Growing up in India, I never really gave craft much thought. Block-print bedspreads, leather-punched notepads and luminous brass objects peppered my design landscape. After moving to London as a seven-year-old girl, I reveled in Western aesthetics — I would internally and ungratefully groan whenever an Indian relative visited with gifts, as cellophane wrapped clay earrings, embroidered scarves and hand-painted stationery tumbled out of travel-worn suitcases. My Anglo-Indian husband recalls the same feeling when a particular uncle would present his teenage self with a beautifully embroidered waistcoat on each visit!
Image above: Brass kitchen set from
It wasn’t until my adult life, and when I forged an early career in this industry, that my eyes opened to the richness of design I had access to at home. I now love to visit my grandmother in Calcutta — the capital of West Bengal rich in handicrafts — sharing my love of design as we visit our usual haunts, street markets, and the studios of new local designers and fair-trade craft boutiques. These days, I return home laden with those very packages I wrinkled my nose at all those years ago. If I could pull off an embroidered waistcoat like some stylish Indian ladies can, I certainly would!
Steeped in history and religion, the crafts of India are diverse and each state reflects the influence of different empires that have found their roots in the culture and tradition within rural communities. Here is a very brief history of some Indian craft techniques you may not have heard of, and how they are finding a place in the modern design world — including a product guide of contemporary takes on homeware traditionally found in Indian households. —
Dhokra objects are so plentiful in Indian craft stores that I could never have guessed their making method is so painstaking and time consuming. Exquisitely patterned designs with a dull-gold finish, Dhokra is traditionally found in the form of hollow religious figures, jewelry, diyas, animal figurines and vessels. The craft is a lost wax method of basting metal, largely practiced by nomadic tribes who have since settled into parts of West Bengal, Jharkhand, Orissa and parts of southern India.
First, a clay core is made that will roughly take the shape of the final cast object. The core is then covered in a layer of beeswax, natural tree resin and nut oil. Decorated by carving fine patterns and motifs into the wax, it is then covered with layers of clay, which takes the negative form of the wax on the inside, becoming a mold for the metal that will be poured inside it. Drainage holes are left for the wax, which melts away when the clay is baked. The wax is replaced by a molten alloy of metals, brass, nickel, zinc and sometimes scrap metal. The liquid metal poured in hardens between the core and the inner surface of the mold. The outer layer of clay is then chipped off and the metal icon is polished.
In Contemporary Design
Coming from a family of goldsmiths in Gujarat, works with artisans to reinterpret Dhokra in the modern context. I love this simple update on the craft with beautiful and functional trivets, bowls and cutlery.
Meenakari is an ancient art of decorating a metal surface with jewel-like enamelwork; introduced to India by the Mughals. Typically found on jewelry, vases, bowls and keepsake boxes, it is an intricate process involving engraving the designs on the metal and filling the recessed areas with colored enamel. Traditionally red, green, blue and white hues are used with the color most resistant to fire being painted first (white first and red last) and the piece is fired as many times as the colors included. The heat of the furnace melts the colors and they spread within the grooves of the design. The piece is then filed to enhance the design and then boiled in mild acid to enhance the luminous quality.
In Contemporary Design
The primary colors traditionally used in Meenakari can be tricky to incorporate into everyday life, so I just love London-based jewelry designer ’s contemporary update on the art form. Her one-of-a-kind earrings, bracelets and bauble-like rings are handcrafted with 23.5-carat gold and luminous gems, and hand-painted with contemporary color pairings of vitreous enamel. Monochrome black-and-gold lacquered designs like the and pastel collections are as delightfully modern as they are Mughlai!
Mud Mirror Work
This has to be, hands down, my favorite craft technique because of the contrast between the elaborate results of the process and its functional, architectural use. Known as “Lippan Kaam” or Mud Work, this craft is practiced by artists and residents of the Kutch desert in Gujarat. Taking on the appearance of embroidery-wrapped surfaces, traditionally the artwork is done on the inner walls of the circular, thatched houses found in the desert and primarily used for their cooling properties! Locally available materials like clay and camel dung are applied on the walls, mostly freehand, by using palms and fingers, pinching and shaping the mixture; then mirrors are applied using gum. The white comes from the sand of the marshland that is rich in salt content. Designs commonly depict peacocks, camels, temples, nature and female figures.
In Contemporary Design
The recent redesign of included the museum’s “Cafe Lota” design by ; which incorporated a stunning display of rural craft forms, including mud mirror work murals adorning the walls of the museum cafeteria and shop by artists from the Meghwal community of Kutch. You can virtually tour other murals, created using rural art forms at the museum, .
One of the finest artisan textiles in India, Jamdani (also known as Muslin cloth) is a vividly patterned, sheer cotton fabric, traditionally woven directly on a hand loom using a discontinuous weft technique by craftspeople and apprentices in Dhaka in Bangladesh. A highly breathable fabric, the story goes that in the Mughal era, the ultimate test of its fineness was to pass a sari width through a small golden ring. The textiles combine intricacy of design with muted or vibrant colors and motifs that are geometric in plant and floral form, which makes them perfect for a modern audience. The skill is passed down between weaver families and the crafters take great pride in their heritage and celebrated occupational identity.
In Contemporary Design
LA-based designer Christina Kim’s unique approach to design combines eco- and human-friendly couture with lengthy exploration of craft techniques and fair-labor practices (she is known to compensate her workers twice as much as the local rate). Her ongoing Life of Jamdani project for her label, Dosa, sees her ready-to-wear collection made from the fabric with silhouettes determined by the 11-meter lengths woven for saris. Not letting any of the labor process go to waste, precious scraps from the cutting room are recycled to make a new patchwork fabric, further employing the appliqué skills of women artisans in Gujarat.