Take the example of the Sia’Z brand. Veena Hemlani, the brand’s designer, is a girl after my own heart. Like me, she dumped the traditional crochet ‘granny motif’ technique. Unlike me, she combined crocheting with gorgeous brocade to create glam clutches. Armed with a degree in fashion design as well as with needles and crochet hooks, Veena has also used trendy bangles to incorporate into her signature bangle bags. Veena says, “My university graduation collection was called ‘Diminishing Barriers’ which dealt with the intermingling of cultures to create a whole new global culture. I used elements from ancient Egypt, Moghul India, Elizabethan England and the Far East to create a line of evening wear.”
Studio Saubhagya, by Sonal Abarjatya, also uses textures and yarns in her work, but her way of expression has led to embroidered jewelry and accessories. This professional textural designer says, “My expertise (and passion) lies in surface ornamentation. I hand-embroider and hand-stitch every piece of jewelry. I have devised a design process by meticulous choice of the fabric, embroidery threads and embellishments. The motif is transferred on the fabric, the embroidery is completed and followed by embellishment with precious stones and pearls.”
While these are unique ways to incorporate culture into one’s handcraft, the finishing of the designers’ work is faultless. After all what’s the point in designing a product if the finishing sucks? Good finishing (and shine if you are working with silver and stones) is one of the factors that sets accomplished handcrafters apart from the cheap deals that ride the globe like virtual cowboys. I will address other factors in upcoming issues.
