350 artisans spent 90 days crafting President Murmu's intricate Northeast-themed Republic Day invite

Craft like this is created over decades; the invite scratches the surface
Professor Andrea Noronha explains why the invitation represents only a glimpse of Northeast India's artisanal heritage.
Mark

So 350 people for a single invitation box—that's a staggering number. How many of those were actually artisans versus support staff?

Mimi

The source breaks it down as 200 rural artisans who created the components in their villages, and 100 students and faculty at NID who assembled everything. So roughly 200 hands doing the actual craft work.

Luke

But we should note that "200 rural artisans" is how NID describes it. We don't have individual names or verification of that count from an independent source. It's their figure.

Mark

Fair point. And the timeline—90 days total, split into two 45-day phases. Was that aggressive, or is that normal for a project like this?

Mimi

For something this intricate, with components sourced from five different states and artisans working in remote villages, 45 days of sourcing is remarkably fast. The assembly phase at NID was another 45 days. The speed was possible because of NID's alumni network already embedded in these communities.

Luke

Which is the real story, actually. Without those existing relationships, this doesn't happen. But we don't know how many alumni they have in the Northeast, or how long it took to activate those networks. That's a gap in the reporting.

Mark

What about the actual items in the box? Are these things that would normally be lost, or are they still actively made?

Mimi

Mixed. Some, like the Gogona from Assam, are still practiced. But the stinging nettle fabric from Nagaland—that's genuinely rare now. Few artisans still weave it. The Longpi pottery from Manipur is another example of a tradition that's fragile.

Luke

The source says "few artisans still practice it" for the nettle fabric, but doesn't give a number. We don't actually know how many people in Nagaland still do this work. That's important context we're missing.

Mark

So the invitation is designed to be permanent—a wall hanging, not something you frame and forget about.

Mimi

Exactly. It's meant to stay visible, to educate people about these crafts, and to honor the artisans. It's a statement that these aren't museum pieces—they're living traditions.

Luke

Though we should be careful about the word "permanent." It's designed to be a wall hanging, but whether it actually stays on a wall for decades depends on many factors we can't predict. The intent is clear; the outcome is still open.

  • 350 people—200 rural artisans and 100 NID students and faculty—worked for 90 days
  • Invitation components sourced from five Northeastern states: Assam, Tripura, Nagaland, Mizoram, Manipur
  • Nagaland's stinging nettle fabric is now practiced by very few artisans despite existing for centuries
  • Designed as permanent wall hanging, not disposable invitation card
  • EU leaders Ursula von der Leyen and António Costa are chief guests for 77th Republic Day Parade

The National Institute of Design led a massive collaboration with 200 rural artisans across Northeast states to handcraft every component, from Nagaland's rare stinging nettle fabric to Manipur's Longpi pottery. Each invitation element represents a different Northeastern state, featuring culturally significant items like Assam's Gogona jaw harp and Tripura's cane jewelry, reviving traditions that few artisans still practice today.

President Droupadi Murmu's 2026 Republic Day invitation, crafted by 350 artisans and designers over 90 days, showcases Northeast India's traditional crafts including rare textiles, pottery, and musical instruments in a bamboo-mat box designed for permanent display.

President Droupadi Murmu's Republic Day invitation this year arrived not as a simple card but as a carefully assembled box—the product of 350 people working across three and a half months to honor the craftsmanship of India's Northeast. The National Institute of Design in Ahmedabad orchestrated the effort, with professors Andrea Noronha, C.S. Susanth, and Ashok Mondal directing a network of 200 rural artisans scattered across the hills of Assam, Tripura, Nagaland, Mizoram, and Manipur, alongside 100 students and faculty members who assembled the pieces on campus.

The work split cleanly into two phases: forty-five days spent sourcing materials directly from villages in the Northeast, then another forty-five days of assembly and finishing at NID's Ahmedabad location. Every component inside the bamboo-mat box was handcrafted from the ground up. The invitation text itself was engraved onto a wooden slate. Around it sat objects chosen to represent each state—Assam's Gogona, a jaw harp that produces melodic tones; Tripura's delicate cane jewelry; Nagaland's stinging nettle fabric, woven from a plant that predates cotton in the region but is now practiced by only a handful of remaining artisans; Mizoram's ornate Puan Chei textile; and Manipur's Longpi black pottery, shaped in a style that echoes Neolithic traditions and decorated with the Shirui Lily.

Professor Noronha explained that pulling off such a logistical operation in mere months depended entirely on the National Institute's deep roots in these communities. The institute has alumni embedded throughout the Northeast hills—people who know the artisans personally, who understand which traditions are on the verge of disappearing, and who could connect the design team to craftspeople still practicing skills that few others remember. The stinging nettle fabric from Nagaland exemplified this: the material existed for centuries before cotton arrived, yet today almost no one weaves it. Without those on-the-ground connections, Noronha said, the invitation could not have happened. "Craft like this is created over decades," she noted. "The invite simply scratches the surface of what local craft in the North East looks like."

The invitation was designed not as a disposable object but as a permanent wall hanging—something meant to stay in a household long after Republic Day ceremonies concluded, serving as both a tribute to living traditions and a form of education about the sustainable skills still practiced in the Northeast. This year's focus on the eight Northeastern states continues a pattern established in 2025, when the same collaborative approach highlighted craftwork from five Southern states: Tamil Nadu, Kerala, Karnataka, Telangana, and Andhra Pradesh.

The timing of the invitation's completion coincides with India's choice of chief guests for the 77th Republic Day Parade at Kartavya Path in New Delhi. For the first time, the nation invited the European Union's two top leaders together—Ursula von der Leyen, President of the European Commission, and António Costa, President of the European Council. The gesture signals deepening ties between India and the EU, even as negotiations continue on a proposed Free Trade Agreement. The invitation box, then, carries a dual message: inward, celebrating the artisanal heritage that defines Indian identity; outward, signaling to Europe that India's cultural confidence is rooted in living traditions, not nostalgia.

The goal was to celebrate the Northeast region's artistry while showing how these traditions continue to shape national identity.
— Professor Andrea Noronha, National Institute of Design
Without our alumni embedded in these communities, we wouldn't have been able to put this together.
— Professor Andrea Noronha, on how NID sourced rare crafts from remote villages
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