The Hindu Business Line : Sterling idea

What spells true worth in terms of gifting in corporate India? The question swims into focus on a visit to the exclusive Frazer and Haws showroom at Bangalore’s upmarket Leela Galleria because every silver object one touched bore a special hallmark — that of history, of the hand-crafted.

A quick survey of this ‘altar to art’ by award-winning architect Kabir Hira proves this is a flagship store for a brand that is design-led. Its art nouveau cabinets house high-end sterling silver collectibles, set against rich red curtains, in a walk-through space that is accentuated by distressed stone urlis and rosewood pillars. The mood is rich, royal, and rather exclusive. As it should be, for a brand that dates back 250 years, associated with the Queen of England and the Maharaja of Faridkot alike.

When Frazer and Haws moved to New Delhi in 1996, what could it offer to a country with craft-rich traditions, but few quality controls in place? Essentially a Bond Street range of fine-ware in 92.5 per cent sterling silver. And a chance for Indian master-craftsmen, some from the sixth or seventh generation, to train in London and Switzerland, to re-embellish their reputations at a five-acre landscaped workshop equipped with the latest tools.

In a bow to local clientele, the global brand’s recent Diwali collection reflected a distinctive Indian sensibility. Such as silver diyas reflecting the auspiciousness of the Om, the trishul, the swastika, or the lotus. Or Ganeshas in terracotta harmoniously melded with silver ornamentation. Or Hanuman in muted terracotta on a marble base, gilded with a sun-flame crown and a silver rudraksha-textured necklace. Or even a Ganpati katori that resembles an open oyster.

What else? Nut bowls with delicate pierced patterning, like lace in silver. Trays edged with sun motifs or a trellis of blooms. Elliptical glass vases in burgundy or sea blue, with silver accents. Champagne flutes and wine coolers. Trophies to suit myriad occasions.

Other offbeat bows to the Indian market include a nimbu-mirchi assemblage in silver and crystal, to ward off bad spirits. And a Shiv-Shakti crystal to empower the recipient. Even an ornate comb-and-mirror shringar trousseau set that bonds silver with wood.

In a sense, perhaps these works take their cue from ‘Darshan Shastra,’ expressionistic sculptures by Chanda Narang, former chief director, Asia Pacific for Frazer and Haws and director, Hennell of Bond Street. Exploring themes of Hindu experiential learning, the documentary filmmaker and photographer grappled with stone, wood, resin, and silverware to create symbolic works, displayed at the Leela Galleria outlet in June 2007.

The Frazer and Haws story winds way back in time, though. To the House of Hennell, founded in London’s Gutter Lane in 1736 by a goldsmith named David Hennell, who created elegant silverware for the English aristocracy. In 1795, his son Robert was trusted with Queen Marie Antoinette’s dazzling black pearl, ruby and diamond necklace, to raise funds for the Royalist cause. Could this have inspired seven generations of finely-crafted precious creations? Including a 1790 silver day-cabin service for Admiral Nelson’s flagship, and a hand-painted necklace commissioned by Lord Curzon.

The Hennell ledgers from 1850 to 1950, stored in 64 crates in the vaults of Sotheby’s, are fascinating. Their client list is mind-boggling: Queen Victoria, the Maharaja of Nepal, the Nawab of Arcot, Mrs Winston Churchill, Lady Edwina Mountbatten and others of their refined ilk. Contemporary customers span Cherie Blaire and Nicole Kidman, Elton John and tenor Jose Careras.

What ensured their loyalty? Perhaps the exquisite creations, especially in Art Deco, by the celebrated French designer Charles Bruno for a quarter century from the 1920s. He even hand-painted illustrations of designs for their archives to ensure accuracy.

Hennell jewellery is acknowledged for its classic yet contemporary touch. Such as its ‘Golconda’ range, translated into pieces like the Silk Route necklace, the Yamuna necklace, and the Kalgi brooch by their chief designer Dennis Gardner. The collection was later displayed at an exclusive showing at London’s Victoria and Albert Museum.

Its other lauded jewellery includes the Commitment rings, a rage today: a spare circle, tipped by flawless diamonds, with a gap to emphasise the breathing space each individual needs!

And the Rococo collection, with its ornate accents reminiscent of the brilliant goldsmiths from Bengal or Kerala.

Where does Frazer and Haws fit into the jigsaw? Set up by John Frazer and Edward Haws, it was Hennell’s exclusive workshop unit until it was co-opted by its parent company in 1869. And now, the fires of tradition are stoked each day at the New Delhi workshop.

Archana Singh, president of the company with five outlets in New Delhi, Mumbai and now Bangalore, says, “Our forte is hand-craftsmanship. Our 200 master-craftsmen have an elevated position. Many of the deities in our Diwali range were designed by them.”

Frazer and Haws is now set to look beyond domestic Indian retail, and might enter the Dubai market. That would be in consonance with its international reputation, including its six shops in Japan. A sure-fire cue to a corporate gift of impeccable pedigree.