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This article is part of our Design special section about the reverence for handmade objects.
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Chintz, khaki, calico, gingham and yes, pajamas: India’s role in the global textile trade has been so profound that its lexicon has shaped the way we describe fabrics, patterns and clothing. Similarly, Indian design motifs have remained durable worldwide symbols: If it’s eternally chic paisley you want, look no further than a silk scarf from Yves Saint Laurent.
One word not typically associated with Indian aesthetics, however, is “modernism.” The world’s appetite for color and exuberant detail has kept the country’s tiger, peacock and teardrop motifs in circulation.
Brinda Dudhat, a 29-year-old design entrepreneur in the Indian state of Gujarat,66jogo casino is determined to connect her country’s pattern-rich textile heritage with a modern, abstract sensibility. Founded in 2019 in the city of Gandhinagar, her firm, Morii Design, collaborates with more than 160 textile workers in 12 villages across India to produce vibrant wall hangings, room dividers and artworks using traditional techniques, some threatened with extinction.
Ms. Dudhat is equally committed to the artisans’ well-being, offering paid training and upfront compensation through a transparent fee system that takes into account the size, complexity and urgency of each project.
India has a complicated relationship with modern design. In the late 1950s, the government invited Charles and Ray Eames to meet designers, artisans and architects throughout the country, to propose ways to bolster its flagging craft industries and improve the quality of their production. Among the couple’s recommendations was the establishment of a design school modeled on modern European institutions like the Bauhaus.
ImageA Morii Design piece featuring contemporary Rabari hand embroidery crafted over patchwork made from Bela block-printed fabric, combined with naturally dyed cotton and silk fabrics.Credit...Morii DesignWe are having trouble retrieving the article content.
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