India is witnessing a quiet renaissance in its crafts and home decor scene. In villages and workshops across the country, artisans are breathing new life into ancient traditions, block-printing fabrics under the Rajasthan sun, weaving intricate textiles in the Himalayas, or knotting carpets in rural looms. These craftsmen and women, once on the fringes of a fast-paced global economy, are now at the heart of a homegrown artisan collective movement sweeping India. From ethical textiles to handmade home decor, a cultural shift is underway.

Consumers are valuing the handmade and the sustainable, while artisans find new avenues to preserve their heritage and earn livelihoods. This article explores the factors behind this trend, positions Eydahomes as part of India’s larger cultural movement, and compares it with other notable collectives leading the charge.

Crafting a Cultural Revival

India’s handicrafts sector is more than a cottage industry; it’s a cornerstone of culture and employment. Over 7 million people are employed in crafts across the country, making it the second-largest source of livelihood after agriculture. More than half of these artisans are women, working in 744 artisan clusters from Kutch to Orissa, producing everything from handprinted textiles and pottery to metalware and carpets. Each region boasts its specialities: think of Varanasi’s silk weaves, Rajasthan’s blue pottery, or the embroidery traditions of Kutch. These crafts are products; they are living archives of India’s diverse cultural memory, often passed down through generations within families and communities.

Yet, for decades, many traditional artisans struggled to sustain themselves. Industrialization and mass production undercut handmade goods, and younger generations were drifting away from craft livelihoods. The Covid-19 pandemic in 2020 posed an even greater threat: with markets shut and tourism halted, nearly a quarter of Indian craftspeople lost over 75% of their income, prompting a mass exodus from cities back to villages. From this crisis emerged a silver lining. Across India, fragmented stakeholders, NGOs, designers, and entrepreneurs teamed up with artisans to build self-reliant, sustainable futures rooted in craft. A new wave of artisan collectives, cooperatives, and social enterprises began to form or strengthen, aiming to revive traditional crafts and also ensure artisans earn dignity and fair wages.

This cultural revival is as much about pride and identity as it is about commerce. Craft is being recognized as a powerful medium for storytelling and social impact. Many crafts themselves carry stories of community and mythology. For instance, Madhubani paintings or Kalamkari textiles depict folk tales and rituals in their motifs. Artisans take pride in this heritage. By producing handicrafts, they are keeping their ancestors’ stories alive. At the same time, consumers are increasingly seeking products with a story and soul, rather than factory-made anonymity. The stage was set for homegrown artisan collectives to rise, reconnecting India’s past with its present.

Ethical Textiles and Handmade Décor on the Rise

Several key trends have fueled the surge of artisan collectives and the popularity of ethical, handmade products. Consumer preferences, especially among millennials and Gen Z have shifted markedly toward sustainability, authenticity, and story. Shoppers today value knowing that their Handmade Cotton Rug or Table Placemats were made ethically, with natural materials, and that they support a traditional craft community.

As one analysis noted, young buyers are choosing “handmade decor items that are sustainable and safe,” seeing it as a way to reduce environmental impact and connect with a product’s story. In an age of climate awareness, ethical textile fabrics produced with organic fibres, natural dyes, and fair practices are in high demand globally. India, as one of the world’s top producers of organic cotton and a country rich in handloom traditions, is uniquely positioned to lead this green revolution in textiles. Many modern brands now proudly highlight the use of khadi (hand-spun cloth), plant-based dyes, recycled fibres, and zero-waste techniques in their products, marrying heritage with environmental responsibility.

Market data reflects this growing appetite for handmade and sustainable décor. The Indian handicrafts market (domestic and export) has seen steady growth. In 2023, India’s handicraft market was valued at around US$4.3 billion, and it is projected to nearly double to US$7.8 billion by 2032. Globally, too, the handicrafts sector is booming, valued in the hundreds of billions of dollars. Several factors contribute to this rise.

The expansion of e-commerce and online marketplaces has bolstered the accessibility of handicraft products like never before. A weaver in a remote village can sell rugs to customers in Mumbai or New York through digital platforms. The “significant advances in the availability of handicraft products on various online portals” have been a game-changer for market growth. Additionally, India’s booming tourism (until the pandemic) meant foreigners and domestic travellers alike purchased crafts as souvenirs, further increasing demand. Even in gifting trends, there is a shift. People prefer gifting handmade decor pieces that carry a story and personal touch, rather than generic factory-made items.

Another driver is the realization that promoting crafts has a deep social impact. Craft-centric organizations and collectives emphasize how supporting artisans leads to rural development, women’s empowerment, and preservation of heritage. Governments and NGOs have also launched initiatives (e.g., vocal-for-local campaigns, GI tag promotion for crafts, craft tourism circuits) to encourage this sector. The cumulative effect is a rising tide lifting the artisan economy.

Critically, technology and globalization have become allies of the artisan. Platforms like Etsy, Amazon, and Instagram have onboarded thousands of Indian artisans and micro-entrepreneurs, giving them a direct line to global consumers. Etsy, for example, set up a dedicated India team to tap into the “rising demand for handicrafts from the country”, onboarding independent designers and traditional artists from both urban and rural areas onto its global marketplace. 

By 2018, over 650,000 products listed on Etsy were from Indian sellers, ranging from handloom fabrics to block-printed home linens and embroidered decor. Social media, too, has played a role. Artisans or their collective mentors showcase craft processes on Instagram or Facebook, educating consumers about the painstaking work behind each piece and creating appreciation for the value of handmade goods. This digital exposure helps in marketing and also in shaping trends. For instance, the global “boho-chic” décor trend borrows heavily from Indian textiles (think block print pillows, macramé and jute crafts, paisley and mandala motifs), spurring more demand for the genuine articles made by Indian artisans.

All these factors have converged to make handmade home décor a rising star in the lifestyle market. Surveys and editorial features note that “handcrafted over mass-produced” is increasingly the mantra for interior design in India, as homeowners seek personal, meaningful touches in their spaces.

A report on interior trends observed a revival of Indian traditional elements in homes, from vintage furniture to handwoven fabrics, as people blend the old and new for a unique aesthetic. In short, choosing artisan-made products is trendy now as a style statement of being conscious and culturally rooted. A sofa throw blanket made by hand provides a feeling of uniqueness. This style helps in creating minimalist homes with a hint of bohemian essence.

Eydahomes: Weaving Tradition into Modern Homes

One standout example riding this wave is Eyda Homes, a homegrown collective of artisans and designers that perfectly encapsulates the ethos of India’s craft movement. Eyda Homes was founded with a simple but profound vision: to bring India’s textile traditions into spaces that seek warmth and meaning. In practice, this means that every Eydahomes product, be it a Throw Pillow cover, a Linen Cushion cover, or a table runner, is crafted by skilled hands using time-honoured techniques.

“When you bring home an Eyda piece, you carry a story of thread, time, and thoughtful hands,” the brand explains, emphasizing that beauty begins with patience and authenticity. At a time when fast décor items can be bought by the dozen, Eydahomes takes the opposite approach: “Every product is made with natural materials, by skilled hands, in rhythms passed down through generations”. The result is that each piece holds its own character, much like the artisans who made it, and helps infuse a personal, rooted feel into modern homes.

The story of Eydahomes is deeply intertwined with India’s craft legacy. Pavas Sharma, the founder of Eydahomes, grew up quite literally next to the loom. In a narrative familiar to many Indian craft families, Pavas learned about fabrics and weaving from his father and grandfather, absorbing the artistry as a way of life. What he inherited was a “legacy built with makers across India”. In fact, Eydahomes’ journey began as part of a family enterprise. 

Their parent company, Archana Arts and Crafts, has been working with Indian textiles for over 25 years. Armed with this lineage and a reverence for craftsmanship, Pavas sought to create a brand that could bridge heritage and global markets. Today, Eydahomes is based in the USA for its marketplace, but all production remains rooted in India, where the collective works closely with artisan communities across various regions. This cross-continental model means Eydahomes can reach international consumers (including conscious B2C buyers in Western countries looking for ethical décor) while ensuring that the artisans at home in India stay at the heart of the process.

What makes Eydahomes truly representative of the new-age artisan collective is its commitment to ethical textiles and sustainable methods. The brand creates a range of home textiles, block-printed and handwoven Linen Cushion Covers, embroidered pillows, natural-fibre throws, kantha-stitched table runners, bath linens, and more, all crafted in small batches by hand. They use organic cotton as the base for most products, avoiding synthetic fabrics. Dyes are sun-dried and natural, a nod to both tradition and eco-friendliness.

By using techniques like hand-block printing (which uses carved wooden blocks and natural dyes) or hand embroidery, they honour processes that do not require heavy machinery or polluting chemicals. Even the finishing processes emphasize reducing waste. This approach aligns with a broader global trend where luxury is being redefined as that which is sustainable and story-rich. Eydahomes positions itself as “a thoughtful choice for shops that value traditional craft, responsible materials, and timeless design”, essentially targeting retailers and consumers who choose intention over excess. A beautiful Rust Hand Embroidered Bhujodi Cushion Cover is a perfect example of how a traditional craft can be elevated with modern aesthetics.

Crucially, Eydahomes operates as a collective: it’s a network of artisans and designers collaborating. The designers (including perhaps urban creatives) contribute contemporary aesthetics and product development, while the artisans contribute the skill and cultural motifs. By calling itself a “homegrown collective of artisans and designers,” Eydahomes highlights that it’s community-based. Each artisan’s work is acknowledged as part of the story. This collective model also implies a more equitable relationship. Artisans are merely anonymous labourers but co-creators.

For instance, an Eydahomes Linen Cushion Covers might combine a traditional hand-block print motif from Jaipur with on-trend colors and layouts decided by a designer, resulting in a product that feels modern but carries the soul of Indian craft. In marketing material, Eydahomes often shares glimpses of the making process a craftswoman block-printing fabric or an embroiderer doing kantha stitch, thereby educating customers about the heritage behind the product and giving credit to the makers.

Eydahomes’ ascent comes at a time when numerous boutique brands are trying similar formulas, but Eydahomes stands out for the span of crafts it brings under one roof and the narrative coherence of its offerings. It has drawn inspiration from the early work of Pavas’s father, Mr. Gopal Prasad Sharma, meaning designs may echo patterns that were part of the family’s repertoire.

By carrying forward this legacy, Eydahomes ensures continuity. It’s inventing something new in a vacuum, but rather evolving a generational craft story for the 21st-century consumer. And while Eydahomes sells directly to consumers via its website and marketplaces, it also engages in the B2B space (for instance, through wholesale platforms like Faire) to reach boutiques and concept stores around the world. This strategy helps scale up the demand for artisan-made products, thus providing consistent work to the artisans involved.

In the larger context of India’s artisan movement, Eydahomes is a model of how a new-age home décor brand can successfully be non-extractive and community-oriented. It proves that one can build a profitable enterprise in home furnishings that does compromise on ethics or authenticity.

For design students, Eydahomes offers a case study in blending contemporary design with traditional craft techniques how color palettes, minimalistic styles, or global trends can be married to handloom fabrics or block prints to create something both fashionable and culturally rich. And for conscious consumers, the brand exemplifies the kind of businesses they wish to support: those that tell a story and make a positive impact. One can acknowledge that it represents the “beyond” in our title, beyond one brand, it’s part of a broader movement of homegrown artisan collectives that are collectively changing the landscape of Indian home décor.

Empowering Artisans: Collectives Making a Difference

The true power of India’s artisan collective movement is reflected in the lives of the artisans themselves. Across the country, numerous collectives have sprung up (or expanded) to organize artisans, provide them training, design input, and market access, and ensure they earn fair incomes. The impact has been remarkable: many artisans, especially women in rural areas, who once had limited income now earn steady livelihoods without having to leave their villages. For instance, the Okhai collective started in 2008 with just 500 rural women in a drought-prone part of Gujarat. By 2023, it has grown into a network of 30,000+ artisans spread across multiple states.

Each woman can work from her home or village centre on embroidery, appliqué or weaving, and earn upwards of ₹10,000–20,000 per month depending on her output. This is a significant income in areas where opportunities were scarce. “What was until then an art practised at home became a form of livelihood,” says Okhai’s CEO, describing how a traditional quilting and embroidery skill of the local Rabari tribe transformed into a source of empowerment when given design guidance and market linkage. Today, Okhai’s product range spans apparel, home linens, accessories and more, all made using crafts like mirror-work, patchwork, block printing and weaving from different parts of India.

Okhai’s success illustrates how a decentralized, artisan-centric model can scale: the women artisans themselves devised a system where group leaders distribute raw materials and collect finished goods in each area, allowing the work to happen flexibly around their household responsibilities. This model ensures consistency and quality without uprooting the women from their homes. Importantly, initiatives like Okhai invest in skill training (they partnered with NIFT to train women in cutting and tailoring) and provide a sense of pride and identity as evidenced by artisans like Jarina Qureshi, who went from being a village homemaker to a master cutter, defying gender norms in tailoring.

Another shining example is Rangsutra, often cited as one of India’s first community-owned artisan companies. Founded by social entrepreneur Sumita Ghose in the mid-2000s, Rangsutra is literally owned by the artisans: over 2,000 rural artisans (mostly women) are shareholders in the company and participated in its startup capital. Villages in Rajasthan and Uttar Pradesh pooled small sums (₹1,000 each from over 1,000 artisans) to set up Rangsutra, with the vision that artisans should be producers and decision-makers, mere wage workers. 

Fast forward to 2023, and Rangsutra supplies handmade textiles and crafts to some of the biggest retailers, Fabindia, IKEA, Jaypore, and even Reliance’s Swadesh chain. They also retail under their own brand. Rangsutra’s model has proven that artisans can compete in quality and design at an international level when given the right platform. 

The partnership with IKEA is particularly noteworthy. Rangsutra produces select IKEA products (like cushions and throws) under the IKEA Social Entrepreneurship initiative, creating a steady export demand that has generated livelihoods for women in multiple villages. According to a recent report, Rangsutra has over 2,400 artisan shareholders from regions like Bikaner, Barmer, Varanasi and more.

Artisans earn up to ₹25,000 a month, depending on their skill and hours, a figure that rivals or exceeds many formal sector jobs in those areas. Beyond income, the sense of ownership has been transformative. As Sumita Ghose recounts, the initial skepticism from village men (who saw women working for an “outsider” with suspicion) gradually turned into respect as the women proved they could run a business and contribute to the household. Rangsutra’s story, from a sabbatical idea in 2002 to a thriving enterprise by 2023, epitomizes the potential of artisan collectives when they bridge rural talent with urban markets in a fair, sustainable way.

Notable Collectives Leading the Charge

There are many other inspiring collectives and social enterprises beyond Okhai and Rangsutra, each with a unique focus:

  •  Jaipur Rugs: Started by N.K. Chaudhary in the 1970s, Jaipur Rugs began as a humble rug-weaving venture and is now a global brand selling luxury hand-knotted carpets. What sets it apart is its bottom-up model. It works with 40,000+ weavers across 600 villages (over 85% of them women), mostly in Rajasthan, UP, Bihar and Gujarat. Rather than operating centralized factories, Jaipur Rugs provides looms, raw materials, and training to women in their homes. Many of these women, often from marginalized communities, had never earned their own income before. Today, they are skilled artisans and respected global artists in their villages. The Jaipur Rugs Foundation further supports education, health and leadership development in these communities, showcasing how a for-profit business can successfully integrate social upliftment. The beautiful carpets woven carry intricate designs and also the stories of empowerment, such as women who became group leaders, or daughters of weavers who now handle quality control. Jaipur Rugs demonstrates that luxury can have a human face, and international consumers have shown willingness to pay premium prices knowing the impact (each rug even comes with a tag with the artisan’s signature).
  •   Women-Weave and Maheshwar Loom Collectives: In Madhya Pradesh, the town of Maheshwar, famed for its Maheshwari saris, saw a revival thanks to the efforts of the Women-Weave organization and local cooperatives. They’ve modernized traditional sari designs for living room furnishings and fashion apparel, keeping the handloom alive and providing women weavers with year-round employment. Similar handloom collectives exist in Assam (for Muga silk and Eri silk weaves), in Nagaland (back-strap loom woven Naga textiles adapted into cushions and bags), and in Tamil Nadu (where natural-dyed handloom is used for contemporary clothing by brands partnering with weaving societies).
  •   Dastkar and Self-Help Group Federations: On another front, NGOs like Dastkar, AIACA, and others have organized national craft bazaars and online marketplaces where multiple artisan self-help groups can sell under a common platform. For example, Dastkar’s bazaars in metro cities have, for decades, allowed rural artisans to directly sell to urban customers, cutting out middlemen. Now, with digital adoption, many of these groups sell via Instagram or through websites like Creative Dignity, which emerged during the pandemic as a volunteer-driven platform to help artisans liquidate stock and get orders when everything was closed. The Creative Dignity movement in 2020-21 united designers, e-commerce experts, and NGOs to support artisans and led to exhibitions like the “Constellation of Art, Craft & Design” in Mumbai in 2023, aimed at building artisans’ entrepreneurial capacities and showcasing their work in new lights. Such initiatives underline a critical point: artisan collectives are about commerce, but also about community and dignity. They often incorporate fair-trade principles, transparency, and reinvest profits into artisan welfare.
  •   Regional and Niche Collectives: From the Kumaon hills of Uttarakhand to the deserts of Kutch, there are myriad smaller collectives preserving specific crafts. The Avani Kumaon Earthcraft cooperative, for instance, works with village women to create naturally dyed textiles and products from wool and silk, using solar-powered dye units and local plants. Avani’s artisans produce gorgeous handwoven stoles, fabrics, and home furnishings, and the cooperative is owned and managed by the artisans themselves, along with farmers and dye harvesters. Their ethical textiles have won awards and shown how even remote hamlets can connect to global markets with the right support. In Rajasthan, the Saheli Women’s Collective in a village near Jodhpur trains women in stitching and embroidery to make garments for ethical fashion brands, blending modern designs with age-old skills. Down south, in Karnataka’s Hampi region, the Kishkinda Trust engages women in weaving banana fiber into baskets, paper and home decor, turning agricultural waste into income while reviving a local craft. And in the Northeast, groups like the Malar Tribal Weaver’s Collective in Meghalaya or various Naga shawl weaver groups are ensuring tribal textile motifs find new markets. Each of these stories echoes the same theme: heritage as livelihood. A handmade sofa throw blanket made from tribal weave can make the perfect addition to your living room furnishings.

What’s common across these collectives, big or small, is the narrative of empowerment. By organizing as collectives or social enterprises, artisans gain bargaining power and stability. They are better shielded from exploitation by middlemen, as the collective often handles pricing, marketing, and quality control with a mission of fairness. 

Many collectives also focus on capacity building, teaching artisans literacy, business skills, or design trends, so that they gradually move up the value chain. These groups foster a sense of pride and unity. As one craft activist put it, India’s crafts are “living archives of culture, memory, and identity”, and the artisans know that by continuing these traditions, they are keepers of an invaluable legacy. The rise of artisan collectives has given them a platform to showcase that legacy on their own terms.

For the media and observers, these human stories are compelling. We see images of women who once only did embroidery for dowry quilts now shipping embroidered dresses to boutiques worldwide. A weaver who might have left for a menial city job is now staying back to teach weaving to the next generation because it pays decently. Communities once facing migration are now finding local employment through crafts. It’s a narrative of resilience and innovation, turning what was deemed economically “backwards” (handmade, rural, small-scale) into a progressive model for sustainable development.

Merging Tradition with Modern Design

One reason artisan collectives have succeeded in recent years is their ability to blend old-world craftsmanship with contemporary design sensibilities. This is where designers, design students, and trend-savvy entrepreneurs play a crucial role. Letting crafts stagnate as exact replicas of antique pieces, many collectives innovate in design to make the products appealing to modern homes and lifestyles. 

As Architectural Digest India observed, “across India, a new generation of brands is bridging the past and the present, translating centuries-old craftsmanship into modern decor that feels both rooted and refreshingly current.” Today’s handcrafted products can be simultaneously heritage-rich and fashion-forward. Blackout curtains can be made to have a traditional print, making them a great option for bedroom decor.

Consider the aesthetic of some popular artisan-made products in home décor: minimalist hand-thrown pottery in earthy tones, cane and wicker furniture that fits into chic urban apartments, block-print or Ajrakh bedcovers that complement contemporary interiors, or dhurrie rugs with geometric tribal patterns that look at home in a Scandinavian-style living room. Designers are ensuring that while the techniques remain traditional, the forms, colors, and uses of craft items evolve with the times.

For example, the ancient art of Kalamkari (hand-painted fabrics) is now being used by collectives to create modern wall art and Linen Cushion Covers in abstract designs, beyond the traditional temple hangings. Dhokra metalcraft (a 4,000-year-old brass casting technique) from Bastar is being fashioned into stylish jewellery and decor accents that appeal to young buyers, just collectors.

Channapatna lacquered woodwork, traditionally seen in children’s toys, is being reimagined as chic desk lamps and planters by artisan groups in Karnataka with the help of design students. These examples show how “time-honoured techniques and modern aesthetics” can coexist and even enhance each other. Such Combinations provide a unique look to any home, making the design stand out.

Design institutes in India, such as NID (National Institute of Design) and NIFT (National Institute of Fashion Technology), have long included craft design in their curriculum. Now, many graduates are choosing to work directly with artisan communities. Some act as product designers for collectives, helping develop collections that can win urban consumers’ hearts while retaining authenticity. Others become social entrepreneurs like the founders of these brands we discussed. 

The cross-pollination of ideas, artisans teaching designers about cultural significance, and designers sharing knowledge of global trends results in unique products. It’s about making a carbon copy of a mass-market item; it’s about offering an alternative that has character. For design students and young designers, working with crafts also offers a deep well of inspiration: every motif has meaning, every technique a story. As one designer noted, crafts are “living traditions”, and engaging with them can lead to design innovation that is also sustainable and ethical. 

The emphasis on good design and quality has also helped shake off the stereotype that handicrafts are always rustic or of inconsistent quality. Many artisan brands now compete with high-end commercial brands in terms of finish and refinement. They achieve this by training artisans in quality control and by introducing simple technology where appropriate (for example, using azo-free chemical dyes that are more colorfast alongside natural dyes, or using sewing machines for certain stitches to reinforce durability, etc., all while keeping the “handmade” essence intact). The result: handmade home décor has become aspirational, merely quaint. Owning a handwoven silk throw or a set of hand-painted cups is seen as a mark of a curated lifestyle. A Rust Hand Embroidered Bhujodi Cushion Cover is a perfect example of a high-end product that comes from traditional craft. Such living room furnishings bring life to a space.

This kind of narrative marketing educates buyers and creates a connection between the consumer and the maker. It’s akin to how the farm-to-table movement connected diners with farmers; here, it’s connecting homemakers (or interior designers) with artisans. Some collectives even allow a degree of customization, which is a modern retail trend, e.g., offering made-to-order sizes, colors, or patterns, something that small-scale artisan production can handle more flexibly than factory lines. A brand called Drape Story offers thousands of prints and colors for curtains on demand, some of which involve handcrafted processes, effectively marrying digital convenience with craft production.

From a cultural perspective, this blending of old and new in design also helps keep the crafts relevant for younger generations within artisan communities. When a young artisan sees her embroidery on a Linen Cushion cover in a trendy cafe, or a craftsman’s hand-carved pattern goes viral on Pinterest as an “ethnic chic” item, it validates their skill in the modern world. It tells them that their inheritance is a relic, but a living, evolving art that people far away appreciate. This can be crucial for craft sustainability because ultimately, the next generation of artisans will only continue if they see economic viability and respect in the work.

By incorporating contemporary design, artisan collectives ensure that “heritage” does not become fossilized; instead, it becomes a driver of innovation. As Architectural Digest summed up, “these brands prove that craftsmanship is more than nostalgia, it’s about innovation, sustainability, and the pursuit of excellence.” The future of Indian design, it appears, will be deeply informed by its artisanal roots even as it embraces modernity. 

Conclusion: Weaving a Sustainable Future

The rise of homegrown artisan collectives in India signals a fundamental realignment of how we value work, culture, and consumption. In positioning brands like Eydahomes as part of India’s larger cultural movement, we see a narrative of hope and resilience. Artisans who were once overlooked are now entrepreneurs, shareholders, and creative collaborators. Consumers who once sought the convenience of the machine-made are now deliberately seeking the charm of the handmade. The industry, which was often informal and fragmented, is getting organized through collectives that prioritize both people and profit in a balanced way. The Combinations of traditional crafts with modern designs create beautiful living room furnishings, Dining & Kitchen, bedroom decor and bath supplies.

For media observers, this movement offers rich stories of human interest, sustainable business, and cultural revival to report on. For conscious B2C buyers, it assures that their purchases are making a positive impact, that the Handmade Cotton Rug or Linen Cushion Covers they buy are ethically made and help an artisan’s family. For design students and the design community, it’s a living laboratory demonstrating that India’s craft heritage can be the springboard for contemporary design innovation and meaningful storytelling in products.

Challenges, of course, remain. Artisan collectives must continuously adapt to market changes, ensure younger artisans are engaged, and navigate issues like pricing pressures or competition from cheap imitations. They need support in terms of easy access to credit, modern infrastructure (like better tools that undermine manual labour), and continued market exposure. 

However, the trajectory is pointing upwards. The Government of India, through bodies like the Export Promotion Council for Handicrafts (EPCH) and various state initiatives, is actively promoting handicrafts abroad and at home. There is also a conscious push in India’s discourse towards being “vocal for local”, encouraging citizens to take pride in homegrown brands and products.

Home décor and textiles are particularly poised for growth because they tie into global trends of wellness and comfort. A handcrafted quilt or a natural-dye rug resonates with the global desire for a more grounded, story-rich living environment. As the world becomes more digital and virtual, the tactile beauty of handcrafted objects gains even more allure. Few things can replicate the feeling of an artisan’s handwoven textile or the aura of a hand-carved piece of furniture that carries the maker’s energy. This is why Table Placemats styling with handmade placemats is becoming more popular. It’s also a reason for the rise of handmade bath supplies and blackout curtains.

In this landscape, Eydahomes and similar collectives stand as torchbearers. They show that it’s possible to scale up while remaining rooted to be trendy yet timeless. By mentioning Eydahomes a few times in this discourse, we recognize its role in exemplifying the movement without singling it out as the only player. It’s part of a tapestry, one vibrant thread among many that together form the fabric of India’s craft resurgence.

In conclusion, the rise of homegrown artisan collectives in India represents a confluence of economic opportunity, cultural preservation, and ethical lifestyle change. It is a narrative where the past meets the future: grandmothers’ skills harnessed by granddaughters via WhatsApp and online stores, where a collective in a remote village can service an order from a metropolitan designer store. It’s an ongoing story of a nation rediscovering the value of its handmade heritage and finding novel ways to keep it alive.

As we fill our homes with these artisanal pieces, we’re decorating and participating in a movement that is making the world of design more beautiful, more sustainable, and more inclusive, one handcrafted item at a time. The Combinations of traditional art and modern design have created a new market for living room furnishings, Dining & Kitchen, and bedroom decor.

Want to bring artisanal warmth into your living space? Contact Eyda Homes to explore handcrafted curtains and cushions designed to last and to tell a story.