Green Room'12

The tradition of leather craft in India has existed for thousands of years, and has influenced the use and application of the material all over the world. Leather products sourced in India can range from high-end luxury to everyday utility, with its natural strength and distinctive textures.

Ram Kishore learned how to make leather shoes through a UNDP training program, using approved patterns and boot molds. Cutting, sewing and constructing entirely by hand, Ram can complete one pair of shoes per day, earning him just 25 rupees after material costs.

Working on just one product since he began making shoes, Ram was challenged with originating his own designs and style. With this sensitivity in mind, Fellows worked closely with him to introduce the creative design process and bring new freedom to the form. Exploring new prototyping methods using paper cut-outs and sharing design ideas for everyday products, the result was the co-creation of items like phone and passport covers and leather bags with local market relevance and distribution.

Artisan | Ram Kishore Ji

LEATHER craft

Process

‘Lacquer’ or ‘Laksha’ is an organic material that is brittle and fragile, but bold in colour and playful in form. Under heat, the material is shaped and strewn into traditional Indian bangles, which can then be decorated with sequins, gem stones and wood cuts.

For nearly 30 years, artisans Sham, Ahsan and Santosh have been working with the lacquer craft. In preparation for an exhibition in Delhi, the artisans were quick to show off their skill and attempt new techniques.

Fellows first conducted identity interviews to understand each artisan’s interests, aspirations and influences for their work. Teams of fellows and artisans then explored a range of forms and colour combinations with the goal of creating sets of bangles, earrings and bracelets that were more contemporary in design and unique in shape. The artisans even combined crafts, adding lacquer to traditional pottery pieces to embellish colour and modify structure.

Artisan | Shyam Ji

LACQUER craft

Process

Some of the earliest known pottery techniques can be traced to ancient India, in the northwest regions near Samode. The traditional process involves kneading and throwing wet clay onto a circular wheel, forming shapes and textures by hand to make pots and utensils.

Bagirath Ji is one of the last surviving pottery artisans in Samode, finding little market even for his simplest designs and products. When given the opportunity to explore new designs with Fellows, Bagirath utilized found objects as tools—objects like a plastic comb or toy car wheel allowed him to apply new texture and character to his pottery.

Fellows also helped Bagirath transform current designs into new products for different audiences. Among other products, the team reimagined the traditional clay piggy bank pot, cutting it in half, adding a layer of fresh paint to the interior and wiring it to create a fully functional and contemporary electrical lamp design.

Artisan | Bagirath Ji

POTTERY craft

Process

Bandhej is a resist dyeing technique on fabric to add colours and patterns on fabric for saris, scarves and other clothing. It is a time-consuming process where tiny sections of cotton or cotton silk are tied to resist the layers of dye that are applied in the dyeing process.

Salim Ji’s family is the only family in Samode to practice bandhej. They currently make to order for wholesale in nearby cities, as well as running a retail outlet of souvenir goods targeted to the local tourist market. Their practice is small-scale production, mainly scarves, in batches of 15 – 20 pieces with conventional motifs and colour palettes.

Fellows input involved introducing alternative geometric motifs and a more restrained colour palette and alternative forms of accessories such as jewellery purses, wrap around scarves and using bandhej fabric for applique (patchwork) on furnishing fabrics.

Artisan | Salim Ji

BANDHEJ + APPLIQUE craft

Process

The featured products and processes are a result of The Green Room Fellowship, which brought specialists from around the world to bridge modern, contemporary design with traditional Indian craft. In partnership with Happy Hands Foundation, Fellows traveled to Samode, Rajasthan, for a week’s immersion into the village’s craft community, conducting research, capturing insights and making things.

The Fellowship team and anchors stayed with a local family of miniature painters, quickly acclimating to village life to understand the significance of individual crafts and artisans. Fellows were presented with a set of challenges that preceded the design process: using only existing and locally sourced materials, using only existing artisan skills and craft, involving the personal interests and aspirations of artisans, understanding the market audience and distribution systems for craft products. The Fellowship team reflected the spirit of the village itself: Seven individuals from New York to New Delhi in backgrounds ranging from lifestyle and product design to media, film and marketing, came together in Samode to collaborate, share ideas and work closer in an interdisciplinary way.

SAMODE village