The lines between craft, art and design are blurring more than ever. Artisan techniques, once seen as the opposite of “cool”, are gaining popularity in the art and design circles.
The past year has seen multiple narratives emerge around textiles, helping transform them into powerful tools for examining cultural identity and sustainability. exhibitions such as When Indian flowers bloomed in distant countries (Scene in Ahmedabad till March) highlighted the political and economic importance of textiles in India’s global trade From folk to fiber – Featured at the ‘Journeying Across the Himalayas’ festival in December under the Royal Enfield Social Mission – celebrating the myths, stories and social bonds woven into the fabric of the nine Himalayan regions.
Reimagined by a new wave of artisans, designers and craftsmen, these showcases challenged traditional biases in textile storytelling, offering unique perspectives on social, environmental and cultural concerns.
Wall hanging, upholstery textile and pillar floor lamp by furniture design brand This & That led by Ariane Thakore Ginwala
Themes of community and empathy
sense and SensibilityA showcase by Bengaluru-based research and study center The Registry of Sarees (TRS) at the RAW Collaborative exhibition in Gandhinagar last month invited viewers to see textiles not as mere objects, but as extensions of identity., Inspiring reflection on personal and collective narratives. TRS founder Ahalya Matthan has described it as “an exploration of human interactions”.
(Left to Right) Ahalya Matthan with Vishvesh Surve, Radha Parulekar and Aayushi Jain
She adds, “There’s a divide [between art and craft]However this is not always accepted. Such exhibitions put the onus on us to tell the story holistically, highlighting not just the crafts, art and design, but also the people behind them – their processes, materiality and skills.
Curated by textile designers and researchers Ayushi Jain, Vishvesh Surve and Radha Parulekar, the exhibition moves away from academic rigor and explores themes of community, empathy and collective identity. Textile history is often shaped by academics and experts, while vernacular voices, especially the voices of contemporary stakeholders such as weavers and designers, are largely sidelined. By leveraging these approaches, TRS aims to build a knowledge registry that addresses the environmental, economic and sociological challenges present in modern life.
With nearly 100 works from 36 designers, artists, performers, collectors and community-led initiatives participating, the works on display reveal a continuum of influences: from industrialization and Art Deco to Bauhaus, minimalism, sustainability and technology. whether it’s monochrome ikatbrocade and Jamdani Designer duo David Abraham and Rakesh Thakor, artefacts from Kachhi pylon Heritage Banarasi brocade, Toda embroidery of the pastoral people of the Nilgiris displayed at the Bharat Mahotsav exhibitions in the 1980s and 90s, from the private collection of collector Salim Wazir, Or 17th-19th century carpets from Iran and Iraq from the collection of Bengaluru-based collector Danny Mehra.
A series of Toda embroidery works presented by Coonoor & Co.
“Even after 76 years of independence, we are still grappling with questions of identity. Authenticity starts with understanding who we are. Only then can we address the deeper issues of textiles, crafts and art – not just the aesthetics, but the human connections they foster. Each cloth cluster symbolizes the desire to connect; To share who they are and where they come from.”Ahalya Matthan saree registry
breaking down traditional divisions
The emotional resonance of textiles was seen in the combination of the two functions. Purana in new By Vankar Vishram Valji and between indigo and light By textile designer Chinar Faruqui’s brand Injiri. The first, “an intricately woven piece of hand-spun cotton, Art cotton, tussar silk, desi oooMerino wool, and acrylic yarn, reflects the deep-rooted weaving tradition of the Walji family in Kutch”, says Dinesh, one of the four sons of the National Award-winning craftsman, and who devoted 25 days to weaving this piece. On an adjacent wall, Faruqui combines art and architecture through indigo, sheer Jamdani Panel, and a contemporary perspective arch The motif is traditionally found on the walls of mosques.
Purana in new By Vankar Vishram Valji
The two installations – one by a craftsman, the other by a designer – represent distinct social and creative experiences. And the closeness of the works, especially given that Faruqi has collaborated with the Walji family to develop textiles for his brand, broke down the traditional divide between designer and craftsman. “Designer [who knows how to sell] It bridges the gap between the market and the craftsman, who often lack a market-facing approach,” says Dinesh. “Design and craft must merge – we cannot live without each other,” says Farooqui.
between indigo and light by injury
As Shama Pawar, founder of the Kishkinda Trust (which promotes cultural industries and creative economies in Anegundi-Hampi) points out, the myth of craft-making is changing. “People are taking more freedom; “It’s about creating partnerships that inspire.” his own establishment, time shuttleMade from banana fiber and Ilkal Pallu The yarn symbolizes the delicate balance between heritage and the future.
Shama Pawar
a cultural exchange
Rather than presenting India’s crafts as relics of colonial plunder, the narrative is evolving into a dynamic, ongoing cultural exchange between rural and urban practitioners, craft and commerce, and the past and present. “I question how much we should respect the craft or freeze it in time,” says Mala Pradeep Sinha of Vadodara-based Bodhi Design Studio. “For craftsmen, it is about responding to the market. If change is needed, it will happen. So why are we, the so-called experts, trying to impose a narrative that suits us?”
This thinking was implemented in Sinha qr code quiltA striking black and white wallcovering made from recycled block-printed scraps. “Quilting isn’t just about sewing fabric together; It’s about bringing people together to share conversations, tiffins and ideas. That bond fosters empathy – and without empathy, you can’t work creatively.
Mala Pradeep Sinha’s qr code quilt
Sustainability and community were also central to the work of Jagriti Phukan, based in Dhemaji, Assam. his piece of cloth, Nature’s HeritageMade from long threads of tangled, hand-woven Muga and Eri silk, it expresses the symbiotic relationship between heritage, tradition, folklore and nature.
Jagriti Phukan
Textile and fiber-based art are more complex than people think. As Aratric Dev Varman, founder-designer of Ahmedabad-based Tila Studio, says, they are about “exploring intention and personal expression”, not just creating for the market. “Love exhibitions sense and Sensibility These are important to map the evolving textiles and crafts of India before they disappear,” he concludes, emphasizing the role of the designer in influencing and recording change.
go on a country trip
sense and Sensibility It is part of a wider study on ‘History of Design in India through Textiles’, which traces its evolution from the 19th century to the present. The research, which highlights the materials, skills and processes of various textile stakeholders, will continue into the saree registry until 2026, followed by both an exhibition and publication. As the exhibition travels across India and internationally, it will evolve to include new voices and perspectives, ensuring that the project will remain a dynamic and living testament to India’s ever-changing textile design history.
The author is a columnist and critic with a keen focus on fashion, textiles and culture.
published – January 10, 2025 12:56 PM IST
