Breathing life into a rare art, Knots to Node turns tatting into jewelry that stands out.
1. Tell us a little about yourself—who you are, what you do, and how art became a part of your journey.
Knots to Node is a mother–daughter led venture rooted in the traditional lace-making technique of tatting. During the 2021 lockdown, I discovered my mother’s old tatting work, pieces she had learned to make at the age of 13 and practiced quietly for years as a hobby. Watching thread take form through her hands sparked the idea of carrying this craft forward.
What began as a personal discovery grew into Knots to Node-an attempt to give tatting a contemporary voice while staying deeply respectful of its process and lineage. Today, we work between Lucknow and Bangalore, bridging generations through thread.
2. Art isn’t just something we see—it’s something we live with. How does art seep into your daily life? And what does art mean to you?
For us, art is embedded in routine. It lives in repetitive hand movements, in patience, in the rhythm of knots being tied over hours. Art isn’t separate from life-it’s part of our everyday decisions, conversations, and even silences. To us, art is a way of paying attention. It slows us down and allows us to be present with material, time, and intention.
3. Why do you think handcrafted art matters today more than ever?
In a world increasingly driven by speed and automation, handcrafted art reminds us of time, effort, and human presence. It carries evidence of labour and care that machines cannot replicate. Today, handcrafted work matters because it resists disposability-it asks us to value process over convenience and connection over perfection.
4. How many years have you been practicing this craft?
My mother has been practicing tatting since she was 13 years old-over three decades. Knots to Node as a brand began after 2021, but the craft itself has a much longer personal history.
5. What makes an artist an artist? (like who can call themselves an artist/what counts as being an artist)
An artist is someone who commits to a practice, someone who listens to material, shows up consistently, and allows both failure and growth to be part of the journey. Being an artist isn’t defined by formal training or labels, but by sincerity, dedication, and the courage to keep creating.
6. What does being an artist/brand that sells art mean to you?
For us, selling art is not about mass production; it’s about sustainability of the craft, the maker, and the practice itself. Being an art brand means taking responsibility for how objects are made, represented, and received, while ensuring the process remains respectful and honest.
7. How long does it usually take to create one piece from start to finish?
Each piece takes a minimum of 3 hours, and more complex designs can take up to 7 hours, with every knot formed by hand using a shuttle.
8. What drew you to the medium(s) you work with?
Thread is humble, accessible, and endlessly expressive. Tatting allows thread to hold structure while still retaining softness. We were drawn to this medium because of its quiet strength and its ability to transform something simple into something intricate.
9. How do you see art products being perceived in an Indian market?
There is a growing awareness among Indian consumers about process, origin, and value. While price sensitivity exists, many people are actively seeking objects that carry meaning and story. Art products are increasingly seen as investments in culture, not just commodities.
10. Can you tell us a little bit about the history of tatting?
Tatting is a lace-making technique believed to have evolved in Europe during the 18th century, traditionally used to create decorative lace for garments and home textiles. Over time, the practice travelled and adapted, finding quiet pockets of practice in various parts of the world, including India, where it has survived largely through individual practitioners rather than institutions.
11. What’s a misconception people have about your craft?
Many assume tatting is machine-made, quick to produce, or that it is crochet. In reality, tatting is an entirely hand-done lace-making technique created using a shuttle. It is very intricate, time-intensive, and requires a deep understanding of structure and precision-not just decoration.
12. What’s a skill in your craft that took you years to perfect?
Maintaining consistent tension. Even the slightest variation can change the final form. It’s a skill that only develops with years of practice.
13. You mentioned in one of your videos that tatting is an art that fewer people practice in India. Was there a moment when you realised this technique deserved a revival? What has been the reaction from customers so far to your pieces?
The need for revival became clear during offline events, where some people respond with nostalgia-often saying their grandmother used to do this on handkerchief or tablecloth borders-while others are surprised that tatting can be reimagined as contemporary accessories. Once customers understand the process, the reaction is one of curiosity, appreciation, and respect.
14. As a mother–daughter venture, are there moments where your styles clash? How do you navigate them?
Of course, our perspectives come from different generations. I focus on design direction and contemporary applications, while my mother brings decades of technical mastery in tatting. These differences create balance-where tradition meets experimentation. We navigate any clashes through conversation, trust, and mutual respect for each other’s instincts.
15. You mentioned about dreaming big for your mother on your Instagram. What has this journey taught both of you about ambition, and stepping into entrepreneurship together?
This journey has taught us that ambition doesn’t always mean scale-it can also mean depth. It has shown us that it’s never too late to step into visibility. Today, as people recognise her work, my mother speaks about it with pride and ownership. Building something together has been both empowering and deeply personal.
16. Is there a song that captures the spirit of your work or something you love listening to while creating?
There isn’t a specific song. Sometimes music plays in the background, but her focus remains completely on the tatting-the rhythm of the work takes over.
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