Paper, Pencil, Warp and Weft: The World of This and That
In the studio of This and That, ideas begin as graphite lines. Drawn, erased, refined, and then reiterated on wood, cloth, or within a space. Founded in 2016 by Ariane Thakore Ginwala, the practice grew from two decades in interior design and a simple provocation: if the object does not exist, make it.
The answer took shape in a carpentry workshop in Ahmedabad with master woodworker Ishwar Bhai. Rediscovered chair sketches became prototypes, then a collection. That rigorous and responsive ongoing exchange between designer and craftsman still anchors the studio. Traditional techniques are reworked with restraint and sustainable materials, earning multiple EDIDA awards and a distinctive place in India’s contemporary design story.
Textiles and Furniture by This and That
Ariane’s early fascination with craft was shaped by the renovation of her family home and travels across India. After a brief detour into Economics and formal training at the Kent Institute of Art and Design, she returned to design with purpose. She now teaches, serves as jury member at the National Institute of Design, and is expanding into sustainable architecture with a wildlife project in Maharashtra.
In our ‘5 Minutes with a Friend’ interview, Ariane shares memories of her mother’s textiles, of childhood visits to Ahmedabad’s Gurjari handloom emporium, of growing up surrounded by the bright Rabari's of Gujarat, and on the enduring value of collaboration and careful editing in her work.
This and That Tangaliya Bedcover.
Selvedge is also delighted to offer readers the chance to win a handwoven Tangaliya bedcover from This and That (worth £500). Woven in Gujarat using a 700-year-old technique, its raised geometric dots are created by knotting extra threads into the warp. In soft white, the result is both understated and richly tactile — a cloth that invites the hand as much as the eye, and one to be treasured for years to come.
5 Minutes with a Friend: Ariane Ginwala Thakore
Ariane, what is your earliest memory of a textile?
For me, the earliest memory of textiles was my mother making things for us. She was a hands-on person with a penchant for craft, and my interest in the handmade comes through her. She would knit sweaters, socks, mittens, hats, and would embroider our clothes so beautifully. Forty years ago we had this store in Ahmedabad, Gurjari (The Gujarati State Handloom Emporium), and it was a treasure trove filled with Rabari garments. For Navratri we would get hand embroidered chaniya cholis (handmade skirt and blouse ensembles). Because of my mother’s interest, from a very young age I was drawn to bright and colourful, tribal handmade textiles.
Handwoven and embroidered textiles by This and That
How would you describe what draws you to textiles and the world of making?
Textiles for me carry cultural markers. Each motif is a language on its own, speaking of the hands who made it. Textiles in India have always been a way to express our creativity, while using what we found around us.
The eri silk we have for the Aagor collection is dyed with local plants in Assam, and the extra weft is used to create delicate designs inspired by the surrounding environment. In Gujarat, where I come from, there are so many different tribal embroidery techniques created for different fabrics in the most beautiful colours.
Making is an extension of who I am, whether creating new collaborations with craft and weaving clusters, or the intentionality that comes through in our workshop. We consider every aspect of the making process from both the maker and the receiver's point of view.
What has sparked your imagination or inspired you recently?
I worked on the Niraba collection in 2025. It is inspired by the concept of woodwork in the west of India meeting bobei sabai grass weaving techniques from the east coast. An all -women weaving cluster came to our workshop in Ahmedabad, and they learnt new weaving and lacing techniques with suede and leather. We now have a traditional craft in a new avatar.
Also, the eri silk we have used in the Rong jackets (our debut collection) is a beautiful and inspiring textile. It is hand-spun, hand-dyed and handwoven by indigenous women in Assam.
Textiles and Furniture by This and That
What is your most treasured textile, and what story does it carry?
My really old, antique Parsi Gara sarees are just stunning. I think I value them the most. Parsi Gara sarees take a team of four people close to three months to make with elaborate silk thread-work on the saris, usually using floral and natural motifs.
Where did you first learn your craft, and who shaped your early approach to making?
This and That started rather serendipitously. I had hand-drawn furniture sketches from my years as an interior architect that were almost archived and forgotten. Once I picked them up, I had a team of carpenters in Ahmedabad recreate a few pieces, and something shifted. Here, all the wood is reclaimed, and what started as an experiment transitioned into meditative enquiry, and an intentional practice. The person who sowed the seeds of a love for design and craft remains my mother. That formative influence of handmade textiles has stayed with me.
Hand Embroidered Textiles by This and That
Is there a piece of music you return to while you work, that sets the rhythm of your making?
The rhythm of the workshop is music to my ears. At our recent collaboration with Boito (a studio that celebrates traditional Odia craft forms) we had a team of five women from Mayurbhanj work at our studio. Their hands moved to a rhythm and they wove with a song to accompany their skill. That was beautiful.
What material or technique are you currently experimenting with or curious to explore further?
Currently we are experimenting with a collection called Niraba, which means silent strength in the Odia language. Along with Boito, we have created a range of furniture that fuses carved teak woodworking decorated with tribal motifs with sabai grass weaving from Odisha. In fact, we received an award for our Niraba bed, which has sabai grass, leather, and suede lacing. It is complemented by home textiles made on tribal Odia handlooms. Our range of lighting also uses sabai grass in a completely new avatar with tall lamps and table lighting. Both have been well received by the design community and discerning clients.
Niraba Bar Stool by This and That
If you could collaborate with any maker—past or present—who would it be, and why?
I think my collaboration with Boito has been beautiful, because we both love working with traditional craft forms. They created their first Odia home textiles for the Niraba collection and we have used motifs from tribal Odia doors on a teak bench at a recent India Design fair, with a backrest of sabai grass and suede lacing that was appreciated for its craftsmanship and creative energy.
What does a perfect day of making look like for you?
Spending a day at the workshop with my carpenters and woodworking team. I'm still trying to create new products with my them, my weavers, and the artisans involved.
Thank you Ariane Thakore Ginwala.
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Image Credits:
Images: All images courtesy of Ariana Thakore Ginwala, This and That.