After visiting her sister Shon’s textile exhibition Surface in Jodhpur, Manpriya reflects on her lifelong love for craftsmanship, shaped by her childhood and her mother’s deep respect for artisans.
When did your appreciation for handcrafted objects and textiles begin?
It all began with my mother. She had an innate love for bespoke craftsmanship—with her own looms in Banaras and Kanchipuram (two of India’s most famous textile hubs), artisans at home, and a house filled with handmade treasures. From jewellery karigars to potters from Gujarat, I grew up surrounded by artistry. But it wasn’t until I moved to London that I realised how rare and precious these traditions are, especially as they face extinction.
Do you have a favourite craft or textile tradition?
India’s crafts are so diverse that it’s impossible to choose one, but Banarasi weaving and Zardozi embroidery hold a special place in my heart. My sister, Shon and I had our wedding outfits woven in Banaras by the same artisans my mother worked with for years. The time and care they took make these pieces irreplaceable. Beyond textiles, I’m drawn to intricate stone carvings—I even bought a pair of life-sized stone lions for my first jewellery store in Delhi, Monpri.
How has your mother influenced your approach to craftsmanship?
She taught us to value the craftsman as much as the craft. It wasn’t just about the final product but about patience, process, and the beauty of imperfection. Each piece carries the vision and soul of the artisan. I’ll never forget the pottery horses we had at home—fragile yet beautiful, constantly being remade after breaking. They were a reminder of both the delicate and enduring nature of handmade creations.
Your sister Shon recently launched a textile exhibition in Jodhpur called ‘SURFACE’. What was the inspiration behind it?
Shon’s exhibition celebrated contemporary surface embellishment, elevating these crafts from “decoration” to true art. It gave long-overdue recognition to artisans, reframing their work as both innovative and timeless. Through her foundation, she hopes to preserve these traditions by encouraging research, curation, and innovation.
Was there a standout piece from the exhibition for you?
‘Sacred Geometry’ by Asif Shaikh was mesmerising—a white-on-white silk-linen embroidery using a chain-stitch. The threads came from Thailand due to India’s lack of silk embroidery threads, adding another layer of rarity. Placed against a jali window, the light transformed it, casting ethereal shadows. It was like discovering a new world every time I looked at it.
What do you prioritise when collecting handcrafted objects?
For me, technique and heritage come first. I gravitate toward pieces that reflect the purest form of a craft—timeless, precise, and created with care. It’s about longevity and the story embedded in the craftsmanship itself.
How do you view traditional crafts in contemporary design?
Traditional crafts are no longer just embellishments; they’re evolving into standalone forms of art. Shon’s exhibition highlighted this beautifully, showcasing how these techniques can be reimagined for today while staying rooted in tradition.
Is there an artist or community whose work resonates with you?
The artisans at Patine stand out for me. Their attention to detail is unmatched, and I’ve collected many of their stunning jackets over the years. Recently, I collaborated with them on snake-embroidered satin pouches—a nod to my brand logo and the Year of the Snake.
How do crafts weave into your daily life?
My Kashmir shawls are my everyday luxury, a collection I’ve been building since childhood. Whether in summer or winter, I’m never without one. This love comes from my mother and grandmother, both devoted patrons of Kashmiri craftsmanship. I still remember the shawl vendors who would visit our home, bringing beautiful pieces for us to admire. My favourite is a men’s black pashmina, embroidered with delicate black flowers (bootis)—it wraps around me like a comforting hug from the past, a reminder of my parents and the traditions they cherished.
Are there any crafts you’d like to explore further?
I’m fascinated by Bidri metalwork, with its intricate silver and gold inlay on pewter. To me, it’s India’s Art Deco. I’d love to reimagine Bidri in jewellery or small home objects—the possibilities are endless.
The ‘Surface’ Exhibtion is taking place until February 23rd, in Walled City of Jodhpur at three galleries – Achal Niwas, Anoop Singh ki Haveli & Lakshmi Niwas Opp. Toorji ka Jhalra (stepwell).
