The genie in the lamp

Across the nation, young entrepreneurs in the crafts are pushing boundaries to make contemporary our age-old traditions, finds Sujatha Shankar Kumar

November 21, 2014 06:44 pm | Updated 06:44 pm IST

MODERN TAKE: Traditional yet contemporary crafts

MODERN TAKE: Traditional yet contemporary crafts

When Aladdin’s mother rubs the lamp to clean it, a genie appears. Cleansing to revitalise is symbolic of discovering the true worth of something old and precious. Today’s young entrepreneurs are polishing the disappearing crafts of India with the magic ingredients of passion, teamwork, sustainability, effective marketing and finding their own niche.

“He knew this was his real calling,” says Preeti Gupta, displaying tabletop sculptures by her husband Vivek Prasad, who has a doctorate in chemistry and a commerce background. They started Aranya Earthcraft in Delhi making products out of papier-mache and clay. A sassy fridge magnet that reads ‘The Greatest Pleasure in Life is doing what others say you cannot do,’ best echoes their belief. At Aranya,the couple first did several workshops and much research. Finding multani mitti shrinks considerably on baking, they turned to fine white clay. They experimented with newspaper, recycled waste and natural resins to mould their products. The name Aranya relates to the forest source of life and eternal energy. Inspired by lotus leaves, seedpods and cocoons, strips of collated paper are turned into subtle designs for jewellery, quirky fridge magnets and sculptures. It is hard to believe their pieces are just papier mache, beautifully re-imagined. 

Finding that the practice of craft had become stagnant over time, architect Sibanand Bhol and designer Shweta Mohapatra started Collective Craft in Delhi. “Architects work in context to building and culture, within a framework. We started to look for inspiration from craft. Whoever wants to get something done, we participate in the design process by helping artisans translate the designs intended.” Sibanand exhorts, “The best part at Collective Craft is having a known, skilled team that comes together to produce an envisaged result.” With a staff of 15 at Studio Asao in Jaipur, Ronak Dandia and Rujutaa Joshi continually train new artisans in the nuances of ceramic production. They may perform over 50 tests with layers for a new glaze or a marbling finish, to finalise the result. “We cannot predict the exact texture. We derive our own patterns and go on innovating!” says Dandia. The team also makes products with Jaisalmer stone, different from the traditional designs. With a degree from IICD, Jaipur, and a lifetime of learning from his family handicraft business, Ronak has evolved a fine array of tableware and pottery. Designs are fluid, inspired by Japanese pottery, yet maintain an indigenous feel. Ronak and Rujutaa cater to the demands of cultural assimilation. “We shifted our designs to suit contemporary needs,” says Ronak showing me oregano and chilli flake shakers.

In Jaipur, husband-wife designer team, Arpan and Aarushi, treasure their freedom to think and explore. “We were like-minded and wanted to do something concrete together. Everything we do at Studio Kassa is because we love working with these products,” says Aarushi.  “It is very difficult to find leather bags and shoes, especially in India,” says Aarushi. Studio Kassa’s bags, shoes and accessories combine felt, canvas and neon. Tessellated designs on leather with laser-cut pieces have made a novel entry in their designs. They use antique and natural leather, drum-dried versus processed leather for products, new buck for Oxfords and Ballerinas. Scratches and increased shine are natural with aging. Few artists make products, but art is not in high demand. Collective Craft has therefore brought the craft experience into a product range. Picturing monkeys and lotuses on coasters in minimalistic lines and forms, very open compositions adorn the coaster or box.  Sibanand notes an added advantage, “The nice thing is we are comfortable with any scale, from a table to a building!” Collective Craft’s studio has 10 full-time artisans as well as a network of 15 in Odisha making lotus boxes, Pattachitra clocks and carved soap cases out of stone. “We have not made a single product that is not utilitarian. Good craft is expensive, but we wanted to bring it to everyone, for people to engage and be familiar with it, yet profitable for the artisan.” Experienced karigars to make sample patterns and designs are the foundation of Studio Kassa in Jaipur.

A love for costume jewellery brought Gina Joseph to design. After she made her first piece with a woodcarver from Patna, the craftsman called her ten days later, telling her that the money earned had got him through ten days. It struck a deep chord in Gina, to bring her interests to support artisans when she started Zola. At Zola, Gina’s workshops are always a combined effort, where designer and artisans bring their skills to the table. “The core idea is not to change what the artisans are doing. They should be comfortable with the work and retain that Indian touch.”

Satish Suman Behera is too busy to talk to me, earnestly wrapping and packaging when I land up at his stall. In the 15 minutes I spend looking at Collective Craft’s products of wood and inlay work from Odisha, five ladies come to check if their packets are ready.

Young entrepreneurs in crafts are enterprising in finding unfulfilled needs to garner their market and creating design variants. They also find multiple places to market their products. Zola retails out of Shilpi in Chennai, Yellow Button in Bengaluru and online platforms Gaatha and Jaypore. Spreading wide, Studio Kassa’s items are carried by 15 to 20 online portals like Flipkart and Snapdeal. From making to sales, the circle is complete.

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