GI-Certified · Export-Vetted · Wholesale MOQ 500
No machine can replicate a whim. Every piece we carry is GI-tagged, artisan-made, and vetted to export standard before it reaches you.
The Collections
Every collection is traceable to a registered artisan cluster: the origin, technique, and certification are documented, never invented. Open each one to see how it's made, entirely by hand.
Four centuries in the making. In the Mughal era, master carvers migrated from Kashmir and settled in Saharanpur, carving for courts and palaces. Their descendants still work the same rich, deep-grained sheesham today, and the anguri vine-leaf and jaali lattice patterns they perfected are so fine that people often compare them to the stone inlay of Agra. The craft earned its Geographical Indication in 2014.
Sheesham is sorted, air-dried and seasoned for weeks so it never warps or cracks.
The motif, whether vine-leaf, lattice or floral, is drawn straight onto the wood by hand.
Chisel, mallet and gouge only. Every groove is cut freehand, with no machines involved.
Brass and copper are set into the carved channels for contrast and light.
Sanded through finer and finer grits until the grain glows.
Hand-polished to a natural lustre that deepens with age.
A machine can copy a pattern. It cannot copy a hand trained across four hundred years, and that's exactly what you're holding.
The only pottery in the world made without clay. Its Persian-influenced glaze reached Jaipur by way of the royal courts, where the rare, costly blue of cobalt marked refinement and prestige. The fountains of Rambagh Palace still carry it today. Instead of clay, artisans work a dough of quartz stone powder, ground glass and fuller's earth, a recipe so unusual that it earned its own GI registration in 2009.
Quartz stone, ground glass, fuller's earth and natural gum are kneaded into dough.
The dough is rolled flat and pressed into moulds, shaped by hand rather than thrown on a wheel.
Each piece dries for days, then is hand-sanded and slip-coated until flawless.
Cobalt-oxide motifs are painted freehand with squirrel-hair brushes.
A final glass glaze is applied, and that's what gives the surface its luminous, jewel-like finish.
A single firing at 800–850°C in a dome kiln. One misstep, and the piece cracks.
Low-temperature firing makes every piece a small act of risk, which is why a finished one is a small act of mastery.
A pattern pressed by hand, one stamp at a time. The dabu mud-resist technique has been traced as far back as the 8th century, and the Chippa printing families of Bagru and Sanganer have guarded their dye recipes for generations. Everything comes from the land: river mud for the resist, indigo for blues, harda for yellows, kashish for greys. Even the Rajasthani sun does part of the work. Bagru's print earned its GI in 2011, and Sanganer's followed in 2009.
Motifs from nature are hand-carved into sheesham and teak printing blocks.
River mud, lime and gum are worked into the resist paste that will guard the pattern.
Each impression is pressed by hand. The word dabaana means "to press," which is where dabu gets its name.
Sawdust is sprinkled over the wet mud and the cloth bakes dry in the desert sun.
Dipped into living indigo vats, the cloth rises out green, then slowly turns blue as it meets the air.
Washed and beaten on river stones, the mud lifts away and the hidden pattern finally appears.
Weather, water and season all leave their mark in the dye. Every length of cloth is a one-time event, impossible to repeat.
Where a four-century craft meets a modern medium. The newest chapter of the Saharanpur story: the same seasoned, GI-tagged wood, now paired with hand-poured pigmented resin. No two grain patterns exist twice in nature, so no two finished pieces can ever truly match. Each pour flows around the wood's own edges and settles in its own way.
Live-edge seasoned sheesham is chosen for its grain, and from there, the wood itself decides the design.
Cut, planed and sanded by hand to preserve the natural edge.
Resin is mixed and tinted in small batches: deep teals, ambers and smoke tones.
Poured in careful layers, each one flowing to the wood's natural contours.
Each layer cures for one to three days. The piece sets on its own clock, not ours.
Sanded through eight grits and buffed until the surface reads like glass.
Call it the bridge collection: a heritage material given a contemporary voice, for interiors that want both.
An 8th-century printing technique. A royal glaze recipe. Four hundred years of carving in one city. India doesn't just remember its handmade legacy, it still practices it, every single day, by hand. That inheritance is what every WHIMS piece carries, and it's what no factory line will ever reproduce.
How Wholesale Works
Explore the catalogue by collection and craft origin.
Order a paid sample unit, shipped to your door.
Confirm the quality in hand and finalize your quote.
Place your MOQ-500 order for production and export.
Who We Serve
A small boutique order today can become a repeat distributor relationship tomorrow, so nobody gets filtered out at the top of the funnel.
Handcrafted pieces your customers won't find on every shelf.
Volume orders that still look bespoke in every suite.
Container-load capacity with documented consistency.
Statement pieces with provenance sheets for your client.
Rarity backed by a registration number, not an adjective.
Custom-branded pieces that don't feel like merchandise.
Compliance paperwork handled, timelines you can plan on.
Start with one sample. Scale at your own pace.
"Machines make copies. Hands make choices. In every carve, dip and pour there is a decision no factory can schedule, and that decision is exactly what you are buying."Read the Full Story
Every wholesale relationship starts with a single paid sample. MOQ for bulk production is 500 pieces per order.