Fiona Caulfield believes that “Objects can connect you with a destination and a culture. A combination of curiosity and respect for the maker will reveal the stories and beliefs of country, delivering a richer connection with people and place.”

Fiona explains, “I observed repeatedly in India, that people would instinctively make things beautiful if at all possible. I first realised this when popping into an auto rickshaw outside my home in Bengaluru, and noticing that the patch on the seat, was heart shaped. I think the practice of Rangoli is another wonderful example. A rangoli is a decorative pattern made from powders or petals at the threshold to your home. The practice originated by scattering powdered calcite, limestone, and cereal powders as a way to prevent insects entering a home. Over time this scattering evolved into art form and favourite family designs are passed from a mother to a daughter.

India has an incredibly rich cultural history and craft is second only to agriculture in terms of occupation. It is a land that values the beauty of the handmade and understands that producing products is an avenue for individual creative expression and can also therapeutic and meditative. India also seems to have an innate sense of the value of materials avoiding waste, indeed India has been upcycling since ancient times before the West discovered this as a recent trend.”

Fiona began living in India in 2004 and draws upon her deep knowledge and extensive community for her work. She is a storyteller that believes that falling in love with a place is just an exciting as falling in love with a person and she shares stories of India through her travel guides, travel writing and consulting and now through a curated collection of Indian objects presented through Love India Home.

“I love
all things,
not because they are
or sweet-smelling
but because,
I don’t know,
because this ocean is yours,
and mine:
and these buttons
and wheels
and little
treasures, fans upon
whose feathers
love has scattered
its blossoms,
glasses, knives and
all bear
the trace
of someone’s fingers
on their handle or surface,
the trace of a distant hand
in the depths of forgetfulness.” From Ode to Things by Pablo Neruda

“Association is the essence of relationship which endears articles of everyday use to the user. This endearment finds a way of enhancing the aesthetic values in these articles, just as we love to dress up our loved ones, so we love to embellish our homes. Here, the craftsman employs his ingenuity through creative imagination. In the Indian tradition, creation does not mean making novel and exotic articles to please one’s fancy but endowing everything we use in our daily life with beauty. Therefore, nothing is created without a purpose.” Mahatma Gandhi

“Craft is as much an expression of the human spirit in material form, which gives delight to mankind, as any of what are termed fine arts. In the craft world, however, there need be no hiatus between serviceability and aesthetics. One may say that in good craftsmanship the means and the ends are identical, for while the article is useful it would also be rich appearance and good to look at.” Kamaladevi Chattopadhyay

“Our artists and artisans delve into the wellspring of mythical references, legends, identities, individual and collective histories, religious practices, seasonal celebrations, and even specificities like community perceptions of the sacred meanings of colour and motif. A multitude of deities lead to one common belief in the oneness of all sentient beings. India’s crafts people replicate them in clay, wood, stone, cloth, and even rice husks tied together with thread. They believe their deities bless them and guide their work. All these actions underpin the spiritual and emotional foundations of the creativity of our people.” Jaya Jaitly