livelihoods of those he buy contributes to the revival of
employs. He employs over 3000 the Indian economy. We don’t have
craftsmen in 18 craft clusters in the to be dependent on foreign coun-
regions of Kashmir, Uttar Pradesh, tries. You need to repay people who
Rajasthan, Bihar, Andhra Pradesh, make you successful. Otherwise,
West Bengal, Madhya Pradesh it’s a classic example of cutting a
and Tamil Nadu, and in 2013 ini- tree that you are sitting on. If every
tiated a ‘Save The Sari’ non-profit woman in India started wearing
one cotton sari a month, it would mediaries such as non-profits or
be an incredible boon. Such a small through government schemes, and
percentage of our people actually typically comprise 10-20 artisans,
wear domestic handmade products usually women. SHGs serve as a
because most product comes from form of social collateral, enabling
China. Do you know that China artisans to establish linkages with
produces Kanjeevaram saris?” input providers such as raw mate-
rial suppliers, microfinance institu-
We live in a consumerist world, and tions and banks, and downstream
mass manufacturing has scaled up players such as aggregators and re-
the production process copiously. tailers.
Yet, the price we pay for our clothes
is getting cheaper. The advent of fast Mutually Aided Co-
fashion and mass produced clothes operatives(MACs) are created to
has also resulted in the erosion of provide artisans with a platform
artisanal and heritage crafts that our for equitable participation. Legis-
country is known for. Each garment lated at the state government level,
you wear goes through a process: MACs enable artisans to pool funds
They are weaved, dyed and sown as equity and own their produc-
before making their way to the store tion units. However, due to strong
racks. As consumers of fashion, our government influence, this struc-
actions have implications on peo- ture has failed to gain popularity
ple’s lives, and the environment. in most states other than Andhra
Pradesh and Kerala.
Along with the fashion industry,
the interior design segment is also In a world where the designers are
working on the lines of incorpo- very specific with their designs,
rating local crafts in their designs. they often forget to keep in mind
Klove is a boutique luxury studio, the feasibility of the design that
that specializes in custom light- they create and at the end they
ing solutions. They create sculp- try to impose their designs on the
tures, installations, chandeliers, artisans. It is very important to
pendant lamps, floor lamps, ceil- work in a harmony rather than
ing lights, table lamps, and acces- working in a way to exploit the
Presently seen on
sories. Their designs range from mugs, lanterns, walls,
neoclassical to contemporary, and paintings and bed-
are inspired by the travels across sheets, the gorgeous
India and the world.” Working with Warli art dates way
skilled local craftspeople is both back to almost 2500
a duty and an opportunity for In-
dian designers”, says Prateek Jain
BC.
of lighting design company Klove.

There is usually a process that Ar-

tisans are usually structured into
groups through informal contracts
between traders, master artisans
and low-skilled artisans. Self Help
Groups (SHGs) are set up with
the help of external technical inter
Artisan weaving Bamboo and Cane furniture
Kala Cotton yarn spinning on an abmber
charkha.
TURNING

MISFORTUNE
FORTUNE
INTO
“Fashion is often perceived as a Economic Philosophy of Inclu-
frivolous indulgence in a country sive Growth has been initiated as
where poverty levels are still high.” a path of success towards sustain-
ability by the government of India.
Indian economy relies on agricul-
tural and its allied industries that Handicrafts in India have great po-
are agribusiness industries. It in- tential of employment generation
cludes textile, silk, handicrafts, and income generation as it holds
and other small scale industries. the key for sustaining not only the
This agro based sector has shown millions of artisans already exist-
huge growth since independ- ing, spread over length, and breadth
ence, it contributes ½ of the total of the country, but also for the in-
economy of the country and most creasingly large number of new ad-
of the people generate their liveli- ditions in the crafts activity. Indian
hood from this sector. To develop handicraft items range from wood-
through agro based economy ex- en stone, metal, glass, bamboo,
ploring agricultural potential is cane, clay, terracotta ceramics, and
a key for economic growth, ag- textiles. The most popular items
ribusiness expansion, which is in Indian handicrafts are brass-
the dominant source of recent ware, pen holder, vases, candles,
growth, should be seen as a main and Christmas items, ceramic pots,
engine of further development. carpets, and other products of pa-
per. Various states of India such as
Handicrafts sector is a sector which Manipur, Tripura, Rajasthan, Guja-
is engaged in production of prod- rat, Kashmir, Maharashtra, Tamil
ucts which are produced either Nadu, and Kerala are popular for its
completely by hand or with the help handicraft collection. Each States
of tools. The Indian handicrafts in- offers a wide range of handicrafts,
dustry is highly labour intensive, with its own identity. These handi-
cottage based and decentralized. craft items represent quality crafts-
The industry is spread all over the manship from the respective states.
country from east to west and from
north to south most of the manu- Since 1991 the concept of globaliza-
facturing units are located in rural tion of India has given rise to new
and in small towns. . The handicraft opportunities for handicraft sector.
sector technically and statistically The global economy can no longer
forms the second largest source of be viewed from an observer’s view,
employment in India. Handicraft countries with rich and flourishing
sector got a boost since the new handicraft sector can itself play a
constructive role in leading global crafts, artisans have difficulty un-
market. Yet when it comes to tie- derstanding how to tailor their
ups of urban sector with rural sec- products to changing demands.
tor, we still lag behind to an extent.
The artisan may not speak the
While crafts received royal and same language as the consumer,
aristocratic patronage during pre- both literally as well as metaphori-
Independence days and played a cally. An example of this includes
central role in Gandhi’s independ- women in SEWA’s craft coopera-
ence struggle, they have slowly lost tives who design block printed ta-
relevance with the advent of in- ble napkins and mats, but may have
dustrialization. Currently, the sec- never used these products them-
tor carries the stigma of inferiority selves. The same goes for masons,
and backwardness, and is viewed they build houses for others but
as “decorative and peripheral”. don’t possess one for themselves.
The British Muse-
This is compounded by the Gov-
ernment’s treatment of crafts as a Lack of market linkages – While um has around 1000
sunset industry, which has resulted consumers of crafts products are South Indian paintings
in a lack of well-developed poli- increasingly becoming urbanized, which date back to the
cies and programs to protect and crafts continue to be sold through 17th century.
strengthen the system for artisans. local markets; artisans have few
According to IBEF( Indian Brand opportunities to reach new con-
Equity Foundation)There are a few sumers through relevant retail plat-
challenges that Indian artisans face forms such as department stores
which can be termed as follows: and shopping malls. Further, due
to their rural orientation, artisans
Low education – Many crafts re- are often unable to access train-
quire the entire household to partic- ing and technology to supply
ipate in production in some capaci- their products to online markets.
ty. In many cases, crafts also serve as
a seasonal source of income for ag- Dominance of middlemen – Al-
ricultural households. This means though middlemen are necessary
that children miss school, resulting to enable effective market linkages,
in low education levels for the fam- they often, if not always, exploit
ily overall. The lack of education artisans by paying them a frac-
makes it difficult to manage inven- tion of their fair wages. This may
tory, access government schemes be due to lack of information on
and market information and bar- the part of middlemen about true
gain with traders and middlemen. manufacturing costs, or merely due
to their ability to coerce artisans,
Design inputs – In most tradi- who often lack bargaining power.
tional societies, design evolved in For the growth and betterment of
the interaction between the arti- the country’s economy it is very
san and the consumer. Further, the important to adopt the concept
artisan was aware of the sociocul- of inclusive growth. The con-
tural context of the consumer, and cept of inclusive growth says: For
could thus design products that the firmness of Indian economy
suited their needs and tastes. Due all sectors of economy including
to the breakdown of the historic handicraft must be given equal
artisan-consumer relationship, magnitude and for the inclusive
and the increasing urbanization growth both rural and urban sec-
and globalization of markets for tor must be given proper attention.
UP CLOSE
and
PERSONAL
Leather toy craft artisan:
Kailash Mochi, a resident of Gamdi villege in Anand district, Gujarat.

Kailashbhai is an Anand based artisan who is into manufacturing of

leather toys. He has been into the business since he was 15 years old. He
participates in national fairs and has also been abroad for exhibitions.
He has been working with middlemen for quite a while which drew me
into taking his interview.

About the artisan?

Kailashbhai Mochi
Age:44
Lives in Gamdi village, located in Anand district of Gujarat state.
How old were you when you first learned this traditional art?
Kailashbhai grew up watching his father and his uncle practicing this
craft. Kailash bhai started working as a leather toy craft artisan since he
was 15 years old. Leather toy craft has been his family business since 4
generations.

How long have you been doing this traditional art?

When his father passed away, he had just completed his 10th standard.
After his death his uncle asked him drop out from the school and join the
family business. Since then his uncle started teaching him the techniques.
Further when he grew up and got married he involved his wife and his
bothers wife into the business as well. The opinion that urban crowd has
about the rural crowd that rural women are not allowed to work is hence
proven to be just a charade. When you get into the technical view you get
to know that in terms of equality rural sector in India is actually ahead of
Urban sector.

What evolution have you seen in the craft and its process since you
started practicing it?
Kailashbhai says, when he was young, the time that took the artisans to
make the leather toys was more compared to today’s scenario. The pro-
cess of making the wire frame, covering it in hay, coating it with clay,
drying it for 3 days and ten finally covering it with leather took 1 week
or sometimes even more than that depending on the weather. Now the
process can speed up by using dryers. The authentic artisans still prefer
using the old method though as they don’t find the speedy drying process
efficient enough. He says it sometimes develops cracks in the cray if the
process is made speedy. In spite of having carving and creasing tools,
the artisans still prefer to mould and shape the leather with their fingers.
They say the efficiency of the tools take away the beauty in flaws.

How has technology and price rise affected your way of working?
Technology has not affected drastically. The basics still remain the same.
He says there is a change when it comes to funding. When he was young,
it was difficult for his father to meet the ends. The government has been
really helpful in terms of funding. A lot of organisation are being set up A piece of Meenaka-
for the funding of craft clusters. A lot of grants are being provided for the ri jewellery still goes
development of technology in order to make work easier in to generate
more production. There is not much difference when it comes to working
through the same as-
process as they feel machine done work takes away the beauty of handi- sembly line of crafts-
crafts. men as it used to go
through about 500
Have you ever taught others how to do this traditional art? Why or years ago.
why not? What is the importance of passing on traditions?
He has never taught this craft to anybody else. He said that technology
is on the verge of making a machine for the entire process of making
toys. Not a lot of families in Gujarat practice this craft. This craft is their
livelihood which is why they do not want to share it with anybody as
they think if every other person starts practicing it, it will soon lose its
originality.
 How is it working with the middlemen and what are the pros and cons?
Kailashbhai has been overseas for government hosted exhibitions and has
won several prices. He works with the middlemen as he is not educated
enough to deal with his sales on his own and is not well versed with the
various platforms for sale. He goes to local fairs to sell his pieces as well.
He says that the middlemen are highly profited. The making of one leath-
er toy is 150 rupees and the middle men sell it at the price of 600 to 700
rupees tagging it as an authentic handicraft product.

Do you want the craft to modify over generations to keep up with the
contemporary world or do u want to maintain the originality of the
craft?
He is open for modification but only till an extent where is enhances the
product and not take away its original identity. Initially he only used to
make toys which were used as display pieces or show pieces. But with
passing time and trends he has also started manufacturing animal shaped
items which can be utilised as a pen stand as well.

Would you like to collaborate with a designer and are you willing to
take external design inputs?
He is willing to work with designers but only as long as it is a both way
beneficial deal. He feels designers manipulate the technique. He said he
has worked with students of designing colleges before for collaborative
designs but they were trying to impose the designs onto the artisans and
were not ready to accept the fact that there is a certain process to the craft
which cannot be altered. It is very important for the designers to under-
stand the techniques in order to design product that could fit the same
process.

If you would not have collaborated with the government handicraft

scheme, how else would you promote your products?
He puts up a stall in local fairs and says that is the only other way of earn-
ing that he has apart from the government schemes and retails outlets.
He is not well versed with the multimedia marketing techniques. But he
is very positive about his kid’s education and that his kids will carry the
business further while keeping up with the global market and making
Apart from the being things easier for the buyers to buy directly without the middlemen.
the oldest form of en-
tertainment, puppetry
is also the oldest form
of social and moral
education in India.
 FROM STONE
Indian handicrafts represent the dignity, style and beauty of Indian cul-
ture. Indian handicrafts are as diverse and rich as Indian history. The
crafts from each part of India are unique and have been admired since
centuries all over the world and reflect the influence of different Indian
empires and eras.

The art of making handmade items initially began as an expression of in-

ner creativity and evolved for trade and commerce, royalty and common
people, in the later course. The tradition of using hand made products
flourished and evolved as per the needs of common people. Most of the
handicraft and its technique have come from the land of art and Craft-
Iran. Different dynasties and empires witnessed different handicrafts and
patronized the respective art to help it evolve and rise. Domestic and
foreign trade also played an important role in the evolution of Indian
handicraft industry. Since time immemorial Indian artisans and their in-
novative ideas have left the people across the globe intrigued and amazed
by the distinct and appealing pieces of art.

The rich history of India’s craft tradition has evolved over the centuries
offering a legacy of Indian culture promising beauty, dignity, form and
style. The variety is comprehensive and ranges from age-old stone carv-
ings to modern handicrafts making use of glass flints and mirrors. The
most popular crafts, include metal ware, earthenware, pottery, sculpt-
ing, woodwork, hand-printed textiles and scarves, embroidered and cro-
cheted goods, shawls, zari products, stone carving and imitation jewel-
lery.

There is an ocean of art and craft traditions in India that depends on

social, economic and regional factors. The present status of the sector in
India owes much to the rich crafts history and tradition of the past. Ma-
jority of the crafts from the past continue to flourish due to their utilitar-
ian characteristics, availability to the common people and popularity in
domestic and global markets.

In current scenario, some of the sectors within the craft industry have
even become full-fledged industries in their own, like - carpet weaving,
traditional textile (Banarsi silk sari, Chikankari, etc.), gem cutting and
polishing, jewellery making, the world famous diamond cutting and pol-
ishing industry, brassware, jute products, etc. The growth of these indus-
tries is due to their ever-increasing demand and the popularity of Indian
crafts in the domestic market and overseas. Gems and jewellery, carpet
making, metal ware, leather products, jute products are some industries,
which are growing rapidly.
 TO BRICK
The market is developing due to the huge demand of its products in terms
of utility, cost and aesthetics. To centralize and better organize the sector,
the government has also initiated the concept of ‘Towns of Excellence’
that are providing recognition to production areas where the handicrafts
have been traditionally developed. Today, there are 35 urban ‘Haats’ all
across the country, that allow for the allotment of built-up stalls to arti-
sans on a fortnightly rotation basis at nominal costs.

The industrial revolution and the increasing productivity had slowed

down the growth and the quality of arts and crafts, but for some decades
now, the scenario has changed and machine-made products no longer at-
tract the people. Presently handicrafts are being considered as vocational
media and it is also opted for style statement and the leisure pursuit. To-
day, the crafts and craftspeople have a vital role to play in modern India
– not just as part of its cultural and tradition, but as part of its economic
future.

The creative potential of Indian artisans demands a directory of resourc-

es—skills, materials, capabilities and products. The products embody the
craftsperson’s understanding that is structural, conceptual and aesthetic,
just as craft is also an interrelation between function, form, material, pro-
cess and meaning. The product is not only an end product but also a seed
In parts of India,
for new possibilities and directions, a creative potential and palette of Mural art is still done
resources. The crafts of India are at the threshold of massive change and with eco-friendly
it is believed that this publication will help capture various facets of the vegetable colours.
current scenario and promote a better understanding of the issues and The same way it was
resources that it offers for designers and layman alike to influence eco- done 3500 years ago!
nomic change at the grassroots level.

The range and diversity of Indian crafts is staggering. With a history dat-
ing back several thousands of years, they have a place in India’s epics too.
The Mahabharat, the famous story that marks the end of an epoch of time
in the Hindu timescale, and tells the story of the great war between the
Pandavas and Kauravas, speaks of Indian handicrafts. In fact, in describ-
ing the change in yugas, from the Dwapara to Kali Yuga, the Mahabharat
describes how the artisans will lose their skill as one of the markers of
this shift.

They say, “To mark a position of Indian crafts in Global market, there
is a need to incorporate design input in crafts”. I think the design in-
puts should complement the craft techniques and not manipulate them.
. Craft techniques are designs in their own already. Given the inherent
beauty of techniques like block-prints, it seems contradictory to claim
there is no design in crafts.
 However, design, like art, is the materialisation of an individual’s unique
and original idea. Crafts, on the other hand, are repeated, non-singular
motifs and patterns passed down over generations of skilled workers,
who create by performing almost rote actions. But marrying the two so
that the outcome is a modern, original piece that reflects the ideas and
thoughts of an individual, not tradition, has turned out to be difficult in
India. For instance, several designers and brands have chosen to create
modern block-prints, using rickshaws, bicycles, cats, or even simpler or
more abstract versions of floral motifs. In these cases, too, however, the
designer is usually distinct from the craftsman, the person who actually
executes the design.
 INFUSION
DESIGNERS USING
INDIAN CRAFTS
IN CONTEMPORARY
STYLE
Fashion from India is always going to be craft based. We are an art and
craft country, and the apple doesn’t fall too far from the tree. It’s impor-
tant for us to incorporate craft into whatever we do, otherwise we are no
different from the designers around the other parts of the globe.

Does craft need to be modernized in order to sustain it? Is the most de-
bated question when it comes to fashion in India. Talking about modern-
ising crafts, there is a bunch of designers who have taken a step forward
to incorporate contemporary design inputs into craft techniques.
Sabyasachi
Mukherjee
Sabyasachi Mukherjee entered the fashion industry, and went on to make
a special place for himself by weaving traditional stories with threads of
Indian culture through his creations. India’s ace couturier says he wants
to make sure that he “comes up with something that the copy market
can copy” that in turn creates jobs in the market. He has lent his creative
touch to design a line of luxury wall coverings through an exclusive col-
laboration with Nilaya by Asian Paints with “Padmaavat” star Deepika
Padukone as his muse. After graduating from the National Institute of
Fashion Technology, Sabyasachi started an eponymous label in 1999 and
went on to make waves in the international fashion scene by using Indian
textiles with a contemporary twist. He is one of the few names in Indian
fashion to participate at fashion weeks in Milan, New York and London.

Sabyasachi has also designed a collection of shoes and handbags in col-

laboration with Christian Louboutin named Kashgaar Bazaar. This col-
lection explores the conflicts between cultures, colours, textiles and crafts.
Under the theme of rustic baroque, the entire collection is a patchwork of
different textile influences derived from the silk route.
Sabyasachi works closely with artisans to tell stories with his sartorial
creations.
https://nilaya.asianpaints.com/featured-
wallpaper-collection/sabyasachi-wallpa-
Rohit Bal
Rohit Bal’s collection always has a unique touch of Indian craftsmanship
and the fashion designer says involving the local craft in his designs is his
biggest strength.

The Delhi-based designer’s menswear collection “Raat” is a mix of con-

temporary and classic designs. Rohit has used Indian techniques on the
western silhouettes for the winter line. Rohit feels Indian runway may
have been female-dominated but there is a visible shift to menswear now
with more designers creating exclusive men’s range.
 https://www.google.com/search?q=rohit+bal+raat+collection+men&rlz=1C1CHBF_enIN720IN720&tbm=isch&source=lnt&tbs
=isz:lt,islt:xga&sa=X&ved=0ahUKEwik5buu8L3hAhWPA3IKHaI6CeMQpwUIIQ&biw=1396&bih=641&dpr=1.38#imgrc=KYZu
FTqJOGREfM:
Manish Arora
Manish Arora is a contemporary designer with a traditional vibe in his
designs. He is known for this traditional craftsmanship” and play in col-
ours.” Palette in pink and gold” is his trademark. He launched the “Fish
fry” in 2001. This colourful sportswear styled collection was done in col-
laboration with Reebok.

Manish Arora is regarded by many as John Galliano of India. He is known

for a rich pallet of psychedelic colours and Kitsch motifs in garments that
combine traditional Indian crafts like embroidery, applique, and beading
with western silhouettes.

He appeared for Wills Lifestyle fashion week 2013 and designed an outfit
for Sonam Kapoor. She was the show stopper and she wore a black and
neon saree printed in geometric motifs built up in leather turbans with
pallet of neon colours. It includes many elements which defined coming
trends of the season.
Lisa Fine

Lisa Fine is a Manhattan based Textile designer. She is a vigorous travel-

ler and designs textiles on the basis of her travel collection. She visited
India and was intrigued by the intricacy and royalty of Indian prints and
textiles. She says, it was a maiden voyage to India in 1998 that changed
her forever. Immediately entranced by the subcontinent’s shocking jux-
taposition of color and its wanton mix of patterns, she joined forces with
the New York-based fabric doyenne Carolina Irving to create Irving &
Fine, producing diaphanous printed blouses and vibrant coats, delicately
beaded with fine embroidery (pronounced, with Faulkneresque flair, as
em-bro-dree).
http://www.lisafinetextiles.com/Lisa_Fine_Textiles/
 Serendib Dining
Delicate tropical motifs created in a Chi-
noiserie style
John Robshaw

After earning a fine arts degree at Pratt and studying traditional block
prints, John‘I-Caught-the-Asia-Bug’ Robshaw journeyed to India to
find natural indigo dye for his paintings. Instead, he fell in love with the
fabric-making traditions of the local artisans. John is a wanderer, who
spends months at a time working with artisans in Asia and India to cre-
ate his widely anticipated fabrics. In between trips, he shared with us the
inspiration behind his latest collection, and what’s next on his itinerary.
For many people, travel helps them find something missing in their daily
nine-to-five jobs. For textile master John Robshaw, his extensive and ex-
tended journeys through Asia and India aren’t an escape from work, but
a critical part of his process. He makes lengthy trips for his craft, block
printing in China, vegetable dying ikat in Thailand and regularly scouting
new artisans to work with.
https://johnrobshaw.com/
 MICRO TO MACRO
INFLUENCE OF INDIAN CRAFT ON

In the Indian context, the idea of ‘kala’ is rooted in many ways of working
with materials and mediums. There is a great significance to the relation-
ship of the artisan with the architecture of our subcontinent.

Today where many architects are trying to plunge into the modern phe-
nomenon of building and construction, there are still a few people, who
are striving for the tried and tested methods of construction and its prin-
ciples which have remained to be of use and worthy till date. The approach
is largely characterized and influenced with the idea of change, where it is
believed that with time one has to evolve, as mentioned by Uttam Chand.
There is a derivation of new language in such approaches where the craft
may or may not remain but the language is considerably different, there
is no relevance which is referred to except for the craftsmanship and the
inherent values in them. Such approaches avoid the literal quotation or
copy of the stylistic elements handed down from the tradition. Such ap-
proaches started coming into practice when new schools of architecture
were established in India after independence. It was then that the discus-
sions on the traditions the vernacular architecture and such issues started
The Chippa commu- being raised at various levels. These models are strongly influenced by the
practitioners’ personal lifestyles and various influences over a number of
nity of Rajasthan has years. One cannot forget to mention the contribution of architects like
kept the traditional Laurie Baker and Nari Gandhi who initiated a whole movement where
art of block printing building using the local material techniques and skills not only became a
alive since the last style statement but also provided clients functional and economical spac-
three centuries. es. The practice of these architects was a derivative of the craft traditions.

The architects then believed in the conservation of energy and minimum

wastage and insisted on the natural techniques in handling the problems
of climate. They preferred natural materials over the processed and were
firm believers that the techniques should involve manual processes rath-
er than mechanized ones relying on industrial products. Laurie Baker
was known to be one of the few architects in the contemporary India who
over the years modified his architecture to best suit the requirements of
common man with the in- depth understanding of the problems.
INTERIOR AND ARCHITECTURE

They did not go ahead and replicate what was existing neither were they
redesigning the elements used in traditional architecture, but instead
they derived a new language which emerged out of the associations with
material and craftspeople while working on style.
Crafts in Interior Architecture: India, 1990 Onwards, by Rishav Jain fea-
tures-The C. R. Simha’s residence and Satish Gupta’s residence in Banga-
lore by Jaisim are elaborations of explorations that could be done within
single material – terracotta. He complements terracotta using other natu-
ral materials like stone, thatch and wood. In both of these residences the
elaboration of what a material could do with direct involvement of hand
was amongst the few examples of craftsmanship in those times. They
have executed a huge number of projects where the craft skills and the
knowledge of the craftspeople are used to achieve the final output.
EMERGENCE 2019
Spring-summer