The People Behind the Process

The hands and conversations behind Rangmanch

A collection rarely belongs to just one set of hands. By the time Rangmanch came to life, it had already passed through many conversations, workshops, and people, each shaping the collection in ways both visible and unseen.

Some carved the blocks. Some mixed the dyes. Some guided production quietly in the background. Others helped translate instinct into form.

That is often the nature of craft.  What appears simple in the final piece is usually layered with many forms of skill.

For us, one of the most meaningful parts of building The Peacock Palette has been getting to know the people behind the process, not simply as vendors or production contacts, but as individuals deeply connected to their work.

 

In Jaipur, block maker Karan Chipa carved the wooden blocks that would eventually print the collection. Looking at a finished textile, it is easy to focus only on the pattern itself. But before color ever touches fabric, the design must first be understood in wood.

Each line must carve cleanly. Each repeat must align. That precision shapes everything that follows.

Color brought another layer of collaboration.

During sampling, Master Ji Ram Babu guided the dye process, adjusting shades by eye as colors shifted across fabric. Madhu ji, the owner of the production unit, helped oversee the process as decisions evolved throughout the day.

 

Much of this work happens through experience rather than measurement. A color deepens slightly. A print behaves differently on linen than expected. Adjustments happen in small movements, often understood instinctively by the people who work with these materials every day.

Alongside them, Vishal Mehta coordinated production and communication, helping move decisions clearly between workshop floors, calls across time zones, and the many details that shape a collection long before it reaches a home.

Elsewhere, in Himachal Pradesh, illustrator and designer Nidhu B helped shape the early visual direction of Rangmanch. Through conversations, references, and evolving drafts, the collection slowly began finding its identity.

And throughout much of this process, Vashita moved between workshops, conversations, and production spaces on our behalf, helping bridge ideas across cities and people.

What stays with us most is not only the final collection, but the rhythm of collaboration behind it.

 

A carved block passed from one hand to another. A color tested, adjusted, and tested again. A conversation continuing across Jaipur, Seattle, and Virginia.

These are the parts of the process that rarely appear in the final photograph. But they remain within the piece nonetheless. 

And perhaps that is what gives crafted objects their depth. Not perfection.

But the presence of many hands, many decisions, and many people behind them.

This journal is a record of how The Peacock Palette came to life, one step at a time.