Crochet, clay, and chores: The untold story of urban women blending work, art, and survival

Recognising the potential of the “orange economy” for women in the unorganised sector, civil society groups, start-ups, and individuals are stepping in. This is where domestic workers and other women in the unorganised sector are experimenting with art, craft, and design-empowering themselves in the process.

In Mumbai, BanaGloo offers a different model. (Photo: BanaGloo)

One such initiative is The Sunflower Ladies. Their Instagram page today showcases sunflower-embroidered tote bags, crocheted planters in radiant hues of yellow, green, orange, and brown, and even Van Gogh-inspired headbands drawn from the artist’s iconic sunflower paintings. Maya and Kausilya, both domestic workers in South Delhi, relentlessly crochet sunflower patterns on tote bags after their daily work hours. Over time, this small activity has blossomed into a vibrant creative enterprise.

Beyond sales, what is striking is how the initiative uses creativity as a platform for expression: organising sunflower poetry competitions, engaging with colour symbolism, and building a digital presence that connects them to a larger world. For Maya and Kausilya, this space gives them an avenue of expression where the sunflower is more than a mere embroidered or crocheted motif- it has given them a new identity amid the overwhelming demands of domestic work. Founder Vivek Vaid, who conceptualised this idea with the workers, says the initiative aims to recognise every woman who earns for her children’s education and inclusion. They have scaled up in parts of Kohima, Dimapur, Patiala, Ahmednagar, Surat, and Jaipur.

In Mumbai, Banagloo offers a different model. Founded in 2023 by Tufts University graduate Sukanya Upadhyaya, the venture began as small gatherings at her Kandivali home and has since become a collaborative, relaxed, fun-cum-workspace where domestic workers in her building and nearby areas gather together to create beautiful art.

Each artefact carries a story, a name, and a sense of ownership. (Photo: Banagloo)

Savita, a domestic worker who juggles 12-hour shifts, recently created a clay figurine called “Pinku the caterpillar” from epoxy. To her delight, it found a buyer. This not only gave wings to her creativity but also created an alternate means of livelihood, leading to more savings. Another participant, Priya, sculpts chillies and other colourful clay pieces.

For women, these gatherings are not just about economic opportunities but also about reclaiming leisure time —spaces where they get together to laugh, socialise, and express themselves, especially domestic workers who rarely get the chance to pursue creative hobbies. Banagloo, in fact, has already tied up with several other civil society organisations working with residents of shelter homes and the differently abled, as well as domestic workers. This model of community-led craft-making demonstrates how cultural and social capital can be generated simultaneously. While the artefacts add economic value and potentially provide supplementary income, the act of coming together itself builds confidence, camaraderie, and recognition.

Each artefact carries a story, a name, and a sense of ownership. Says Sukanya, “Our vision from day one has been to create a space where economically marginalised individuals can make creative things, enjoy recreation, and earn money through self-actualisation- all of which society often denies them!” The initiative works with the inclusive artefact space by engaging with security guards, domestic workers, gardeners, to name a few.

For artisans, art is both skill-building and self-expression. (Photo: Instagram/TheSunFlowerLadies)

Elsewhere, similar stories emerge. In East Delhi’s Nirmaan Vihar, 23-year-old Rani applies mehendi designs during festivals such as Teej and Janmashtami. For her, art is both skill-building and self-expression. Lakshmi, another domestic worker in East Delhi, wakes up at 4 am to prepare idli-dosa batter for delivery before heading to her job. During jasmine season, she sells fresh gajras. Across our urban neighbourhoods, women are stitching, painting, cooking, and creating.

They are sustaining households while nurturing micro-enterprises that bring recognition, dignity, and identity. These stories highlight the resilience of women in the face of urban poverty. Given the right opportunities, they harness them with creativity and determination. What is needed now is greater support from government schemes, CSR programmes, and individuals to scale such initiatives, making invisible talents visible, and ensuring that art and livelihood walk hand in hand.