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The Hindu
4 hours ago
- Entertainment
- The Hindu
India and the curious case of the collectible
Back in 2019, to mark a decade of his brand Raw Mango, designer Sanjay Garg released a set of 10 objects that were billed as collectibles. They included items like the body armour of a Theyyam dancer made of acrylic, a terracotta bull inspired by an ancient Iranian artefact, and digestive powders stored in beautiful wood and brass boxes. It felt both puzzling and a power move because on the surface they appeared unrelated to the beautiful saris he's known for, and yet there was a clamour from his audience base to possess it. 'Creative people are not uni-dimensional,' Garg tells me, on the phone from Chiang Mai in Thailand, where he's browsing through a flea market. 'I wanted to share with people the things I love — antiquities, culture, food — which in a way are a part of my brand. And I wanted them to be seen as such.' Since then, the number of craft and design-centric brands in India that have launched verticals dedicated to collectibles has exploded. These collectibles are often items that are extensions of the brand's main product lines, but created with more labour and in single piece or limited numbers. Examples include embroidered panels that reproduce the works of renowned artists such as Neelima Sheikh, Ranbir Kaleka and Nikhil Chopra by Milaaya Art Gallery, the collectibles vertical of couture embroidery firm Milaaya Embroideries. Lamps and decorative objects made from hand blown glass that mirror the architecture of South India's temples, by the creative minds behind Delhi's Klove Studio. Decorative boxes and hair pins by the House of Sunita Shekhawat (the jewellery company specialises in meenakari enamelling). And Jaipur Rugs' collectible carpets label, Aspura, which sells genuine antiques, and, as the brand's artistic director Greg Foster puts it, 'antiques of the future designed by prestigious names from contemporary culture'. The tone was set by their launch at India Art Fair 2025, which featured limited edition carpets conceived by artist Rashid Rana. 'Adding objects that explain who you are, is a lovely way to expand your brand and your community. In a way, you're deepening the linkage between your creations and your consumers.'Deepshikha KhannaDesigner Shift in meaning and approach All of this, some argue, flies in the face of the traditional definition of a collectible, which conventionally is described as an object that by virtue of its age, rarity and backstory is considered valuable by a collector. For example: an antique Chola bronze statue, the draft manuscript of Ponniyin Selvan with author Kalki's notes, and in the design space, chairs designed by Swiss architect Pierre Jeanneret, in the 1950s, when he was building Chandigarh. 'It's human nature to collect material things: shells, coins, textile. An object becomes a collectible [in the monetary sense] if someone is willing to set up a transaction around it and pay a value far higher than its core value,' says Ashvin Rajagopalan, founder of Chennai art and collectibles gallery Ashvita's. 'For that to happen, it takes time; the object has to become rare and have a backstory that moves the market. To take something that's new and to say that it's collectible, giftable, limited edition, rare, is to make it hold value. I think these are more marketing labels than a true collectible.' Ranvir Shah, a noted collector of art and antiquities, counters this. 'Brand extensions are what a creator thinks are commercially valuable items, which over a period of time may also appreciate,' he says. Shah runs Chennai-based Prakriti Foundation that regularly hosts events around art, culture and literature. 'People like my father, for instance, collected Lladró products,' he adds, referring to the Spanish maker of fine porcelain home accessories and decorative objects. Today a legacy brand, its vintage productions are considered highly valuable by collectors. 'Every time he travelled overseas, he would buy something he could afford, thinking it would appreciate in value. And they have. A Ganesha idol he bought for ₹5 lakh has gone up in value to over ₹8 lakh.' Another example comes from Srila Chatterjee, co-founder of Mumbai-based design gallery 47-A and curator of Baro Market, a digital marketplace that regularly hosts offline sales of art and design-centric collectibles. 'All the incredible work that [multi-disciplinary artist] Riten Mozumdar did for Fabindia [1966-2000] is a great example. People like my mother paid next to nothing for his textiles back then. Today, retrospectives of his work are hosted at top galleries, which makes his work collectibles. In my opinion, if someone is willing to pay a premium for an object that they want to keep in their homes, then it's a collectible,' she says. 'Creative people are not uni-dimensional. I wanted to share with people the things I love — antiquities, culture, food — which in a way are a part of my brand. And I wanted them to be seen as such.'Sanjay GargDesigner Where craft takes centrestage In the Indian context, many of the commercially available objects that are labelled as collectibles are touted to be rooted in one or more traditional craft. If the connection is authentic, that itself makes the object a collectible, opines Manju Sara Rajan, co-founder of Bengaluru design gallery KAASH. The space works with internationally-trained designers and hereditary Indian craftspeople to create unique design-centric objects. Such as lights created by Italian designer Andrea Anastasio, collaborating with shadow puppetry artists from Andhra Pradesh, and furniture inspired by Chettinad's kottan basketry weave, designed by Bengaluru-based architect David Joe Thomas. 'By virtue of being handmade, such objects are few in number. They are usually the product of a special collaboration and you're not going to be able to buy them elsewhere. So, you are buying into a craft legacy that may not exist in the future.' There's also an argument to be made, say industry insiders such as Deepshikha Khanna, ex-creative director of Good Earth, that extensions in the form of limited-edition collectibles are a clever way to expand a brand's reach by appealing to a key reason of why an individual collects — to become a part of a community that appreciates the same things you do. 'At the start, your customer is going to buy into your brand at a very superficial level by buying whatever your base product is,' says Khanna, who counts among her acquisitions Garg's Theyyam body armour. 'But how do you get them to go beyond that? Adding objects that explain who you are, is a lovely way to expand your brand and your community. In a way, you're deepening the linkage between your creations and your consumers.' To do just that, lighting designers Gautam Sheth and Prateek Jain created a sub-brand, collektklove, that offers design enthusiasts smaller products that are offshoots of what they create for their main brand Klove Studio. Examples of Klove Studio's work can be found in the bold, experimental chandeliers installed at venues such as Ran Baas The Palace hotel in Patiala. 'We realised there's an aspirational market of young professionals who appreciate good design,' says Jain, explaining why they decided to introduce smaller objects in a price range (from around ₹25,000) more affordable than their luxurious chandeliers. 'These are objects, like table and floor lamps, which can be easily placed in homes, We're also working on collaborations with designers whose aesthetic we like to create premium collectible products,' he adds. Depending on factors such as how many pieces of a collectible design object are being produced, the designers, the craft involved, and the storytelling behind it, prices can range from a few thousand rupees to six-figure tags. 'Since we started in 2022, we've seen consistent growth of about 20% year-on-year,' reveals Tarini Jindal Handa, founder of Mumbai-based design gallery Aequo whose collaborative work with rural artisans in Karnataka and the Parisian designer Valériane Lazard, won the gallery a contemporary design prize at PAD Paris 2023. 'Earlier, the U.S. was our dominant market. Now 40% of our buyers are Indian. Clearly, they're drawn by the uniqueness and connection to their culture and heritage.' 'Earlier, the U.S. was our dominant market. Now 40% of our buyers are Indian. Clearly, they're drawn by the uniqueness and connection to their culture and heritage.'Tarini Jindal HandaFounder, Aequo Newer collectors lead the way The rise in labels offering collectible design products, say experts, is in direct response to the consumer's appetite for consumption. Which in turn is being fed by higher levels of affluence, increased awareness of global trends, and, to some extent, the recognition Indian craft practices have received from global design labels. Remember Dior x The Chanakya School of Craft — the hand embroidered mise-en-scène for the brand's 2022 spring-summer show in Paris, for instance? 'When I first arrived in India 10 years ago, very few people were buying collectible design, and there was a handful of designers creating them. The scene has completely changed now,' says Foster. 'Today you can see the appetite in collectors who are already buying from fairs like Design Miami, PAD London and Paris, and from design fairs such as Design Mumbai. Given that the contemporary art market is so developed, definitely the next commercial frontier is design.' A common refrain is that those who find art too daunting to invest in consider design more approachable. 'Newer collectors especially no longer see art as equal to a painting. It's also in the sofa that you might sit on or the jewellery you wear,' Chatterjee insists. Another factor that's played a 'significant role' in boosting consumption of design products: COVID-19. 'I've seen studies that reveal how people, since they were spending more time at home, became interested in what their homes looked like,' reveals Chatterjee, which she says resulted in greater investments in art, interior design, and a big reason 'why I feel a lot more things are being collected now than ever before'. According to a recent report by the U.S.-based research firm Grand View Research, India's design-centric collectibles market is predicted to hit revenues of around $22 billion by 2030. A valuation that not only includes art, design and antiquities but also objects with lived histories — such as furniture, stamps, currency, figurines, vinyl records, action figures, books, vintage tech and printed imagery. Which could well mean more collectible design being produced. As I prepare to hang up, Garg tells me he's back to designing a new series of objet d'art. When he mentions a toothpick, I wonder if he's only teasing. The writer is based in Mumbai and reports on travel and culture.
Hindustan Times
a day ago
- Lifestyle
- Hindustan Times
How the freedom fabric is now a style statement
Long before it appeared in lookbooks and fashion week runways, khadi was spun by hand in homes across India. Made from cotton, silk or wool, the fabric became a political statement in the early 20th century when Mahatma Gandhi urged people to weave their own cloth instead of buying imported textiles. The charkha, or spinning wheel, symbolised self-reliance, and khadi became a daily act of resistance. Labels across India are giving khadi a modern vocabulary. Post-independence, khadi shed some of its political charge, taking on a more utilitarian role. Through the '70s and '80s, it was sold largely through government emporiums — plain kurtas, handloom saris, ceremonial attire. It was heritage-heavy, often austere. Today, that image is shifting. A younger generation of designers is placing khadi in cropped jackets, relaxed trousers, breezy shirts — even hoodies, shorts and co-ord sets — honouring its history while propelling it into the present. Driving the revival Labels across India are giving khadi a modern vocabulary. Anavila pairs understated saris with tailored separates, Raw Mango treats it as a sculptural textile with bold colours and textures, while Eka adds a bohemian ease. Tilla experiments with prints; Eleven Eleven focuses on natural indigo and meticulous hand-stitching. At Kardo, khadi is the starting point for plant-based dyeing, ajrakh block printing, ikat weaving, jamdani, and even handloom denim. 'We reinterpret this storied fabric and fuse it with contemporary design, dyeing it with plants, block printing it in Ajrakh, pairing it with Gond art, and reinventing it as handloom denim,' says founder Rikki Kher. Ashish Satyavrat Sahu from Khadiwala Designer says, 'Every thread carries the touch of the maker. It's freedom you can wear while also being earth-friendly, timeless, and full of character.' Sahil Meenia of Hindostan Archive connects it to its political roots: 'Gandhi's vision of self-reliance and empowerment is finding new relevance as the world turns to sustainability. We've worked with Vankars in Bhujodi village, using kala cotton on handlooms and pitlooms. It's not just fabric, it's process, people, and stories.' The making of the fabric Khadi is still made entirely by hand. Fibres are cleaned, carded, spun on the charkha, then woven on handlooms or pitlooms. Many artisans use natural dyes for soft, earthy tones. The process produces subtle variations in texture and weave. No two lengths are alike. Designers treat these details as marks of their authenticity. Why it's more relevant than ever Khadi fits neatly into today's fashion priorities. It is sustainable, biodegradable and energy-efficient, aligning the trend of mindful consumption. Social media has also reframed it as chic and versatile: khadi saris with sneakers, shirts with denim, jackets over dresses. Sales through the Khadi and Village Industries Commission are growing, but the bigger change is cultural. It is a signifier of Indian fashion becoming rooted, responsible, and globally relevant.
The Hindu
30-07-2025
- Entertainment
- The Hindu
Sanjay Garg, Hanut Singh and India Art Fair to host Incandescent 2.0 in Hyderabad
Textile designer Sanjay Garg and jewellery designer Hanut Singh will present Incandescent 2.0, a meeting point of art, textiles and jewellery, in collaboration with the India Art Fair. Sanjay's flagship store Raw Mango will host an all-day exhibition curated by Belgian designer and stylist, Isla Maria Van Damme. The first edition of Incandescent was held in Delhi in 2023, showcasing Hanut's jewellery with global aesthetics and Sanjay's contemporary line of saris and garments worked upon by craft clusters in Rajasthan, Madhya Pradesh, West Bengal and Varanasi. Antique marble statues were used to display the statement jewellery pieces. Hanut, whose jewellery has adorned personalities such as Madonna, Meryl Streep, Rihanna, Beyoncé and Kareena Kapoor, says working with Raw Mango and the India Art Fair 'introduces structure, scale, and systems that are different from my usual rhythm. These collaborations also help me see my own work through a different lens, reframing how it's presented and how people engage with it.' Sanjay does not look at art, design, fashion and culture as compartmentalised silos: 'Design is not just fashion and what's visual. The idea of design is to create experiences that spark conversations on culture, heritage and history.' Hanut, who hails from the Karputhala royal family in Punjab, reflects on his shared interests with Sanjay: 'Many of my pieces are drawn from my time in the hills — their stillness, their organic forms, and that sense of awe at what reveals itself unexpectedly. For Sanjay too, Nature is a grounding force. You can see it in the way his Hyderabad store is anchored in a forest-like atmosphere.' In his first showcase in the city, Hanut will be presenting a mix of classics and current explorations. 'One of the standout pieces for me is the emerald windchimes; they combine technical artistry, with emeralds cut into delicate triangles, and a sense of lightness, movement, and balance.' Hanut's design inspirations range from history to architecture and Nature, reflected as forms of daggers, swords, or leaves. Sanjay and Hanut first collaborated for Raw Mango's 2021 collection, Romantics. Sanjay recalls, 'The collection was rooted in European influence on Indian saris. Textiles drew from the Rococo period, developing a new language of botanicals — flora and fauna — in woven form. It's the same distinctly European language that influences Hanut's work, it made perfect sense.' Hanut says that their interests, rooted in craft, heritage, modernity, and luxury, helped them complement each other's work. 'Our languages may not seem like obvious companions at first glance, mine more maximal and Sanjay more of a minimalist, but they sit beautifully together — both drawing from the past while reimagining it for the present, with an eye to the future.' They also discovered that they had clients in common — Kiran Rao, Mira Nair, and Karisma Kapoor. Hanut says, 'So perhaps the challenge isn't in the aesthetics themselves, but in the wearer — in whether she has the confidence to mix genres. Many of the women who inspire me, like Gayatri Devi or my grandmother, Sita Devi, did exactly that, pairing their chiffons with Cartier or Boucheron, rather than jadau or more traditional forms.' Sanjay adds that the curation of found objects and textiles reflects how their perspectives exist together. As for choosing Hyderabad for the exhibition, Sanjay says it was one of Raw Mango's earliest markets. 'The city is an interesting mix of history and modernity. It is one of the most multicultural cities in the south — cosmopolitan, multilinguistic, even with their food.' (Incandescent 2.0 will be on view at Raw Mango store, road no.1, Banjara Hills, on August 6)
Time of India
03-07-2025
- Entertainment
- Time of India
Fatima Sana Shaikh's botanical cascading gown has dripping artistic notes
(Image Credits: Instagram) 'Dangal' queen Fatima Sana Shaikh has been giving co-actors a run for their money with her phenomenal acting and fashion skills. Creating a space for herself in the industry as a child actor, she's also setting style goals and has left the fashion gods in utmost awe. After wooing us in a stunning gulkand silk saree from Raw Mango, she recently blossomed like a flower, giving us the perfect taste of summer. Stealing our hearts in a striking off-white bodycon maxi dress with delicate embellished blue and beige florals, the sleeveless gown perfectly hugged her toned body and also featured a high slit on the side that added a raw edge to the dress. (Image Credits: Instagram) The botanical print simply cascaded down the gown, making it look like a true work of art, which eventually took centre stage. Letting the outfit do the talking, Fatima kept things minimal but not basic and added a pair of hoop earrings with some statement rings. Exclusive! Fatima Sana Shaikh reveals her wedding plans; says 'have no intentions anytime soon' However, it was her footwear that stole the show, as she wore a strappy mustard heel that added the right amount of dramatic colour splash to her neutral aesthetic, making things go all the way interesting. (Image Credits: Instagram) On the makeup front, the 'Metro... In Dino's, the actress opted for a natural base and decorated her eyes with a nude eyeshadow, mascara-laden lashes, and completed the look with a natural blush. Her sleek, parted hair added an overall romantic vibe and created a sensual palette, making it a polished and perfect date night fit for summer.
Time of India
28-06-2025
- Entertainment
- Time of India
Fatima's Sana Shaikh's latest saree look is basically a love letter to Bollywood fashion
Fatima Sana Shaikh is out and about promoting her upcoming film Aap Jaisa Koi (hitting theatres July 11), and if there's one thing she's proving, it's that no one wears a saree quite like her. Tired of too many ads? go ad free now Timeless, elegant, and effortlessly chic, Fatima is giving us major retro-Bollywood vibes with her latest look, and honestly, we're obsessed. Styled by Namrata Deepak, Fatima showed up at the trailer launch in a stunning gulkand pink satin silk saree from Raw Mango, and it was nothing short of dreamy. The colour? Absolutely radiant. The fabric? Pure luxury. And the detailing? Spot-on. With delicate floral zardozi embroidery and mogra-inspired motifs lining the palla like a dainty toran, the saree screamed elegance with a side of desi drama – perfect for wedding season or your next fancy dinner invite. She paired the drape with a sleek sleeveless blouse in the same delicious pink hue, keeping things refined but flirty. It's the kind of saree that doesn't shout, but subtly demands attention with its rich texture and shine. And when Fatima twirled in it? Chef's kiss. Of course, no desi glam look is complete without a little sparkle. She amped up the glam with statement earrings and rings from Amrapali and Tribe by Amrapali, just the right touch of bling to balance that understated saree glow. Her makeup was soft and fresh – think dewy base, muted tones, and that subtle shimmer on the eyes that catches the light just right. And don't get us started on the hair. Fatima's long, cascading tresses are basically a love letter to vintage Bollywood. The saree + long hair combo? A match made in glam heaven. She even dropped some gorgeous stills of the look on Instagram, and we couldn't double-tap fast enough. Fatima's love for sarees isn't new. From her retro Pero look in Metro In Dino opposite Ali Fazal to this pink perfection, she's been quietly building a solid saree game. Whether it's a bold colour or a delicate embroidery moment, she knows how to make six yards look like pure magic. Long story short? Fatima Sana Shaikh isn't just an actor to watch, she's fast becoming a saree style icon, one dreamy drape at a time.
