MOEVIR Magazine July Issue 2025

[ Breathing New Life into Ancient Craft Through Nature and Design ]

https://www.magcloud.com/browse/issue/3099817

Accessory Designer: Bhavna Yadav @ybhavana 

https://bhavnayadav.my.canva.site/

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As the fashion world increasingly searches for depth and authenticity, creatives like Bhavna Yadav are stepping forward with a vision that’s both rooted and forward-looking. A graduate of Parsons School of Design with a background in managing fashion teams, Bhavna is known for her thoughtful minimalism and deep reverence for traditional craftsmanship. Her latest project bridges ancient Indian artistry and the natural world—specifically through the elegant and mysterious form of the sea dragon.

Q: Bhavna, your work is known for combining simplicity with soul. Can you tell us about your recent project that involved the rare Indian craft, Usta Kala?

Bhavna Yadav:

Absolutely. This project was really close to my heart—it felt like the perfect merging of everything I love: minimalistic design, cultural craftsmanship, and the poetry of nature. I’ve always been fascinated by how nature shapes form and texture in such a pure, effortless way. One day, I came across a sea dragon—it’s this almost mythical marine creature, delicate and strange, with flowing fins and ornate patterns. There was something surreal about it. That visual stayed with me.

At the same time, I was researching Usta Kala, a rare craft practiced in Bikaner, India. Traditionally, this intricate gold-painted embossing was done on palace walls and ceilings—grand, architectural surfaces. What moved me was how the technique carries a sense of legacy; it’s not just design, it’s history preserved in pigment. The name itself comes from the word "Ustad", meaning master. These artisans originally came from Persia centuries ago, and the craft they brought with them was named after their mastery—Usta Kala.

Q: That’s such a unique connection. How did you translate a palace wall technique onto something as intimate and modern as a clutch?

Bhavna:

That was the real creative challenge, and also the most beautiful part of the process. I worked closely with the craftsmen in Bikaner—men whose families have practiced Usta Kala for generations. We sat together, sketching and talking, looking at textures from the sea dragon and figuring out how to adapt that fluid movement into the geometry of a clutch. The scale was entirely different—Usta Kala is used to breathing across vast surfaces, so bringing it down to the size of a clutch meant we had to reinterpret the details carefully without losing the integrity of the technique.

We used traditional materials like natural pigments, gold foil, and raised reliefs—but the palette was more muted and contemporary, in line with my minimal aesthetic. It was about finding harmony between the organic forms of nature and the structure of heritage. And in doing so, we also created a new kind of functionality for this craft—one that can be worn, carried, and sold at a more intimate, human scale.

Q: That’s incredibly thoughtful. Would you say your creative process always starts with nature?

Bhavna:

Yes, in many ways it does. Nature is the original designer—there’s so much elegance and intelligence in the way it creates form, texture, movement. I’m always inspired by that kind of quiet complexity. With this project, it wasn’t just about the look of the sea dragon—it was about the feeling it evoked. It’s a creature that’s both fragile and powerful, hidden yet unforgettable. I wanted the clutch to reflect that same energy: subtle, graceful, but full of story.

Q: And how do you see the future of crafts like Usta Kala in the modern fashion landscape?

Bhavna:

I think the future of craft depends on its ability to evolve while holding onto its soul. Techniques like Usta Kala shouldn’t be frozen in time or just seen as museum pieces—they should be living, breathing parts of our everyday design vocabulary. By collaborating with artisans and adapting these techniques into modern accessories or garments, we give the craft new relevance and open up new markets for them. A palace wall might be rare, but a clutch can travel the world. That’s powerful.

My hope is to keep building these bridges—to take something as deeply rooted as Usta Kala and let it grow into something that resonates with today’s audience. It’s not about modernizing for the sake of it; it’s about letting tradition live in new shapes.

Q: You often talk about intentionality in design. How did that play out in this project?

Bhavna:

For me, every decision has to have meaning—whether it’s the size of the bag, the curve of the motif, or the type of foil used. Working with a centuries-old craft comes with a responsibility. It’s not about decoration; it’s about storytelling. I didn’t want to just make something “inspired by a craft”—I wanted to involve the real voices behind it, understand their process, and make something together that felt true.

Intentionality also means slowing down, listening, and being okay with imperfection—because that's where the magic often lives. The finished clutch is minimal in shape, but rich in texture and spirit. It holds history, nature, and imagination all in one form.