Aranya Natural & Athulya at Srishti Welfare Centre in Munnar

Posted on April 20, 2020 by Toothpicker

Before visiting Munnar, I was not aware of the health issues related to tea plantation workers in India. Often foreign media would focus on the working conditions of garment factory workers, yet the problems related to tea plantation workers (primarily female) are largely ignored. Although they are not stuck inside cramped factories, tea plantation workers have to deal with other serious safety and health issues. Locals told me that workers not only have to work long hours at low wages, they also have to live together in communial dormitories with poor sanitation at the tea estates. Health awareness among the tea plantation workers is poor, and often they give births to children with various health conditions and disabilities, yet they receive hardly any government support.

In 1991, the Srishti Trust was formed, backed by Tata Tea Limited, to support differently-abled children of the estate workers. Founded by Ratna Krishna Kumar, the Trust launched two major projects: Aranya Natural and Athulya, aiming to rehabilitate local youngsters in a safe and fair environment. Later, Nisarga (the strawberry unit) and The Deli (a bakery and confectionery) were added to make preserves, breads and cookies using locally-grown ingredients.

Most visitors to Munnar would head to the main tourist attractions, but few would seek out the Srishti Welfare Centre. Well, they are really missing out. In 1996, the Srishti Welfare Centre moved to an abandoned shed in Tata Tea’s Nettimudi estate outside of the town centre. Their beautiful site is open to the public and visitors can meet many happy workers who are trained at natural dyeing and paper-making. What started out as an experiment has paid off for Ratna and her all-female team’, now even big corporations have employed the Trust to make paper and textiles-related products.

Aryana Natural is the natural dyeing department at Srishti. All the textiles here are created in a non-toxic environment and all the dyes are azo-free. Many dyes are locally sourced, like eucalyptus, Nilgiri kozha (eupatorium), tea waste, pine cones and other leaves, petals, roots and bark are harvested from the forest nearby. Some specific dyes are sourced elsewhere, like indigo from South India, lac from Jangir Champa, and myrobalan, from traditional medicine shops in Coimbatore. Only natural fabrics such as cotton and silk are used as they work best with natural dyes.

Every newcomer would receive training by volunteered trainers for about six months on skills particular to their aptitude and interests. Each artisan would specialise in at least one technique i.e. shibori or traditional block printing. World-renowned Japanese textile artist and researcher, Yoshiko Iwamoto Wada, regularly visits and acts as mentor to the young learners. She introduced many traditional Japanese shibori techniques to the trainees, which enable them to develop the skills further. Most of the artisans I spoke to told me that they really enjoy their work, and it was amazing to watch them work – they are fast and very skilled.

Athulya is the handmade paper unit that creates handmade paper from recycle waste paper, cut boards and other stationery waste. It is committed to use only natural additives in their paper, most of them are found around Munnar like tea, eucalyptus leaves, lemon grass, pineapple leaves, onion peel, flower petals, elephant droppings and water hyacinth (which is a weed affecting our back waters).

Now around thirty people work in this unit and they produce over 52 eco-friendly, azo-free, biodegradable recycled paper products by hand. It is also encouraging to see Starbucks hiring the unit to produce their shopping bags.

At the back of the sheds, there are a line of greenhouses growing organic vegetables and plants. Seasonal vegetables are picked and used in the Srishti canteen where nearly two hundred employees have lunch every day. There is also a playground for the staff’s children to play, and an award-winning flower garden that features a wide variety of flowers.

One cannot come here without stopping at the shop. The Aranya Natural shop has to be the most beautiful shop in Munnar. It sells one-of-a-kind handdyed scarves, clothing and home accessories made by the artisans next door. The prices are extremely reasonable and you would not be able to find them elsewhere. If you purchase here, you are directly helping the centre and the artisans, thus making a bold statement supporting sustainable textiles and fashion.

The Srishti Welfare Centre is not only a beautiful site, it is also an inspiring organisation. Before my trip, I knew little about this place, and I am flabbergasted that few people outside of the textiles world have heard of it. If you have only one day in Munnar, make sure that you spare time to visit this centre because it is well worth it.

Emmanuelle Moureaux’s ‘Slices of Time’ exhibition at Now Gallery

Posted on February 10, 2020 by Toothpicker

I have been a fan of Tokyo-based French architect Emmanuelle Moureaux and her colour-driven architecture for some time. Since 1996, she has been living in Tokyo where she established Emmanuelle Moureaux architecture + design in 2003. I have never actually seen Moureaux‘s architecture and installations in real life, so I was really looking forward to seeing her first art/design exhibition “Slices of time” in London.

Moureaux invented the concept of shikiri, which literally means ‘dividing (creating) space with colours’. She uses colours as three-dimensional elements, like layers, in order to create spaces, and her work ranges from art, design to architecture.

Inspired by the location of the gallery, near the Greenwich Meridian, “Slices of Time” expresses the past, the now and the future through 168,000 numbers cut out from paper. The cut-outs are hung in the gallery space, as a representation of the round earth floating. 100 layers of numbers in 100 shades of colours visualise the next 100 years to come (2020 to 2119), while 20 layers of numbers in white represent the past 20 years (2000 to 2019).

On the preview night, I headed to NOW Gallery on the Greenwich Peninsula, and a long queue had already formed outside of the gallery. At the door, we were assigned a timeslot and when it was our turn, we had to queue (again) outside of the exhibition area. We were allowed to walk around the installations for a short period before being hurried out to let the next group in.

It was wonderful to see the striking installations from above and up close. I am also glad that the architect has chosen paper as her medium – the installation truly reveals the beauty and power of paper. I only wish that I was given more time to linger, but since I was going to be away for several months, this was the only opportunity for me to see the exhibition before leaving. And for those who don’t live in London, there are currently two other exhibitions being held in Taipei (“Forest of Numbers” ) and New York (“100 colors”) where visitors can be stimulated by vast array of colours.

“Olafur Eliasson: In real life” exhibition at Tate Mordern

Posted on December 22, 2019 by Toothpicker

Model room (2003), Olafur Eliasson in collaboration with Einar Thorsteinn

Although I have seen Danish-Icelandic artist Olafur Eliasson‘s works before, I was still hesitant to visit his “Olafur Eliasson: In real life” exhibition at Tate Modern fearing that it has been overhyped. Then when I went with a friend on one Friday evening, we both enjoyed the exhibition immensely – it was also more fun to go with a friend.

As soon as I stepped into the first room, I was immediately captivated by all the geometric origami architectural pieces behind the glass case. Since I completed a paper art course recenly, I found these pieces utterly fascinating. These preliminary and experimental models enabled the artist and his team to develop larger geometric installations that could be seen in the other rooms. Though seeing these models helped us to understand the concept and work process.

Eliasson often creates works that aim to challenge viewers’ perception of reality. “Is Seeing Believing?” is the question that we sometimes ask ourselves, yet our past experiences are leading us to think otherwise, since we are constantly deceived by our brains. The truth is that most of us are able to grasp reality.

Eliasson’s most famous work ‘The Weather Project’ drew 2 million visitors to gather beneath his artificial sun installation in the Turbine Hall back in 2003. This ‘fake sun’ became the talk of town for a long time.

This time, an 11-metre-high waterfall constructed from scaffolding was installed on the terrace outside of the museum. According to Eliasson, the piece is meant to probe questions including: “Is nature constructed? Is nature real? Is it fake? Does nature exist?”

Since Eliasson spent much of his childhood in Iceland, nature and environmental issues play prominent roles in his works. In one of his earlier works Beauty (1993), for example, Eliasson wanted to recreate something he’d witnessed first-hand in Iceland. Visitors would enter a dark room and see mist coming out of a punctured hose pipe with light illuminated from a single light bulb. If you stand there long enough, you are likely to see a rainbow. Is this nature or manmade? It is up to you to decide.

Beauty (1993)

In another room, visitors would be surrounded by a dense fog that changes colours as you blindly navigate yourself through it. Din blinde passager (Your blind passenger) was first presented at Copenhagen’s ARKEN Museum of Modern Art in 2010, and at this exhibition, it has been recreated in a 39-metre long corridor.

The artificial fog is actially made from non-toxic polls, a sweetener often used in food production, hence you can taste the sweetness at the back your throat when you inhale the fog. Not only you might feel disoriented, but all your senses would also be evoked in this space.

Din blinde passager (Your blind passenger), 2010

Another immersive installation Your uncertain shadow (colour) focuses on light and colour. Five coloured spotlights, directed at a white wall, are arranged in a line on the floor. These colours combine to illuminate the wall with a bright white light. When the visitor enters the space, her/his projected shadow, by blocking each coloured light from a slightly different angle, appears on the wall as an array of five differently coloured silhouettes. The deceptive and playful installation is probably the most ‘instagrammed’ at the exhibition.

Your uncertain shadow (colour), 2010

Beyond the interactive installations, there are also works that employed a more conventional method focusing on the effects of global warming and climate change. A series of photographs of Iceland’s glaciers taken by the artist in 1999 are hung alongside with photos taken 20 years on to illustrate the changes in the landscape that are happening now. They act as a stark reminder that global warming is not a hoax and needs to be addressed asap.

His other ongoing prject, Ice Watch (2014–) is a collaboration with the geologist Minik Rosing in which large blocks of glacial ice cast off from the Greenland ice sheet were installed in three locations, including outside of Tate Modern a year ago. The melting ice installation raises awareness of climate change by providing a direct and tangible experience of the reality.

Like I mentioned earlier, many of his geometric origami models in the first room were later developed into larger installations, like ‘Your spiral view’ (2002), featuring a eight-metre-long tunnel constructed from steel plates that are assembled into two sets of spirals coiling in opposite directions. When visitors walk through it, they would find themselves within a kaleidoscope, in which the space they have just left is reflected fragmentarily together with the view out on the other side. It is another fun and disorientating installations at the exhibition.

Outside of the exhibition, visitors could also view his other projects, including Little Sun, developed with the Danish engineer Frederik Ottesen. Little Sun is a very efficient solar-powered LED lamp, aimed at children in Africa and other developing nations. Since the lamp’s debut in 2012, more than 200,000 have been distributed, over a third of them to regions in Africa with no electricity, the rest at venues like Tate Modern or Coachella.

In my opinion, Olafur Eliasson is undoubtedly a persuasive and important artist of our generation. It is hard to put him into a box as he is also a designer, philanthropist and environmental activist. Even if you don’t consider his works as ‘art’, he does have the power to make the public engage and think about our environment, which hopefully will bring about positive changes to our planet.

The art of paper: folding, pleating and manipulation

Posted on July 1, 2019 by Toothpicker

Unlike children today, when I think of my childhood, paper played a crucial role in my early days. Aside from drawing on paper, I collected paper bookmarks, writing paper, and stickers; I dressed up paper dolls with my classmates after school; I did origami and paper cutouts; I learned calligraphy and practised on translucent paper; I made birthday cards for my parents… It would be fair to say that paper dominated my childhood.

But like most people these day, I am spending more time in front of the computer, and I sorely miss the days of touching and playing with paper. It is not easy to find a course that focuses on paper art (and I don’t mean origami or pop up books), yet I came across a Paper art course at the The Camden college and I quickly signed up for it. I loved it.

Years ago, I bought paper artist Peter Jackson‘s book ‘Folding techniques for designers’, and I have tried (and failed) to create some paper structures from the book. I have also applied some of the techniques onto textiles with some interesting results. Hence it was encouraging to know that our tutor/designer/artist Thomas Prendeville also used this book as a reference for the class.

Manipulating textiles using folded paper moulds is fun too

One of the most basic techniques is learning to score, which means creating a crease in the paper so that it can be folded easily. Thomas suggested using a ‘dead’ pen and a metal ruler to score lines on the paper. Another important point to remember is the rule of mountain (high) and valley (low), which applies to everything we fold. Folding straight lines are not difficult, but patience is required if you are folding larger pieces. And it becomes more challenging when you fold curves, so the weight of the paper has to be considered.

Paper folding feels like meditation to me. It is a meditative practice and you cannot rush it. Yet when you see the results, you would appreciate all the time and effort that has been put into it. Also, the possibilities are endless, and you can certainly apply the skills onto other materials like textiles and metal.

Architects like Thomas Heatherwick often applies paper folding techniques in his architectural work, e.g. the vents for a substation cooling system at Paternoster Square in London (2009) was derived from a piece of A4 paper. And for decades, Japanese fashion designer Issey Miyake has applied the pleating techniques in his collections. He invented the ‘garment pleating technique’ back in the 80s and launched the Pleats Please collection in 1994, which is consisted of light, stretchable and wrinkle-proof garments for all shapes and sizes. In recent years, Miyake and his Reality Lab. team also launched IN-EI, an innovative lighting line produced by Italian lighting company Artemide.

It always amaze me to see a flat piece of paper being transformed into a sculptural piece. I also love the shadow and light created by the ‘mountains and valleys’, which look beautiful when being photographed up close.

After scoring and folding for a few hours a week (plus homework time), we all improved and became quicker by the end of the course. Meanwhile, Thomas was keen to get us to make larger duplicates so that we could create hanging sculptures by connecting mutiple pieces together. Before I knew it, my place was filled with paper sculptures!

I thoroughly enjoyed the course and would love to carry on folding or apply the techniques elsewhere. Now all I need is paper, time, and a large studio.

Watch this space.

Other interesting paper artists:

Richard Sweeney – an English paper artist who creates large sculptural paper installations. He has also published books on the subject.

Fung + Bedford studio – I became acquainted with Angela Fung at a Christmas design fair. Angela is a paper artist and jewellery designer who makes origami-inspired jewellery and large scale architectural paper sculptures for many U.K. art institutions.

Foldability – a London based design studio run by Kyla McCallum, a set designer and paper artist who has been working with origami for over 10 years. She also sells paper art and lighting on her website.

Aditi Anuj – a textile designer from Mumbai not only produces large-scale paper sculptural installations, but she also conducts workshop and collaborates with other artists.

LCW 19: Beyond Paper – The Craft of Material Making at G.F.Smith

Posted on June 17, 2019 by Toothpicker

I have been wanting to visit paper specialist G . F Smith‘s showroom since it opened in 2016, but somehow never got round to it. The London craft week provided me the opportunity to visit the showroom as well as the new exhibition ‘Beyond Paper – The Craft of Material Making’ co-organised by MaterialDriven, a design agency and Material Library. The exhibition presented a collection of new, experimental materials that are at the forefront of design and sustainability.

G . F Smith & Son was founded by paper merchant George Frederick Smith in 1885. And for nearly 140 years, the company has been providing the finest speciality papers to the creative and fashion industries. Their Soho 4,000 sq ft showroom features a 14m-long collection wall displaying their paper in 50 Colorplan shades, accompanied by paper installations that change regularly.

The company’s long-time collaborator Made Thought not only designed the colour wall but also the corporate identity that was awarded D&AD “BLACK” Pencil for Brand Expression in 2015 (see below).

For those who think paper is ‘dead’, they probably have yet to visit this stunning and inspiring showroom.

At the exhibition space downstairs, the display included a wide range of sustainable and experimental materials that reflect the current landscape of making across fashion, interiors, architecture, and graphics.

Some of the innovative materials at the show are as follows: ‘That’s Caffeine’ tiles made from used coffee grounds and biodegradable resin by industrial designer Atticus Durnell; recycled polystyrene by designer Sam Lander; Papertile made from 100% post-consumer recycled paper by design duo Jasna Sokolovic and Noel O’Connell; textiles made from upcycled seashore plastic by De Ploeg; and Ecopet, a recycled polyester fibre made from plastic bottles etc.

It is always encouraging to see designers and makers using waste materials to produce new and biodegradable materials are not harmful to the planet. We certainly need more innovations and collaborations in this sector as a way of conserving our raw materials and preventing further damage to our highly polluted planet.

To be continued…

London Craft Week 19: Contemporary Japanese craft

Posted on June 15, 2019 by Toothpicker

Indigo Hands installation at Coal Drops Yard

At the London Craft week this year, many Japanese craftsmen and artisans were invited to take part and showcase their exquisite craftsmanship. Although Japanese craft is highly regarded worldwide, the future of many traditional Japanese crafts is still uncertain due to the lack of younger people entering these fields. In the past, traditional craftsmanship is passed down from generation to generation within artisan families. However, due to dwindling demand, urbanisation, change of lifestyle and taste in Japan, few young people would want to dedicate their lives learning and perfecting an ‘old-fashioned’ craft. In order to preserve these crafts, artisans have to constantly evolve, collaborate, and innovate.

In recent years, the revival of natural and indigo dyeing proves that there is no such thing as an ‘old fashioned’ craft. After computer and mobile technology took over our lives for the past two decades, many people are now finding comfort and joy in making tactile craft again.

Eastablished in 2015, BUAISOU is a young team of Japanese indigo farmers and artisans responsible for the revival of sukumo – dried and fermented indigo leaves – in Tokushima, the hometown of Ai Zome (natural indigo dye). Tokushima was the top producer of Ai Zome garments in Japan in the 19th century with around 4,000 aishi (sukumo farmers), but due to the introduction of synthetic indigo and other various factors, now only six are left.

At LCW, Coal Drops Yard commissioned BUAISOU to produce a series of handmade and hand dyed flags, and the team conducted several onsite dyeing workshops in KIOSK N1C. Unfortunately, I missed the workshops, but I do hope to visit their studio in Tokushima in the future.

At Heal’s, the Japanese Craft Market showcased ceramics, Mino washi, blades, and wood craft produced by thirteen exhibitors from the Gifu prefecture. I visited Mino and Takayama in the Gifu prefecture last year, so seeing the crafts brough back memories for me.

There are several towns in the Gifu prefecture that are famous for ceramics, including Mino, Toki, and Tajimi. In Tajima, there is Ceramics Park Mino, a ceramic museum and park that showcases Japanese ceramics. The town also holds an annual ceramic festival during the second weekend of April which attracts thousands of visitors to this area. The region has a lot of small and large scale producers making tiles and ceramic wares including household items, crockery, sculptures etc. as well as huge furnaces and other equipments for industrial purposes.

The ancient town of Mino is famous for Washi (Japanese paper), which is used for shoji doors, umbrella, fans, lanterns and stationery. The high quality and durable handmade paper uses pristine water from the Nagara river and is considered as natioanl treasure in Japan. You can learn more from my previous entry on Mino here.

As soon as I arrived at Hida Takayama in the Gifu Prefecture, a glass showcase of wood crafted furniture at the railway station caught my eye. The wood-abundant Hida has maintained a woodworking tradition for over 1,300 years. This region is famous for its skilled woodworkers and beautiful handcrafted furniture, and its minimalist aesthetic is similar to Scandinavian design.

I think the exhibition was a good introduction to those who are unfamiliar with Japan’s regional craft and design. I hope the Toyama prefecture will be next on the list.

At the Spanish luxury fashion house Loewe in Mayfair, California-based mother and daughter team Shizu Designs demonstrated traditional Japanese basketry weaving techniques that transform rocks into art. Rattan or cane is used to wrap and tie the rocks with ornamental knots used in Japanese ikebana basketry. Shizu Okino and Karen Okino also contributed to the LOEWE Baskets accessories collection which features their signature style.

It was mesmerising to watch the two artisans working side by side. Basketry is another traditional craft that is being revived today, and I believe these collaborations are likely to make people appreciate traditional craftsmanship and see it in a different light.

To be continued…

Eat, drink & shop in Kala Ghoda, Mumbai

Posted on April 13, 2019 by Toothpicker

Kala Ghoda

Since I stayed not for from the Kala Ghoda district in Fort, I spent much of my time exploring this area, where many cool shops and interesting eateries are located.

One of the coolest shops in the area is Kultre Shop with a focus on contemporary Indian graphic design. The shop serves as a platform for leading and upcoming artists, graphic designers and illustrators from India and around the world; enabling their work to be more accessible through the sales of affordable prints, stationery, homeware, t-shirts and books. When you walk into the shop, you are likely to be attracted by the colourful, modern and graphical prints on the walls and items on the shelves. The shop has two branches in Mumbai, and also sells online via their website (they ship worldwide).

Address: 9 Examiner Press, 115 Nagindas Master Road, Kala Ghoda, Fort.

Kulture Shop in Kala Ghoda

Not far from Kulture Shop is Filter, another curated design shop that sells a range of products from stationery to prints, t-shirts, books and homeware etc.

Address: 43, VB Gandhi Marg, behind Rhythm House, Kala Ghoda, Fort.

Filter

For more traditional and handcrafted items, the Artisans’ Art Gallery and Shop is the best place to go to. The shop and gallery was founded in 2011 by Radhi Parekh, a designer and art promoter who comes from a family that has a long-standing association with local textiles.

The shop sells a range of high-quality handmade textile items and jewellery. Although the prices are not cheap, the quality is much better than what you would find at the markets.

At the time of my visit, there was an Urushi Japanese lacquerware exhibition by Japanese artist Yukiko Yagi and Meguri Ichida showing at the gallery, which was a pleasant surprise.

Address: 52-56 V B Gandhi Marg, Kala Ghoda, Fort.

Urushi Japanese lacquerware exhibition and Indian textiles at the Artisans’ art galley and shop

Nicobar is the younger and more affordable sub-brand of the city’s iconic sustainable apparel and homeware brand Good Earth (see below). Their minimal and organic clothing is comfortable, versatile, contemporary, and particularly suitable for travelling.

The shop is divided into the cloithing section and home section. The home section sells a range of home furnishings, homeware and ceramics that would not look out of place in most modern homes.

Address: #IO Ropewalk Lane, above Kala Ghoda Cafe

Nicobar

Obataimu is a cool conceptual clothing and design shop that is inspired by Japan and India. Influenced by both cultures, the founder Noorie Sadarangani likes to experiment and treats her retail business like an art project. When you step into the shop, you would notice that wood is the predominate material here, and at the back, there is a glass partition that enable visitors to see the workshop where the tailors/ artisans work (all dressed in white). All the clothing on display is not for sale, instead every piece is made to order to reduce wastage. The clothes here focus on innovative materials, traditional craftsmanship and sustainability, so what more can you ask for?

Address: B. Bharucha Marg, Kala Ghoda, Fort.

The shop front of Obataimu

Before my trip to India, I was unaware of the contemporary apparel scene in India, therefore, I was pleasantly surprised to see some wonderful shops in Mumbai that sell handmade, sustainable, classic and affordable clothing and accessories. One of them is Cord Studio. The focus here is craftsmanship and nostalgia; you can find well-made leather bags and accessories, and clothing that is practical and contemporary.

Address: 21 Ropewalk street, Kala Ghoda, Fort. (Opp. Nicobar and Kala Ghoda cafe)

Cord studio

Even though I am not a tea person, I thoroughly enjoyed my visit to lovely San-cha tea boutique. The two girls/staff were very friendly and knowledgable and made me two different cups of tea to try. The brand was founded by tea master, Sanjay Kapur in 1981, and they sell over 75 varieties of tea from green to white, black, oolong, and blended ones like masala chai. I bought some masala chai for myself and several friends, and I like it very much. Although I have not been converted to a regular tea drinker, it is nice to enjoy something different occasionally .

San-cha Tea Boutique

Art on the street: Rampart Gallery

Yazdani bakery and cafe is well-known for its brun maska

Ice cream at Bombay Street Treat

I don’t usually visit a cafe/restaurant twice on a single trip, but I did return to Kala Ghoda Cafe a few days after my first visit. This relaxing venue is a cafe, bakery, wine bar and gallery. The cosy cafe part is housed inside an early 20th century barn with plenty of skylight coming through from the roof. I had a simple lunch here one afternoon, and I really liked the laidback vibe and atmosphere.

I came back to try the wine bar at the back one night because I didn’t want proper dinner. I ordered a fish tikka and a green salad (although I was told not to eat anything raw in India, I took the risk here, and I was totally fine afterwards), and I reckon the fish tikka here was the best I have EVER tasted! I even tried the local Indian rose, which was surprisingly refreshing and very drinkable. I really recommend a visit to this cafe and wine bar if you are in the neighbourhood.

Address: Bharthania Building, A Block, 10, Ropewalk Lane, Kala Ghoda, Fort.

Kala Ghoda Cafe

I decided to try the popular vegetarian Burmese restaurant Burma Burma after reading many positive reviews online. I visited Burma two years ago, but I have not had the cuisine since.

The interior of the restaurant is sleek and modern, with a bar that serves very interesting mocktails. I had a set menu that included several classic dishes which were all very tasty, and together with the mocktail, the bill came to less than £10 – I (as a Londoner) would consider that a bargain.

Address: Kothari House, Allana Centre Lane Opposite Mumbai University Fort, Kala Ghoda

Burma Burma

Arguably Mumbai’s most famous seafood restaurant, Trishna’s restaurant front looks quite intimidating with a seated guard by the door. I decided to brave it and walk in with one aim: to eat their famous crabs!

To my surprise, the decor inside is simple and unassuming. The waiter was eager to get me to try their famous butter garlic crab and so I did. It did not disappoint – the crab was rich and delicious (and I probably gained 2 lbs after eating it). The meal was the most expensive one I had in Mumbai, but it was worth it as that was the only Indian crab I got to try throughout my month-long trip!

Address: 7, Sai Baba Marg, Kala Ghoda, Fort.

Butter garlic crab at Trishna

Not far from Kala Ghoda, there is a charming and nostalgic restaurant that stands out for its ambience and history, and it is a MUST if you want to experience ‘old Bombay’.

Britannia & Co. is a third generation Irani restaurant and one of the last remaining Parsi cafes in south Mumbai. The popular Dishoom chain in London was modelled after these once magnificent cafes.

Opened in 1923, Britannia’s Zoroastrian/Iranian proprietor, Boman Kohinoor, is now 96 years old, and yet he still visits the cafe regularly. It was lovely to see him greeting his regular customers and being photographed by them. The cafe was originally set up by his father, and he has been working here since he was 16. I couldn’t help but smile when I saw the painting of Queen Elizabeth II next to a portrait of Mahatma Gandhi, both hanging beneath a gilt-framed picture of Zarathustra, the Zoroastrian prophet worshipped by the Parsis.

The most iconic dish is the Berry Pulav, a recipe that the owner’s late wife brought back with her from Iran. The barberries used in the pulav that give it its distinct flavour are imported from Iran. I ordered a paneer berry pulav, and when the plate arrived, the paneer was nowhere to be seen. Then as I started to mix the rice, I realised that the paneer and sauce was at the bottom of the plate – it would have been embarassing if I had called the waiter over to ask him about the paneer! I have never tried this dish before, and I found it very tasty and comforting; I guess it is probably regarded as a Parsi comfort food.

It is sad to see that only a few of these Parsi cafes are left in the city, and I sincerely hope that this cafe will still be around when I visit Mumbai again. There may be numerous modern and fancy restaurants in the city, but none can match the personal, historic and nostalgic cafe like this.

Address: Britannia and Co., Wakefield House, 11, Sprott Rd, Ballard Estate, Fort. (this restaurant only opens for lunch except Sats and closes on Suns)

Britannia and Co.

Elsewhere in Cobala, I visited Good Earth, a luxurious apparel and home furnishing shop founded by Anita Lal 24 years ago. The brand bridged the gap between craft and luxury, emphasising on craftsmanship and sustainability. The apparel and craft items here are more old school, traditional and pricey, which differs considerably from its sub-brand Nicobar.

Address: 2 Reay House, Apollo Bandar, Colaba

Good Earth

Not far from Good Earth, I stumbled upon Clove The Store, which is a new luxury fashion and homeware brand. Its founder is Samyukta Nair, who resides in both Mumbai and London, also runs a sleepwear brand called Dandelion, and the Jamavar Women’s Club in London. The clothing and home furnishings on sale here are unique, well-made, and contemporary. The female staff was also very friendly and helpful, which made me feel very welcoming.

Address: 2, Churchill Chambers, Allana Road, Colaba.

Clove The Store

I returned to Mumbai for one night before leaving India, and I chose to stay in Khar West, which was closer to the airport. It is a relaxing residential neighbourhood, and apparently home to many Bollywood celebrities and business industrialists. Tucked away in the Chuim Village is a small DIY paper craft shop called Sky Goodies. I had to ring the door bell to be let in, but once inside, you would be surrounded by many colourful and delightful paper objects. Founded by two designers Misha and Amit Gudibanda, they drew inspiration from paper and hand-painted art, and started to create DIY paper kits. There are various themes to choose from, and you can make stationery, home decorations, calendars and paper animals etc. I think their designs are unique, fun, and affordable, so I bought a few as souvenir to give to friends, and they were all very impressed (and surprised) when they received the kits. You can also order online via their website or from their shop on Etsy.

Address: Ground Floor, Bungalow no 29, Chuim Village Rd, Khar West

Sky goodies shop

After visiting Sky goodies, I came across KCRoasters (Koinonia Coffee Roasters), which specialises in artisanal Indian coffee. The cafe is compact but stylish, with a laidback vibe, which kinda makes you forget that you are in Mumbai. I had a cold brew (as it was a very hot day), which was balanced and strong as I like it.

Address: 6, Chuim Village Rd, Khar, Chuim Village

KC Roasters

On the last day of my trip, I got to catch with my busy local actress friend (who never seems to get a day off work). She asked me what I wanted to have for lunch, and I told her that I was craving for salads (after having Indian food daily for 3 weeks)! She suggested the Bombay Salad Co. in Bandra, and it was exactly what my body needed. I broke the raw food rule again, but luckily, I was perfectly fine afterwards. There are many salads, juices and sandwiches to choose from, and everything we had was fresh and tasty. Looking around, I noticed that the cafe was full of health-conscious looking ladies, so I guess this is a popular spot for ladies who lunch.

Address: Shop No, 1, 16th Rd, near Mini Punjab Hotel, Bandra West.

Bombay Salad Co.

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Japanese textiles workshop (Part 2): Katagami & Katazome

Posted on October 28, 2018 by Toothpicker

Top: a visit and demonstration of katagami by the Ise-Katagami artisan Isao Uchida

Like I mentioned in my previous entry, my knowledge on traditional Japanese textiles techniques was quite minimal before the workshop. I have done some shibori techniques like itajime and pole wrapping, but I have never done any stitch shibori nor Katagami and Katazome before, and so when I received a stencil cutter and some stencil paper from Bryan in the ‘homework’ box before the workshop, I had to google frantically to get some ideas on how to create three unqiue patterns.

So, what is Katagami? It is an ancient Japanese paper stenciling craft that dates back to the 6th century. The specific paper required is made up of several sheets of washi (Japanese mulbery paper) pasted together with kakishibu (a tannin-rich persimmon juice), resulting in a strong and flexible, brown-coloured paper. Patterns can then be cut out with a razor-like cutter or punched out with various tools. It is also possible to overlap multiple stencils to create intricate and beautiful patterns.

Botom: a vintage katagami stencil from Bryan’s collection

We had the prilvilege to meet the Ise-Katagami artisan Isao Uchida who demonstrated a skill that he has practiced for several decades. He had just been named as the ‘Living National Treasure (Ningen Kokuhō)’ by the Japanese Government, and he came to pay Bryan a visit before attending the ceremony with the Prime Minster that eveing.

The craft of katagami is often accompanied by katazome – a traditional craft of stencil resist-dyeing using a paste made from rice husks, lime and water. Using the katagami paper stencils, the rice paste is brushed onto the cloth and when dried, it is immersed in the dye, like indigo. In the old days, katazome was used primarily on kimono fabrics, but now it has become a dying art form as the demand for kimonos have decreased significantly in modern Japan.

During the workshop, we spent a full day working at the katazome paste maker and dyer’s home/workshop, Hiroshi Noguchi, in Hachioji. Mr Noguchi is the a sixth-generation paste maker and dyer who specialises in indigo katazome. He works with his son, and his young grandson (the eighth generation), who showed immense interest and enthusiasm with the family bsuiness.

At Mr Noguchi‘s workshop, we watched him making the rice paste from scratch, and his son preparing the paste for us to use. When the paste was ready, we applied it onto the cotton cloths laid out on long boards through the stencils we had each designed. Since it was a very hot day, the paste dried fairly quickly in the sun. These long cloths were then hung horizontally outside and we all had a go at applying a special grey dye onto them.

Aside from the long strips of cloths, we also cut up some shorter ones and dipped them in the indigo vats. Since the paper stencils are very strong, we could easily wash them and reuse them over and over again.

The experience of working at Mr Noguchi‘s workshop was novel and humbling. It was encouraging to see that this craft has been passed on for so many generations, and that he was generous enough to let us use his workshop. I highly respect Bryan for trying to protect these traditional Japanese arts and crafts from disappearing by bringing his students here in order to support these artisans. With so many anicent arts and crafts vanishing globally due to our ‘fast culture’, it is time to review our lifestyle and support artisans who have spent their entire lives dedicating to one specfic craft or art form.

Papermaking with plants workshop in The Highlands

Posted on October 2, 2018 by Toothpicker

The scenery from Ullapool to Assynt

Scotland is one of my favourite places in the world. I love the landscape, wilderness, people and traditions; however, I am not so fond of its weather – a crucial element that has put me off moving up there. I have been traveling up to Scotland annually for the last few years to attend a meditation retreat in June, but I would only stay for about 1 week or less each time. This year, I decided to explore further and spend longer time there during my 6-month sabbatical. I stayed for three weeks in July. It started in Glasgow, then Fort Williams, Ullapool and and the Isle of Lewis.

I stayed in Ullapool to attend a paper-making with plants workshop at a local artist, Jan Kilpatrick‘s home/studio in Assynt, a remote area north of Ullapool. Since I wasn’t driving, Jan arranged her friend and workshop attendee, Jo, to give me lifts during the week as she happens to live in Ullapool. The commutes from Ullapool to Assynt were simply breathtaking, and I was capitivated by the sight of Cul Mor, Suilven and Quinag during these car journeys.

Jan is predominantly a landscape textile artist, but she is also a paper and mosaic artist. However, most of the courses she offers on her website are textiles related, so it was lucky that I managed to sign up to her paper-making course, which seems to be less in demand (as we were told). Since there were only a few of us, we got to know each other quite well during the week.

The reason why I signed up for this course was due to my passion for paper and interest in plants/botany. I have previously attended one/two paper-making sessions that lasted less than an hour, so my knowledge was minimal and I wanted to learn more about the technique and craft. Besides, the thought of spending the week sourrounded by nature up in the Highlands was a huge draw for me.

Over the five days, we spent most of the time working outdoors as we were quite lucky with the weather (except for the last day and when the midges attacked). Being able to pick many fibrous plants and grass from Jan‘s wonderful garden and use them as the materials of our paper was fantastic. The process of paper-making involves soaking the plants overnight, followed by boiling the plants with soda ash (or washing soda) and water. Then it is necessary to break down the plant fibres into pulp using a blender, and we mixed the plant fibres with recycled paper pulp to create different textures and varieties.

The next stage requires a mould and deckle (you can make one using picture frame and mesh), a vat filled with water and a bit of pva glue. Then it is time to add the pulp mixture into the water and let it dissolve in the vat. What followes is the most difficult part – using the mould to scoop the pulp from the back and bottom upwards inside the vat. When the mould is lifted you, it is best to shake it from side to side to drain the water and even out the pulp. This process requires patience and steady hands for consistency, and it may take several attempts to get the pulp evenly rested on the mesh. Sometimes the paper may be too thick or too thin, and it differs depending on the plant fibres.

The final stage is to remove the deckle from the mould and place the pulp on the mesh safely onto a wet paper towel. Then you need to press the pulp down with a sponge, add another piece of paper towel on top and place a heavy wooden board on top to squeeze out any excess water. After some time, you can lift up the board and hang the paper to let it dry on a rack.

We used a variety of plants like nettles, horsetails, daffodils, montbretia, dock leaves, and grass as our pulp, and we also added some flower petals as decorations. Since the process of paper-making is the quite repetitive, Jan suggested that we try mono-printing with plants, as well as eco-printing by arranging the plants onto the paper followed by steaming it.

After four days of making and experimenting, we spent the last day compiling everything together into a large portfolio book showcasing all the papers we made, and binded it together with some strings. We also created two mini plant books each featuring some of our handmade paper.

The five days went exceedingly quickly, and I found the workshop extremely inspring and enriching. It was also lovely to enjoy the vegetarian lunches that Jan prepared for us daily using many ingredients from her vegetable garden.

On Wednesday, we crossed the road and visited the Elphin market where there were vendors selling food and craft produced by local farmers and artisans. I learned that many artists and artisans chose to live and work in the Highlands due to its remoteness and landscape and nature, which I have no dounts would make one more creative being in this environment.

It was sad to leave this place behind, but there was more adventure awaiting, so I left feeling quite joyous and refreshed.

Mino washi museum & Akari Art Gallery

Posted on September 27, 2018 by Toothpicker

One of places I wanted to visit in Mino was the Mino washi museum. Yet the museum is located about half an hour’s drive from the town centre, and there are no buses that could get me there. After enquiring at the tourist office (inside a washi paper stationery shop), the lady there told me that she could book a ‘shared taxi’ for me to pick me up and bring me back at the requested times. After lunch, I waited outside of the bank and a mini van showed up. To my surprise, this was the ‘shared taxi’ that was booked for me. This is a community shared taxi service called Noriai-Kun, and it reminded me of the Songthaews/ Red trucks in Thailand, but of course the Japanese version is more comfortable and safer. After the driver dropped off a few passengers, he drove along the river and I was able to enjoy the scenery outside of the window. When I arrived, I asked the driver about the cost, and I thought he indicated 1000 yen, but it turned out to be merely 100 yen!

Mino washi museum

The Mino washi museum is a modern building with several exhibition halls, paper-making workshop space, a shop and a cafe. Aside from learning about the history and the making of washi paper, visitors can also watch the demonstrations of paper-making and then try it out at the workshops. Due to limited time, I did not do the workshop, but I enjoyed seeing a temporary washi paper art exhibition that showcased works by local artists.

Mino washi paper products sold at the shop

In the town centre, a visit to the Mino Washi Akari Art Gallery is a must. From the outside of the building (a former Mino City Industrial Association Hall built in 1941) and even after I entered the building, I had no idea of what I was about to encounter. Yet as soon as I walked into the dark exhibition area upstairs, I was astonished by all the stunning washi paper lanterns on display.

Every year October, Mino City hosts an Akari Festival where washi paper lanterns are lit and displayed along the main Udatsu street at night, turning the town into a lantern wonderland. At the gallery, visitors can admire all the exquisite and delicate lanterns created by professional artists, students, and the prize winners of the lantern competition held annually at the festival.

I was completely blown away by what I saw. And I think the exhibition showcases not only the craftsmanship, creativity, dedication, but also great respect for the traditions by all the artisans.

2nd row right: winning work of 2010; Bottom two rows: Winning work of 2017

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Category Archives: Paper art & craft