One of HARRI’s salient principles is intersecting innovation with cultural heritage. Within these broad terms, there are certain masters that HARRI regards as his highest inspirations, ranging from artists to artisans, sculptors, and collectives, who have served as creative influence for some of his most groundbreaking work. While being revered for his inflatable creations and defetishized approach to latex, there is a versatility to
We know HARRI to be daring and humorous with his designs, but behind his bold offerings hides a humble artist, fascinated by cultural traditions and artistry. In his breakout collection, “Let’s Put Him in a Vase” HARRI masterfully demonstrated his capacity to innovate whilst proudly showcasing the wonders of his Indian heritage. A key component of this collection was his Wooden Artefacts; handmade, hand beaded wearable forms of art founded in Channapatna in the 18th century. Perhaps not as exuberant as his Limo trousers or as dramatic as his Black Hole jacket, his Wooden Artefact pieces are demure, elegant, and beautifully represent his background - a seamless example of how we can take pride in our roots and raucously disrupt the status quo.
India is internationally renowned for its intricate production of delicate embroideries, textiles, carvings and jewellery, yet many facets of this impressive industry are overlooked and lack adequate exposure. One of these trades is beadmaking of Channapatna, who HARRI partnered with to create the Wooden Artefacts. “The beauty of this textile lies in the process behind it” affirms HARRI. Its origins trace back to the village of Neelsandra in the 18th century, and it is endangered despite its rich contributions. The prolonged period to receive global recognition and acknowledgement of Geographical Indication by the World Trade Organisation resulted in many of the artisans leaving the trade altogether. Today, there are only 50 families left dedicated to the craft of beadmaking, demonstrating the preciousness and jeopardy of this unique craft.
Even In 2024, the bead production is reminiscent of 18th century tradesmanship. The artisans create the beads sitting on the floor, using only a primitive bow and long iron-rod to curve the cylinder shapes. The artisans become lost in their own world, fixated on the curves and texture of the beads, with only their mobile phone at their side to bring them back into the present. Unlike other crafts, the efficiency of bead making depends upon the speed of turning; wood, colour and texture have no key role in its shape creation. This means that waste wood is often implemented, showing how the craft is respectful to sustainability and kinder environmental practices.
This being said, intertwining bead making into garment production is no easy endeavour. Certain challenges arose during the making of this collection particularly regarding pattern development. This was largely due to the geometrical design and stiff nature of the beads, which made incorporating curves needed for the crotch, shoulder and armhole areas nearly impossible. Furthermore, HARRI had to organically merge beadmaking with garment production - the artisans are predominantly accustomed to producing mats, meaning he would spend hours studying the practice in order to alter his pattern accordingly. The spectacular product we see today took multiple attempts and weeks of trial and error.
Nevertheless, HARRI’s mission was a success, resulting in a harmony between a precious trade and high fashion grandeur. Not only did the beadmaking expose HARRI and his creative process to the avenue of 3D pattern making, but helped to enforce a legacy for his brand of cultural celebration and fashion innovation. The Wooden Artefacts are handcrafted and made to order, bringing forth cultural legacy into modern ready to wear and exemplifying that we need not overlook the traditions of our heritage to create an artistic supernova.
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