Edited By Toolika Gupta, Barun S Gupta and Rena Mehta

Knowledge is power and education is the means to achieve it. IICD is committed to the growth of the Craft sector through education. Education means over all development and growth of an individual and is much more than mere classroom learning. The faculty of research and innovation and preserving our heritage that teaches us many nuances is of prime importance when we talk of the crafts sector. A congregation of experienced and educated people in the sector of crafts, exchanging ideas and the research undertaken in this field, could create a powerhouse of learning. With this idea in mind, a conference on ‘Recent Trends and Sustainability in Crafts and Design’ was organised at IICD. Abstracts and full papers began pouring in. We received an overwhelming response from different institutes in India and from outside India too. Each one was unique and we realised the importance of a research platform in this sector. We received excellent papers from professors and students from IITs, NIFTs, NID, MSU Baroda, Lady Irwin College, G.B. Pant University, to name a few. Alongside the institutes, it was decided to invite our craftsmen, whose expertise is unparalleled and who have so much to offer in terms of skill and understanding of crafts. An artisan Panchayat was held, where eminent artisans from different craft fields were invited and an excellent talk ensued. The jajam on which they sat along with the faculty and staff of IICD and exchanged information in the dim light of the evening was a sight to behold. We were all mesmerised by the end of it. The candid conversation was enriched with information, experience and knowledge of each crafts person. Our Chief Guest Padma Shree Laila Tayabji, Dr Ghada H. Qaddumi (President, World Crafts Council, APR), all our session chairs, namely, Prof. Paul Singleton (Plymouth College of Arts, U.K.), Mr. Yunus Khimani (Director, City Palace, Jaipur), Mr. K.B. Jinan (Design enthusiast), Mrs. Devika Krishnan (Up-cycling enthusiast), Mr. Sharada Gautam (Head of crafts, Tata Trust), Ms. Ritu Sethi (Craft Revival Trust) and Dr. Anamika Pathak (Curator at National Museum, New Delhi; Chairperson of the Textiles and Clothing Research Centre (TCRC)) all the delegates, artisans, craftsmen, presenters and audience added much value to our first International Conference on crafts at IICD. The papers that were presented talked about the need for marketing, documentation and diversification of crafts alongside innovations in the field of dyeing and printing. The people who were present in the conference benefited from it and those not present, have this proceedings book to read from. I wish you all an enriching journey through the course of this book. I have to thank Prof. Bhargav Mistry, Dean at IICD, for his guidance and many thanks to Dr. Barun Shankar Gupta, Head of Research at IICD, who painstakingly worked for the success of this conference and for the compilation of this book. Toolika Gupta Director IICD

A Treatise on Recent Trends and Sustainability in Crafts & Design Volume-III, 2023

This book is a result of the Sangishthi 2021, a conference held online, in the series of bienniel conferences in Crafts and Design at IICD.

A Treatise on Recent Trends and Sustainability in Crafts & Design Volume-II, 2022

This book is a publication of the conference proceedings at IICD, Jaipur in Nov 2019.

The human curiosity of seeking for something new keeps us moving forward, however with the paradigm shift in catering to the demands of the market and preserving the dying crafts like string puppetry, bamboo craft etc. while bringing awareness about the social scenarios amongst the budding designers as there is an entire world within a world to be discovered. Even though the global market seems to be overflowing with the creative energy yet sustainability of the same needs to be looked into. Even though there is a culturally rich and skilled craft market in India yet there are bigger market issues prevalent that cannot be neglected. With all the globalization, we tend to miss out on what Justin Mc. Gurik said " craft is what design was before it became 'design'. " interior design, therefore, could be an effective medium to embellish these craft while keeping the sustainability factor intact. The craft industry seems to be defused and loosely organized and that there is a need for the national centre for design and product development to work in a more established manner. Both craft and design go well hand in hand and rather the modern day calls for an integration of the creative professions for a sustainable future.

FormAkademisk - forskningstidsskrift for design og designdidaktikk

The papers appearing in this issue comprise the proceedings of the 1st Biennial International Conference for the Craft Sciences, held online during 4–6 May 2021, initiated by the Craft Laboratory, affiliated at the Department of Conservation, University of Gothenburg, Sweden. The Craft Laboratory was established in 2010 in cooperation with heritage organisations, craft enterprises and trade organisations, to empower craftspeople in the complex processes of making. The comprehensive agenda is to bring research into practice and involve craftspeople in the processes of inquiry. Among the operational tools are Master Classes provided for highly trained professional craftspeople in particular skills. Craft Scholarships are offered to craftspeople to investigate a problem or question in their practice, or develop ideas to improve methods or techniques. The site-specific workshop capacity in Mariestad allows craft researchers to implement research questions in practice and to perform full...

The rich crafts heritage of India is unique and diverse as its customs and traditions. Over 30 million craftspeople still practice crafts as a live tradition and/or as an economic activity. Crafts in India has been continue to contribute to design education in numerous ways. In fact, the very approach to design education in India was laid on the foundations of crafts practices in the country.

Indian institute Of Craft and Design, 2019

Oral registration is losing its validation and crafts in India are demanding a contemporary, tangible outlook, that is; a traditional background and palpable dynamism. Thus, the conventional wisdom appears and get adapted through new media channels. The older semantics is knitted for sustainable messages to perceive differently. India’s perceptibility has more sweeping consolidation with folk craft and narrative amalgamation. It makes India rich and diverse in perceptibly and tolerance for smaller enterprise and individual entities. The world has given centre stage to Indian sustainable ideas and patronised the narratives that it imbibes on. However, it loses comprehension in understanding the closest meaning in its value and perceptibility. Since the early 60s, when propagation of design systematically was planted to flourish, the domination of system over craft narratives could be observed. Design can homogenise a particular history; as it happens with most template mechanical processes. At the same time, the craft is ever-evolving. It endorses sustainability at the vernacular level, this conflict in systematically utilising techniques, facts, and ideas or artisans to the fullest, which is angst to stop this extinction nature industrialisation in India. Shifting Industrial Impact—The time between the occurrence of the Great Exhibition, London in 1851, and the Bauhaus Movement in 1919, gives us the necessary background to observe Industrial Revolution in Europe, and later when it comes to global anticipation. “India has played an important role in shaping the Sustainable Development Goals (SDGs). Therefore, it is no surprise that the country’s national development goals are highlights of the SDGs. As such, India has been effectively committed to achieving the SDGs even before they will fully materialise its true worth.” (Voluntary National Review, 2017). The endorsement of seventeen goals in Voluntary National Review-2017 has also mentioned “Sabka Saath, Sabka Vikas”, the slogan given by the government. It aims at actions to eradicate poverty from India. It will redefine the values of organisation such as Khadi, and such state and central level self-help groups that promote craft narratives. In the age of retail boom, it appropriates agricultural policies. It invites Foreign Direct Investment, yet the challenge to encourage local craft stays in question. The paper is an attempt for analysis of several such policies that India has evolved as a developing country. Critical comparison with policies of developed nations is under anticipation. All of the above coincides with issues of political moves, change in governance, recession in global financial markets, and success stories of other alternative models.

Granthaalayah Publications and Printers, 2024

One of the few decades-old civilizations that are still in existence where craftsmen and weavers have vital roles in India in creating exquisite unique arts, crafts, and products that are indigenous to its artisans and karigars. The innovative charm, application, demand, philosophy, relevance, and character of this industry are what make it extraordinary. One District One Product (ODOP), the state government's vision, is regarded as a groundbreaking attempt towards acknowledging the genuine potential of a district based on the strengths of a district and national priorities. indigenous knowledge of its crafts person, rural entrepreneurship, employability for their livelihood, and showcasing each district on a global platform to fuel economic growth and preserve their sustainable textiles and crafts forms. This initiative would also help in preserving and developing local crafts and skills in terms of artistic packaging and branding. The production of exclusive gifts and souvenirs would get a direct connection with boosting tourism. We have attempted to highlight the SWOT (strengths, weaknesses, opportunities, and threats) that rural craftsmen must contend with in this essay. Researchers, organizations, and the government sector may utilize this SWOT to help this region grow to support and promote weavers and other craftspeople. The insight of this paper focuses on the commercial and ecological tools equipment and other resources used by the aboriginal artisans. The ambition of this paper aims to provide an understanding of the potential handloom and crafts commercial sectors in Varanasi, Uttar Pradesh, where an increasing number of ODOP producers and craftsmen have affiliated themselves with e-commerce platforms and benefit from it as they can sell their products directly to the consumers thus eliminating the role of middlemen. This paper will help the preservation of craft people's resources and its move towards sustainability and revival through modernization and publicity. The sector holds great potential and can generate numerous jobs for weavers and artisans.

2021