Punam Kalra highlights why partaking of the goods produced by local artisan communities is the need of the moment, both socially and ecologically
In a world of stringently catalogued materials and well-documented sourced pieces, the beauty of what is produced locally would be easy to overlook. But the ethnic pride demands to be heard. The gentle strokes in hand-painted pieces, the intricate weaves in carpets and the well-proportioned carvings in furniture speak of artisanal glory that should be reason enough to go local. Amid the realisation of the artistic lure in such elements, the approach gives a first-hand engagement with the local art community that infuses sensibility to all the collaborative creations. Where there is a ‘local’ touch, there is more than what we see — craftsmanship, a small town priding over the origin of the style and a story that the patterns yearn to tell. The localised style is both beauty and lore, all in itself. Their aesthetic sparks a connection with the story in the creation of a piece. Handwoven fabrics carrying a cross weave come out as an Ikkat, while block-printed kalamkari or chintz go from one hand to another to complete the essential look. Different people from different locations, each possessing their flair, come together to make a single piece of fabric for a locally-sourced design. Variations in printed Jaipur cotton, plain Benaras silk and Kashmir Crewel Wool et al, become a great choice for carpets, bed linen and other interior accessories that echo their legacy. Breathable counterparts in chenille cotton or plain linen befit the upholstery more than any other material. Chenille cotton looks exactly like what it means in French — a caterpillar! Contemporised design collections have a soft spot for quilted combinations that create a unique statement with the assorted character. A skillful play of the weaves, patterns and dyes articulate the theme of a space that embraces the local vibe.
The native colour palettes are all about the extremes — they are either vivid or a simple neutral. A dash of artistry brings to the fore a kaleidoscopic mix with walls finished in the araish style from Rajasthan or red oxide floors prominently found in South India. Intricate works of Palitana or Athangudi tiles make a stunning native statement with a stimulative tactile finish that live up to the all-local standard of perfection. The hues also favour a regional theme — vibrant hues with embroidery and fabrics possess a northern touch, while neutrals with metallic brass and brunette tints usher in the southern vibe. More elements such as pillars, window shades, decorative niches and other modes of ornamentation explore the cultural roots in a maximalist sense.
When there is a call for extravagance, particular styles and time-honoured techniques come into play. Rich stone inlays in tables, symbolic motifs on its sides and mythical figurines which form a centrepiece, indoors, owe their chimaera to local craftsmanship. The authentic charm is overstated when marked by folk art or native murals in terracotta or brass that celebrate the silhouettes, the organic paints and the lovingly handcrafted make. Metal screens, latticed partitions and other scaled-up embellishments honour the local craftsmen’s eye for detail, aestheticised accuracy and harmony. The creations uphold the fact that metals, earth, and other naturally sourced materials are best left in the hands of our native artisans.
On an eco-sensitive note, an interior boasting some hand-woven rattan panels in the seaters, cushioned bamboo ottomans, cane sideboards or wicker showpieces stay light on the sustainability scale. Every element of the interior — luminaires, shelves, louvres and more can undergo an eco-friendly experiment at the hands of skilled karigars. The mark of authenticity and low-energy production make the line of décor enter a whole new dimension of design that is sensible, sensorial and sensational — all at the same time.
Ethnic pride is all about bridging the gap between the old and the new, and exploring the in-between. Most local elements become the voice of a culture or a community or both. It is seen that restored relics, antiquated accessories and pre-loved charms revive the life of the one-of-a-kind pieces of art and make a striking, conversation-worthy corner in space. Layering the interior with repurposed brass chains, upcycled tassel screens or any other piece of striking local statement completes the picture. There is a second chance for the culturally sound pieces to represent their rich past with a nostalgic touch. When reassured with ethical sourcing of materials, these pieces open an array of benefits that further go beyond the beaut factor.
And not to limit the representation in its pure form, the local techniques can and should be explored to create works or pieces that have a worldwide appeal taking the craft from ‘local’ to ‘global’. ‘Going Local’ ranks the domestic, all-natural line of making, over the market of synthetic chemicals, subtly encouraging conscious consumerism down the road. The reduced carbon footprint coupled with the support for local communities upstages the ‘go local’ trend in design fraternity much higher, compared to other fields. This conscious trend would mark the beginning of a socially, ecologically conscious future in the design world.
(The writer is the Creative Director of I’m the Centre for Applied Arts, a design studio specialising in bespoke interiors, furniture and accessories.)
