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city a loud voice from a small city

a loud voice from a small city

The thought that is forming for me now is not what I had begun thinking with, not too long back. In a matter of minutes, my mind hopped around and a rather benign idea of “why I am so particular about curation” reached the question of city, space, pace, idea of life and a memory from 2006.

But then, it all makes sense. It will, to you too, dearest reader, for I hope you have the kind and indulgent heart of one who takes upon a journey through the mazes of another’s mind. 

When all else is chaotic, chronology helps. 

Sometime in 2006, I went to Delhi to seek admission at the undergraduate level. I will save the story of my career adventure for another time. For now, I just want to underline this one incident when sitting next to a girl from Mumbai in a hall of St. Stephen’s College, Delhi University, I was filling a form. We both got talking and we were rather happily looking forward to a possible three years together, when she suddenly asked me – where are you from? Agra – I said. And I cannot quite forget the shock that came over her. Her voice literally broke as she repeated – oh-h-h a-a-ag-g-r-a he he he. Within the next few minutes she drifted away to another bunch of people. It took me some time to register what just happened. 

Until that time, I was only aware of the deep irritation and aversion some of my friends and I had developed towards the city over the years. It was dirty, regressive, old fashioned and with no real opportunities, not for the intelligent, especially English speaking starry eyed youngsters. There was almost nothing that I cared about more than getting out of Agra. 

What I did not know was how the outside world perceived the city. We had one of the seven wonders of the world. Whatever may be the case, surely no one should doubt the city was capable of having some smart and intelligent people coming from its long history of culture, art and academic excellence. But I was mistaken and it kept getting reiterated as time and again over the next eleven years people would mention the name of this city with despair, disdain and other similar things, while of course mentioning with emphasis that they weren’t talking about me or everyone from here. For years I had been told that I was too loud and too bold for a woman or for someone with as small a frame as mine. Once out of Agra, I was, however, too loud, too progressive, too crazy and too weird even for the small town (or is it a city?) that I came from. 

2016 – I decided to quit my job at IIT Mumbai and move back to Agra. I simply didn’t feel comfortable with the pace of Mumbai, besides the size of average houses and exorbitant prices one paid for sheer existence slogging through one’s days and nights. That was not my idea of life, of space, of existence, of anything. It is not as if I do not like Mumbai. I love it, absolutely. Just that it is not where I would choose to live. In my late twenties by then, I was pretty clear that my choice of city could not depend on the job or a salary package; I had pursued things for long enough. Rather, I wanted to choose the space I want to be in and then figure out all else around it. For reasons that I hadn’t anticipated, what was intended to be a move to Pondicherry ended up being a shift back to Agra- home. It was a bit earlier than I had thought I would come back to Agra, for somewhere within I did know I wasn’t done with this city yet. In anycase, I decided to come back. Isovi was an important part of this decision making and the move back to Agra. How and in what ways, I was yet to discover. 

As for 2016, I was happy to be back to less traffic, more ease of pace, bigger houses and significantly lower living costs. 

It is only now, in 2021, that the relationship between these preferences and the things I have been trying to do with branding, marketing and entrepreneurship is becoming clear to me. In fact, until sometime back, I had never quite seen the connection between my choices of easier pace of life and conscious fashion. 

It is plain blind sight on my part that I could not see this connection earlier. For someone interested in architecture, spatial dynamics and literature, it is at best a lazy application of academic acumen. Having confessed that, I think I will dive right into signs of these relationships that I am able to trace now before they slip from my grasp, for ideas and their articulation can often be a rather elusive affair. 

It started with the need to curate; to organise things and information. The overwhelm of the big cities, the malls and the exploding access to consumer items and information drew me to the task of arranging things, sorting, selecting, filtering and making sense of what was before me. There was this constant feeling of clouding in my head every time a barrage of information or objects came gushing before me, in the form of advertisements or in the case of real time interaction with the outside world. My confusion was very obvious as I noticed at repeated instances how I would end up coming back not having bought anything at all when I in fact did go out for something I needed or actually buying in a rush without any sense of clarity. Things were also rather similar and I couldn’t differentiate  between the quality of what was available or the source of where the products came from- geographically or historically. This was also the case with information; I saw myself shirking away from the internet and social media platforms because it was simply too much to digest. Initially I thought that it was something wrong with me but in moments when I would be more in touch with myself it was very clear that something was amiss. 

This, however, became more evident to me as we started work on the website. I was simply aghast and deeply disturbed by the fast paced, congested and high alert mode of selling and buying. This was exactly what I had chosen to leave behind in the metropolitan cities when I came back to be in Agra. I did not want to be shown a hundred million things of a similar kind and be told that I would miss out on them if I did not buy them soon enough. ‘Fast paced’ became synonymous to being in tune with this new world. It has taken me over four years of engagement with startups and this work to actually see how my resistance to this fast paced way of things, architecture of information and aesthetic choices is not mere technological ineptitude on my part. For quite some time, it was perhaps just easier for me to hide behind excuses of being old fashioned, slow, lazy, etc. But I am actually none of those. I am not technologically challenged nor am I slow. I am certainly not regressive or lazy. And when I acknowledge those things about myself, I am forced to look deeper into my actions and motivations. 

And I am now going to state a hypothesis which may border on provocative – the present architecture and aesthetics of the online consumer market are designed to play with the indecision and confusion of the viewer, so as to push her into making thoughtless choices. It is actually a systematic murdering of thought and contemplative ways of being. It is also an appropriation and complete homogenization of diverse sensibilities in a top down approach where the what, how and why’s of working methods and parameters of success are being determined by the same drive which set that high paced and congested lifestyle of metropolitans in the first place. This, coupled with the insidious romanticised glorification of the rural, organic, handcrafted, off the grid lifestyle creates a fabulous recipe of ever confounding and challengingly irreconcilable desires, leaving an aftertaste of guilt and dissatisfaction. 

The advent of social media has actually marked a huge possibility of proliferation of extremely diverse voices, tonalities, rhythms and styles. However, very soon it has been overtaken by tendencies that dominate all other forms of expression and existence. Ironically, scapegoating of technology and social media comes easy to all, including its ardent users. It is also important to point out in this same breath that it is not a one way demonic or violent appropriation of the ‘potentially alternate’ by the ‘powerfully dominant’ systems – the aspirational values of those who actually can bring about something different is an overriding factor, a necessary precondition as it were, in their being co-opted- we are willing slaves to trends and formulas of success and recognition. We wish to be seen as fitting seamlessly into the metropolitan lifestyle even at the cost of our own organic pace or textures which might be small town or rural, and very unique and flavourful in themselves. 

So where does this leave us? To my mind, it is in the arrangement of information, in the architecture of our design and aesthetic choices that our singular, unique diversity and heterogenous cultural explorations and expressions can find their way. Curation is the opposite of arbitrary aggregation, where in the former one chooses very particular parameters of selection of products or information. It is deliberate, driven by specific thematics, ideas and patterns, often intended to facilitate and further sense making mechanisms and bring attention to every item that is presented. Likewise, the architecture of our websites, very much like that of a store or a house, is key to navigation and experience. It is how we map the terrain we walk upon. Maps are amazing and supremely helpful, but to carry the same map on every route one travels is likely to leave us at dead ends or just very limited findings. Not to mention the things that are excluded from the map altogether. It is not possible to find any satisfaction or sense of awe or wonder if everything is rushed, if our maps and guides are reduced to a checklist alone. Chances are we will keep traveling to newer places, one after the other, in a frenzied search of new experiences and insights. Like we keep scrolling endlessly in search of things, buying one thing after the other without finding any lasting joy. To expect sustainability and consciousness in our lifestyle and choices when we are devoid of feeling satisfied or whole at all times is a rather harsh and unfair expectation of ourselves. 

I feel the need to emphasise that I personally do not believe there is anything wrong in a fast paced, template based, map driven lifestyle, traveling or shopping. I do not doubt that some of us work wonderfully well through those. Like there are people who love the metropolitan experience and would give anything to live that life. 

What I am trying to make space for, however, is yet another way of doing things, one of the many others possible. To me that way lies in a certain possibility of thought, of wandering, of time and space enough to process and deliberate, in what is perhaps best described in a word often used in my city -tasalli -roughly understood by the native speaker as an ‘ease of being’. It is an arrangement, architecture, design and aesthetics that can embody that very organic and local experience of ‘tasalli’, that I am trying to discover and formulate. 

There is an anecdote that comes to mind. As a kid this was a story which we as a family used to laugh about a lot. My mother, when writing her PhD thesis, at some point needed some research material which she could have found only in Calcutta. So my mother and her father, like dutiful academic scholars, went to Calcutta. They stayed for a couple of months with my grandfather’s sister, a first cousin of his. Long story short, on one particular day of their stay they couldn’t get a taxi and they decided to take public transport. Now, the details of it are all lost in my childhood. What I remember is that when the conductor of the bus, or the tram, tried to rush the passengers to step in quickly, my grandaunt, who did not think she could let these people go alone and had tagged along to ensure their safety, shouted out loud (in her native Braj), “arre bhaiya, naik sabar karao, Agrebaare hain” (brother, do have some patience, there are people from Agra). 


Neha identifies as a flanuese and a transdisciplinary practitioner. For now she is living in Agra, her birthplace, and spends about one third of her time as a creative collaborator with the Agra based silver jewellery brand ISOVI ( The experiences in the above blog draw upon, though aren’t limited to, her work with the brand over the last four and a half years.

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iSOVI Brandbook

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Because you are beautiful

We are a bunch of sensitive and progressive people who are appalled by body shaming and concerned about how the construction of images and ideas around us can lead to damaged self esteem. We also do feel the need to talk about bodies and mental health like they are normal things and not something to be ashamed of.
The images/photographs/videos we generate are shot with everyday people, under everyday circumstances and we do not morph or correct their skin tones or set right their bulges. We also do not try to create expressionless, motionless maniquin kind of images out of living people. We believe that people are beautiful, with all their blemishes and scars, in all skin tones, shapes and forms and their moods, expressions and differences are what make them alive. So we try to capture and retain what we find people in people- them.
We further like to add that no jewellery can make anyone beautiful; it can only emphasize the existing beauty in people. No one becomes more attractive by wear a piece of metal or stones and it is it lie that is sold to us that makes us see people as lesser than some glittery objects. The jewellery can have meaning and be alive only when it is word by a person and its beauty is exuded by the confidence and grace with which one carries oneself and owns up to one’s entire being.

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Not because you need it

At the risk of being self-contradictory or even perhaps not growing as fast as we may wish to, we ensure we do not send out the message that people are in desperate need of what we offer them. Jewellery is an accessory; a luxury – and we would like our audience to remember that.

We are absolutely against the kind of unhealthy messaging that goes around in the name of marketing that makes people feel lesser for not having enough things. And well, no number of things is ever enough. We do not feel that festivals need to appropriated or invented or the most intimate feelings and emotions of people deserve to be manipulated so that we can sell a product.
We know that we have something beautiful to offer and we hope that if people want it, they will buy it, out of the abundance of their hearts and resources and not because they are trying to fill some lack of need.

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Being conscious of what we make/consume and our relationship with the planet as well as fair economic policies are extremely important to us. We have realised that the need of the hour is to inject this balance into everything that one creates, especially in the dna of businesses.
Silver is a metal that can be reused and recycles forever. Not a bit of the metal is every thrown away as all of it is melted and put back into use. While there are concerns regarding mining processes, it is good to know that most of the metal that reaches one is being rotated and circulated within the larger production chains. Depending on the purity of the metal, we do encourage our buyers to exchange their own silver jewellery as well.
Silver is affordable but it is still not throwaway prices and that further ensures fair payments as well as limited and more thoughtful consumption. We further ensure that our artisans use healthy processes and have a good environment to work in.
Our packaging is very special since we work with handicrafts of Agra and of Uttar Pradesh to get beautiful, reusable and long lasting packages to our buyers. It supports the slowly declining local industries and brings back their importance into the lives of our buyers who love our boxes as much as they love the jewellery.
We further cut down on wastage and plastic by using old sarees and dupattas for making pouches with jute strings to carry the package in.
To minimize waste of paper, we use seed paper where we need to. We also do not have visiting cards since they mostly lie around and ending up in the bin. We have replaced those with seed paper bookmarks which one can use and then later grow into a plant.
As an online brand, we do need to ship our packages in bubble wrapped plastic but we do ensure that it is approved grade plastic and suggest ways of reusing them to our buyers.
The idea is not just to use sustainability as a buzz word for image building, but to actually be able to inspire ourselves and others to see how far we can stretch ourselves to learn and arrive at a good balance where our profits and comfort do not inconvenience other people and the environment.

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weCreate weCurate weCollaborate

WE CURATE: Of the hundreds of pieces available in the market, we pick the best we can, filtering them through many criteria and bring them together into collections.
We are in a world where the choices are infinite and with the choices also comes the overwhelm and the clutter. Our objective is to reduce the online clutter by carefully selecting and sorting what we bring to you.
We believe that less is more and when one has less things to see, one can give more time to detail.

WE COLLABORATE: We collaborate with artists who have a distanct style and voice and are creating beautiful works of art in diverse media and varied scale. We pick their signature style and integrate their work into silver so their art and message reaches to those who value and love unique and experimental stuff.
Collaboration is about giving space to all the voices that come together to build something and so while we are doing the designing of the art pieces made by these lovely people, we ensure that their work is placed in its context and the designs we make are an extension of the spirit of the art work itself.
The whole of ISOVI team also functions on the principles of collaboration where people work with each other, not for each other. Each one’s opinion and expertise is given due space and that what gives our brand the distinct voice and versatality that it has.

WE CREATE:We have begun making our own collections, which are conceptualised, designed and handmade inhouse.
Our first collection TUKDAA is created using the waste from the famous marble industry of Agra.
We are looking forward to making many more of these eclectic and meaningful collections that share our thoughts and vision with the world.

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The Excess in accessory

One of the things which we have been struggling to remind ourselves, and it cannot be enough times that we understand it, that our lives, in themselves, as they are, and we, as we are, are beautiful, complete. That is what we try to communicate to anyone who comes in contact with us or our brand- that you are beautiful, complete, and much more, as you are. Our jewellery, or any jewellery cannot make you beautiful or confident or happy. Unless you see yourself as beautiful and buy from a place of joy and freedom, nothing much is going to happen. You will only fall in a loop of endless searches and swiping and be bored and move on to the next new thing. Cycle repeat. Buy it because you want to, knowing that there is an element of choice. Buy because you are aware of the abundance in your life. Because the only thing a beautiful piece of jewellery can do is to awaken you to your forgotten beauty or show to you a side of you that you had not known. The other thing it can do it is to reveal to you your taste, the things that matter to you and the innate capacity in you to appreciate beauty. Our brand, the work we do, is a way of realising this and sharing and communicating the same with our friends, audiences, buyers.

It often sounds like a contradiction- why are we selling jewellery, if we feel our lives are anyway complete and why would anyone buy the jewellery we are selling if they don’t need it? It may sound outrageous, unrealistic and crazy, especially for a brand that intents to sell itself- but the truth is this- we dont need to sell jewellery, and you do not need to buy it. As such, it is nowhere close to being an essential product. It is what it is- an accessory. Something that adds to what already exists. Something that may emphasize, underline or highlight the beauty that already is in you. It is, clearly, a mark of privilege. We have the luxury to indulge in beauty, in what can be very simply called excessiveness.

Most of us have been geared to think of excess as something negative. We have learnt to see our lives as limited, determined by needs and limitations. Raising these questions becomes difficult when one working on designing marketing strategies for a brand. There are pressures of breaking even, generating profits, doing what is “essential” to make things roll. Unless, of course, one reminds oneself, that what we are doing in the first place, is in fact, inessential. And the pressures, well those too are rather unhelpful and more imagined than real. As we unfolded this to ourselves, slowly and patiently (and in moments running out of patience even), allowing ourselves to bring our doubts to the table, we realised that this work is as unnecessary for us, as it might be for our buyers. Necessity and survival are different matters altogether, from a monetary point of view. We could do several other things and our buyers would find several other sellers. Then why this? And though there might have been a series of events that drove us to certain decisions, why do we still stick to them? All this led us to questioning how we define our needs, our wants, the very nature of our own likes, dislikes and mechanisms of existence.

As people with a reasonable education, decent jobs in the past which we quit to do something of our own, something that we would enjoy, and with the clarity with which we could see how the markets and language of selling plays upon the insecurities and ideas of incompleteness of people,  all the above questions hung heavily upon us.. Our love for silver or for jewellery was not enough of an answer . Especially with the diverse interests, skillsets and passions each of us has. It occurred to us that we had to invert the logic of our enquiry to wrap our heads around the puddle of ideas that we were caught in. We had to move away from very particular things regarding the nature of silver and jewellery and brand language and ask ourselves the simple questions- Why do we do anything? What is life? What is work?

We dwelled over the weather, the life we have, and having hit the massive dead end of unnecessity (bordering on pointlessness) of things, we had to refresh our minds and wiring all over again. It took us days, perhaps months.  What we then came to realise was no less than wondrous. It was so evident and clear that it needed such grueling questioning to be wrenched free from the conditioning of our minds. It was simple – life as we experience it, with all its ups and downs, highs and lows, madness and sanity, our capacity to create, to feel, to make these webs which we then find ourselves entangled in, the questions and the answers, the points and pointlessnesses, all of it, every single bit of it, is an instance of excess. Everything over and above the magical act of breathing, of that process of inhalation and exhalation, each of it, is excessive to life- life as a whole cosmic phenomenon- of which the entire universe, the planetary system, the beings, sentient and not, our very perception and consciousness of it- as something outside of the cycle of mere transformation of matter or energy-  is it not all an instance of excess? That passage between the moment of birth, which can well be seen as the moment of death, from the smallness of our limited body and understanding amidst the mass of humanity and surfaces of land and oceans to the infinite limitlessness of our imagination and possibilities, between the illusions and realities, everything is excessive. One can observe as a stoic, renounce or reject as ascetic or celibate, rejoice as a poet, an artist, or be a very ordinary being flowing through impenetrable ebbs and rise of everyday existence.

And that is precisely where we glue ourselves back into our act. It is the idea of rasa, of being an aesthete, of doing things with the awareness of their excessive nature, as something which is more about the passing of time (life), making a journey, from a place of peace, joy and freedom in whatever we do. It is about being able to acknowledge and underline the excessive and enormous nature of our lives. It is a feeling of wonder, where one can think of sringara, of adornment, of appreciation, of giving. We have been able to understand our fascination and decision to work with silver jewellery much better after all this thinking. Perhaps this is a the case with a lot of decisions- one works ones way backward- finding logic to support a choice/decisions made intuitively or for which we  have forgotten the reasons, absorbed in the act of doing, till a new road block or conflict between thought and feeling emerges[ read more].

We always knew this but it was never articulated for us- We are not writing, working, creating because we want to sell. It’s the other way round. We want to write, create and share what we think is beautiful and hence we sell it, so that we can continue with it, given the functional necessities of the system we have found ourselves, at this particular juncture of time and space.

Likewise, we do not want you to buy what we sell because you need it, or have a certain lack which will be filled by a mere piece of metal. We would like you to buy it because you know that you are beautiful and beyond need, and you might want to indulge in and appreciate it further, as yet another mark of acknowledging the excessiveness that you life is.

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Silver is the name of constant transformation

As college students we always had friends who either couldn’t afford gold or did not like it. And since fashion jewellery was everywhere, in the most attractive designs and mostly affordable prices, it was an obvious choice. However, a lot of it caused severe allergic reactions, mostly due to high proportions of nickel used in it. And we hankered for alternatives.


Back home, silver was only stuff for anklets and chains and some rings prescribed by astrologers. Or gifts for new babies or weddings or Diwali. Else, it was something worn by nomads and tribals, and that is not we should aspire to!


Interestingly, being in metropolitans and having some artsy and independent women with very specific tastes around us, we encountered silver jewellery. And for these women, silver being less expensive than gold did not make it less classy. It being a tribal style made it only more desirable, if anything. It would take us a long time from there to now and understanding the complex politics of taste. But we began to admire and love silver, for its affordability, durability, skin friendliness and its tribal wildness.


When some of us, who had been caught by the wind of big cities wore silver back home, in our two tier- three tier cities, our parents either laughes at us, calling us names like – dheemri, banajaran  meaning nomadic, but implying much more- a lower class- poverty ridden or street dweller status, or they would tell us to wear gold and not flush their reputation down the drain.


As it happens, for some us, reputations are not built on the metal one wears. And being nomadic or not being rich are not really bad things; quite the contrary. The fascination with silver comes with a fascination with the moon- with the lesser light, which doesn’t lit up the world. It has its

blemishes and many shapes and forms. It doesn’t comply with human ideas of beauty and perfection, and those of us who love the moon, are those who have learnt to redefine the very meaning and perception of beauty, completeness, perfection.


The idea of lack has been drilled into our heads. We are imperfect. Our lives are imperfect. Our bodies, our loves, everything is imperfect. And we keep need to improving, knowing fully well that nothing and no one can be perfect. How do we do that? We keep studying, and have higher pays and greater profits. And keep working our minds and bodies off. Why? So that we can buy and upgrade to newer things. We need things to make us better, to realize our true selves.  Such a wonderful formula to achieve a goal which we have been told from start is unachievable. How do we not question- is it not us who give meaning to things? Is it not us who colour things through our perspective and make all these stories? Is it not us who actually determine how perfect or imperfect we are? We conduct our own trials in our own courts by our own rules.


It is strange and interesting. Because the whole idea of selling, the whole market has hinged itself on the idea of need. On the principle of lack. On the logic of having to feel lack and that things are necessary. It is the driving force of consumer culture. 


We are fascinated with silver because it reminds us of nomadic people and of the love of beauty in imperfections. It signifies adornment which is about expressing oneself rather than jewellery being a mask for investment or statement of patriarchal wealth. We are fascinated with silver because it heals. It is white, like the moon. And it turns black, like the night.  We love silver for the same reason that it is loved loved by the nomadic and the tribals- it bears witness to constant transformation that occurs through interactions with the outside, with air, with nature.

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We were quite certain that our packaging would be as beautiful as the product, but we wanted to work on finer aspects. We know that every time we buy something from an outlet or online, we come back with bags and packets that either need to thrown away instantly or have limited life. We wanted to not create the same problem for our buyers.  Our packing had to be:

  • reuseable
  • multipurpose
  • long lasting

Also, we felt that our packaging can be a very good way of sharing the handicrafts of Agra, or the rest of the state, Uttar Pradesh with a larger audience. The handicrafts of U.P. are world famous and loved all over the country as well. However, the artisans are mostly disenchanted given the low wages, decreasing interest in the locals. What they don’t talk about mostly is the need for recognition and advancement when they are struggling to just about make ends meet.

We decided to start exploring from our own city, famous for its inlay work and zardozi world wide. But the present generations in the city, especially those with buying capacity are either unaware or disinterest in the crafts. One of the reasons is perhaps having seen that work around for too long and hence taking it for granted. Further, the accessibility to other forms and works and coming in of brands does create a very complex situation. While the crafts happen at mass scale, the locals have little to do with, unless directly involved in the trade or in export.

It seemed like the perfect thing to bring these crafts into our packaging. We started with stone boxes in inlay and hard board boxes covered in fabric with Zardozi or Reshamdozi (embroidery with fine wire or thread).We played turned things around a little by using velvet with thread and raw silk for wire embroidery as opposed to the traditional work of wire on velvet. Details about the inlay work as well as Zardozi as a form merit another long post, which we will share soon.


We tried working with soft stone boxes with inlay work and while they caught the eye and fancies of many we were encountering two issues: it is heavy, and easily breakable. After a year, we decided to move on to something different. And we came up with the idea of working with wooden boxes. We source the wooden box from local vendors in Saharanpur. The box made in Mango wood is eco-friendly, reusable and sturdy. We have been experimenting with pastel colours and silver foil scratch work for these boxes and thus far they have been loved with everyone who has seen them.

We do not charge extra for the packaging, but we do have different packaging for orders worth different amount, so as to be able to keep it sustainable for ourselves. The packaging is a gift for our customer that would perhaps encourage them to work towards recycling, reuse and renew an interest in the local handicrafts. We also hope that some others in the industry will join hands with us and switch to long lasting packaging made by local artisans, thus working both towards the growing of the craft and lesser damage to the environment.

We have a few other interesting elements to our packaging.

  1. We have pouches made from old saarees. Initially we started using the bulk of unused old saaress of our mothers and grandmothers which were very close to our hearts and difficult to simply throw away. This kind of upcycling and reuse thrilled us. Later, some of our friends and relatives too have been giving away saarees to us so that we can make these pouches. We go to a local woman for getting these pouches stitched and she really enjoys it since she cannot step out to work with a little kid to take care of. Each time a pouch as this reaches you, you have something of a dear one from one of our families.

  1. We use seed paper wherever we must use paper. Brochures, visiting cards, wedding cards, all these things lay haunting, adding to the bulk of waste in our lives. A lot of us struggle to figure out a good way to dispose them. We have been resisting the temptation to make a visiting card. And most of our material is online or we share it on phone. But in case we must use paper, we try and stick to seed paper. Seed paper is recycled paper made with seeds inside it. So if you throw the paper in soil and water it, a plant with grow.

  1. We realized we need to buy some plastic covers for the purpose of couriering. So we have chosen recycle grade plastic. Also, the plastic cover can actually be used to out a plant in- so you have the seed paper and the plastic bag to put it in.