Kalhath at 10: How Maximiliano Modesti Took the Indian Stitch Global

Stepping into architect-designer Rooshad Shroff’s gallery located in Mumbai’s Fort area is like entering a vibrant world of colors and creativity. The gallery features a stunning array of artworks, including the block-printed masterpieces of Paris and Lisbon-based multidisciplinary artist Pauline Guerrier. Her works, titled Inquest I and Inquest II, are overwhelming bursts of color. In contrast, Moroccan painter and photographer Amina Benbouchta’s Where the wind blows employs a more subdued palette, with striking red embroidery that stands out dramatically against its muted background. Among these captivating pieces, Shroff’s uniquely embroidered furniture can also be seen—crafted wooden chairs and monolithic stone tables, often collaborating with fellow artists T. Venkanna and Tanya Goel.

The intricate embroidery featured throughout the exhibition is the skillful handiwork of artisans from the Kalhath Institute, which is celebrating its 10th anniversary this year. This institute, akin to Mumbai’s Chanakya School of Craft, plays a vital role in preserving traditional Indian craftsmanship while allowing artisans to explore contemporary applications of their skills. Established by Maximiliano Modesti, a French-Italian fashion entrepreneur and textile designer, Kalhath effectively bridges Lucknow’s rich design heritage with modern artistic expressions.

A Celebration of Thread

Currently on display at Shroff’s gallery is A Celebration of Thread, showcasing over 20 artworks encompassing various craft techniques, from traditional chikankari to zardozi and innovative cording styles. These pieces were created through collaborative endeavors between artists and craftspeople—referred to as jugalbandi.

Among contemporary works, the exhibition also delves deep into craft history, featuring a tapestry by Italian Futurist painter Giacomo Balla from 1924, embroidered in Italy and later with a second edition produced in Kashmir the same year. This piece serves as a significant connection between art and craft across continents. Modesti emphasizes the historical context, reminding us of the longstanding relationship between artists and artisans within India. “In the history of India, there has been this rich history of collaboration,” he asserts.

Fostering Craftsmanship through ‘Make in India’

In recent years, India has re-emphasized its commitment to the ‘Make in India’ initiative, aiming to appreciate and elevate its rich cultural heritage. Modesti points out, “Art is a soft power, craft is a soft power. Luckily, in the last three years, there have been major private initiatives in India,” citing the Jindal craft prize and planned events like the Indian pavilion at the Venice Biennale in 2026, supported by the Ambani family.

There has been a notable global surge in appreciation for Indian craftsmanship, attributed to a growing visibility of its potential. Renowned luxury brands such as Hermès, Isabel Marant, and Dries Van Noten have begun to embrace the “Made in India” label. “There’s not a single luxury brand that does not source from India,” Modesti emphasizes, highlighting that whether through embroidery, textiles, or prints, Indian production is now a staple in luxury goods worldwide.

Over the past decade, Modesti has also teamed up with French art collector Hervé Perdriolle to establish the Modesti Perdriolle Gallery in Brussels, which aims to showcase emerging Indian artists and overlooked art forms, including Rajasthan’s Tantra paintings and traditional Warli tribal art.

Modesti’s Journey into Indian Craftsmanship

Modesti’s journey in India began in 1992 when he ventured from Paris to conduct a market study on luxury brands. He quickly recognized that the luxury market in India was still developing. However, he was captivated by the exquisite Indian craft scene, questioning how such a nation, rich in artistry, was predominantly known in the West for inexpensive, mass-produced goods. Driven by this realization, he decided to establish a business focused on promoting Indian craftsmanship, albeit without a definitive plan—just pure intuition.

Over the past thirty years, Modesti has emerged as a champion of Indian artisanal skills, partnering with international brands like Alexander McQueen, Alaïa, Hermès, and Vivienne Westwood through 2M Ateliers.

One of Modesti’s primary objectives has been ensuring job security and fair compensation for artisans. He recalls that back in the early 1990s, embroidery artisans in Mumbai were paid on a daily or weekly basis without any contracts or job security. Today, his 2M Ateliers employs over 800 craftspeople under much-improved working conditions.

The Establishment of Kalhath

Ten years ago, Modesti established Kalhath to give back to the artisan community and empower them. The institute accepts only 25 craftspeople annually, with a prerequisite of five years of embroidery experience. He chose Lucknow, given its historical prominence in textile production. Within a 20-kilometer radius of the city, there are over 100,000 craftspeople skilled in various embroidery styles such as chikankari, zardozi, aari, and jamdani.

Since 2018, Kalhath’s artist-in-residence program has significantly broadened the horizons of the institute’s crafts. Collaborations with contemporary artists have explored unconventional themes, including nudity and mortality, as seen in the partnership with artist T. Venkanna, known for his bold representations of the human form.

Moroccan multidisciplinary artist Yassine Balbzioui shared his experience, describing the intricate collaboration process: “Through my work, I engaged in a sort of ‘ping-pong’ with the craftspeople: I would start a design—ink interventions on the fabric—then the craftspeople would embroider it, and I would transform the design again throughout the creative process.” Each artwork produced will either return to the artist or be archived at the Kalhath Institute.

Future Aspirations

Looking ahead, Modesti aims to expand the training programs for artisans, acknowledging that India is home to over 60 million artisans. “We must comprehend the vast reservoir of knowledge and population tied to craft,” he states. Despite these rich traditions, he voices concerns regarding the lack of institutionalized education and infrastructure for artisans, stating, “Everything is quite nascent, despite the fact that craft has been central to the economic development of the subcontinent for the last 500 years.”

Currently, A Celebration of Thread is on view at the Rooshad Shroff Gallery in Ballard Estate, Mumbai, until September 30, available by appointment.

The writer is based in Mumbai.