Obeetee’s Viraasat assortment was born in Indian designers’ ateliers

Usually, carpets are seen in snippets — peeking out from underneath espresso tables and sofas. Meaning their intricacy and element can generally be neglected. The items that make up Obeetee’s new Viraasat, nonetheless, are supposed to be marveled at of their entirety. Launched final month at an occasion in New Delhi, it brings collectively 4 designers — Tarun Tahiliani, Anju Modi, Anita Dalmia and Ashdeen Z. Lilaowala. Every has interpreted the nation’s wealthy cultural heritage in their very own means. Dalmia, as a life-style designer, is thought for her wallpapers, cushions and extra, whereas the opposite three are main trend designers.

“With Viraasat, we needed to seize the timeless great thing about Indian weaving, crafted completely to suit into the modern-day décor narrative,” says Angelique Dhama, president, Obeetee Carpets – Retail. “This assortment is especially particular as a result of it options carpets that may be nice to your wall simply as a lot as the ground and may be gifted as a trousseau, symbolising the start of a brand new journey,” she provides.

Tarun Tahiliani
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This isn’t the primary time the model is collaborating with designers. Previously, they’ve labored with JJ Valaya, Shantanu & Nikhil and Tahiliani as effectively. Dhama says, “All these designers convey a novel artistry to the desk, however what unites them is their deep appreciation for Indian craftsmanship. For instance, previously, Tarun Tahiliani drew inspiration from Chikankari embroidery, Abraham & Thakore from handwritten letters and bandhani and Ikat, Shantanu & Nikhil from India’s regimental previous, and JJ Valaya from jamavar and paisleys. By means of these collaborations, we discovered that carpets don’t must be confined to conventional stable, modern, or Persian designs. As a substitute, they’ll function a canvas for numerous types of artistry, integrating components like embroidery that have been historically reserved for attire. This opened our eyes to the huge potential of carpets as autos for storytelling and cultural expression, pushing the boundaries of what carpet design may be.”

The designs of the Viraasat assortment options the whole lot from Mughal Gardens to Asian-inspired cranes, and attracts from India and its many strategies, designs and vistas. “We selected to work with a number of designers as a result of we needed Viraasat to be a tapestry of various views. Every designer has their very own distinctive voice and imaginative and prescient, which permits us to inform a richer, extra layered story. Indian heritage is extremely numerous, and we felt that we should always translate that variety by way of design by bringing collectively the business’s most celebrated inventive maestros,” says Dhama.

Ashdeen Z. Lilaowala
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Inspiration in Rajasthan

Every of the 104-year-old firm’s rugs is handmade by the model’s craftspeople in Bhadohi, Uttar Pradesh, which like Mirzapur has weaving clusters steeped in inventive heritage. Dhama notes that each hand-knotting and hand-tufting have been used right here to make sure that they are often bought by a wider viewers. She explains, “Whereas we stay dedicated to conventional hand-knotting strategies for the premium vary within the assortment, we now have additionally crafted some rugs utilizing the hand-tufting approach to cater to householders who’re on the lookout for economical choices.”

Anju Modi
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For designer Anju Modi, who has created costumes for films, her designs take inspiration from Rajasthan’s artwork historical past. She says, “I launched into a journey to discover the wealthy cultural heritage of Rajasthan, the place I found the traditional artwork of Kishangarh portray. This conventional artwork type, with its intricate black-and-white outlines and meditative ideas, captivated me.” In consequence, her two designs function thick black and white outlines on dual-toned lotuses, and for flora snaking skywards. “I discovered inspiration within the Kishangarh portray course of, and the colourful colors and complicated patterns of Vrindavan’s textiles,” she says.

Dhama confirms that there’s a rising curiosity in designs that resonate with cultural and religious significance. “Prospects are on the lookout for items that not solely beautify their areas but additionally maintain deeper that means.” In consequence, items like Journey Inside by Anita Dalmia options Krishna’s temple in Vrindavan, whereas each Tarun Tahiliani and Ashdeen Z Lilaowala deal with the nation’s different avifauna, with standouts rendering the peacock and the crane fantastically. Tahiliani’s designs take inspiration from Kashmiri kashidakari embroidery and conventional Pichwai work, whereas Lilaowala attracts on Persian and Oriental influences.

In consequence, items like Journey Inside by Anita Dalmia options Krishna’s temple in Vrindavan, whereas each Tarun Tahiliani and Ashdeen Z Lilaowala deal with the nation’s different avifauna, with standouts rendering the peacock and the crane fantastically. Tahiliani’s designs combine inspiration as numerous as Kashmiri kashidakari embroidery and conventional Pichwai work, whereas Lilaowala’s designs draw on Persian and Oriental influences.

Working with artisans, Modi was struck, she says, “by their dedication and talent. I discovered that the method of making these carpets is not only about approach, but additionally in regards to the collective spirit and devotion that drives their creativity.”

The author relies in Mumbai.