Abstract
Craft in India is as old as the civilization itself and contributes to preserving art, culture, identity and storytelling (Dayinee and Priya 2020). The rich textiles tradition of India, with an abundance of natural resources, diverse climatic conditions and indigenous communities, have contributed to its ubiquitous and unique craft heritage. They are laden with perspectives of wellbeing and co-existence, a living heritage, expressing beauty and culture, community happiness and sustainability [1]. Indigenous communities create shared experiences within, socially transiting traditional values and identity associated with craft practices, from one generation to the next [2]. Madhavi Gandhi in her talk states, ‘All objects have a story to tell, and with objects that are handmade, the stories are personal, sometimes emotional and largely cultural’ [3]. Different crafts in India communicate unique varied embodied experiences and express emotional values. Additionally, Indian craft has emerged as a major export in recent years, proving its potential to meet global consumer demands [4]. However, India faces a paradoxical situation with reference to its crafts [2]. Craft here is often pushed outside everyday fashion practice, making going to market a challenge for artisans. Although crafts do not exist in isolation to mainstream fashion, they are often linked to other parts of the creative economy and are accompanied by a sense of pessimism, perceived as representative of a ‘sun set sector’ [2] and sometimes equated with manual labour. Contrarily, the United Nations Educational, Scientific and Cultural Organization (UNESCO) posits that this industry has massive potential for income generation by fostering its cultural assets (Dayinee and Priya 2020). However, as documented in the Sustainability of Rural Artisans journal, India continues to see large scale migration of many craft communities to urban centres in search of unrelated but more profitable employment opportunities [5, 6].
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Similar content being viewed by others
References
Gage K, Pasricha A (2020) Editorial—fashion in India. J Design Creative Process Fashion Indus 12(2):163–171
Kotlipalli P (2018) The values of craft: towards an economics of the common good
Gandhi M (2017) Narrative design—Learnings from India
Liebl M, Roy T (2003) Handmade in India: preliminary analysis of crafts producers and crafts production. Econ Political Weekly 38(51)
Bellampalli PN, Kaushik R (2018) Rural urban migration in India: types. challenges and opportunities. Manpower J II(3):59–71
Solanki S (2008) Sustinability of rural artisans. Econ Pol Wkly 19(43):24–27
McCullough M (1998) Abstracting craft: the practiced digital hand. MIT Press
Globallinker (2017) The CraftMark initiative for Indian handicrafts
Sandhu A (2020) Fashioning wellbeing through craft: a case study. J Design Creative Process Fashion Indus 12(2):172–192
Ravasi D (2021) Configurations of craft: alternative models for organizing work. Acad Manag Ann 15(2)
Finger JM, Schuler P (2004) Poor people’s knowledge: promoting intellectual property in developing Countries. World Bank & Oxford University Press, Washington
Khandual A, Pradhan S (2019) Fashion brands and consumers approach towards sustainable fashion. In: Muthu DS (ed), Fast fashion, fashion brands and sustainable consumption, pp 37–54. Singapore: Springer, Singapore
Amritha B, Suresh K (2020) Sustainability is the new black: exploring website communication practices of Indian sustianable fashion brands. Fashion Style Popular Cult, 539–558
Ptal (2021) Indian handicrafts diverse, complex & colourful well this one is healthy too !!
HeartforArt Trust (2018) How you can help make India’s arts & crafts community globally competitive & improve livelihoods
Chamikutty P (2013) Problems facing the Indian artifacts sector
Kala I (2017) TBI blogs: how supporting India’s Handcrafted products can also help protect the environment
Arewa O (2016) Cultural appropriation: when ‘borrowing’ becomes exploitation
Kaul S (2018) Indian arts and crafts—$4.5 billion domestic industry, how its dynamics are changing with ‘Mobility’
Dasra (2013) Crafting a livelihood: building sustainability for Indian artisans
Khaire M (2011) The Indian fashion industry and traditional Indian crafts. Bus Hist Rev 85(2):345–366
Khatri Z (2020) Interview with Zakiya Khatri. (J. Morris, & S. Gupta, Interviewers) Delhi, India
QAA (2019) Subject benchmark statement: art & design. Retrieved from QAA: Subject Benchmark Statement: https://www.qaa.ac.uk/docs/qaa/subject-benchmark-statements/sbs-art-and-design-17.pdf?sfvrsn=71eef781_22
University of Alberta, Office of Sustainability (2013) What is sustainability? Edmonton, Alberta, Canada
UNDP (2022) UNDP
Hickel J (2020) Less is more. Cornerstone digital
Gupta S, Srivastava I (2021) Crafting narratives: co-producing content for social storytelling of indian, craft-based brands. Global fashion conference, Warsaw, Poland. Warsaw: Global Fashion Conference
Kolb D (2015) Experiential learning: experience as the source of learning and development. 2nd Ed. Pearson Education
Acknowledgements
The authors would like to thank the British Council, Pearl Academy, India and Manchester Fashion Institute. Manchester Metropolitan University, United Kingdom for their support. This project was only possible because of their constant support. We are thankful to Shalini Gupta from Pearl Academy (PA) India, and Dr.Elizabeth Kealy Morris of Manchester Fashion Institute (MFI), Manchester Metropolitan University (MMU), United Kingdom for planning and bringing this project together. The supporting team from both institutions comprises of Sabbah Sharma, Parag Goswami, Henna Parimoo, Amitesh Singhal, Aditya Mittal, Harroop Grang, Megha Khanna, Ishi Srivastava (PA) and Sonia Genders, Poppy Cartwright and Paddy Lonergan (MFI). The IT teams from both institutions helped us with all platforms and technical aspects. We thank the artisan designers, Krishna Velji Vankar, Laxmi Puwar, Suresh Velji Vankar, Adil Khatri and Zakiya Khatri for sharing their heritage, craft and knowledge with us. They have supported the project with immense faith in our abilities. Our students have been wonderful throughout the project, we thank them for their dedication, commitment and hard work to make the film and pitch presentation. Lastly, we thank all the authors we have cited in this paper.
Author information
Authors and Affiliations
Corresponding author
Editor information
Editors and Affiliations
Rights and permissions
Copyright information
© 2023 The Author(s), under exclusive license to Springer Nature Singapore Pte Ltd.
About this chapter
Cite this chapter
Gupta, S., Srivastava, I. (2023). Foregrounding the Value of Traditional Indian Crafts: Voices from the Fringe. In: Gardetti, M.Á., Larios-Francia, R.P. (eds) Sustainability Challenges in the Fashion Industry. Sustainable Textiles: Production, Processing, Manufacturing & Chemistry. Springer, Singapore. https://doi.org/10.1007/978-981-99-0349-8_14
Download citation
DOI: https://doi.org/10.1007/978-981-99-0349-8_14
Published:
Publisher Name: Springer, Singapore
Print ISBN: 978-981-99-0348-1
Online ISBN: 978-981-99-0349-8
eBook Packages: Earth and Environmental ScienceEarth and Environmental Science (R0)