It's not everyday when you find Mughal-era paintings hanging alongside tribal fabrics. In the same space, vibrant pashmina shawls contrast the fading, yet intricately woven, vintage carpets and rugs. Amid all this, wooden artefacts also find a home.
This treasure trove of art and collectables is tucked away in a 17th century haveli in Udaipur. On paper, this place is called Ganesh Emporium; in essence, it's a living, breathing museum of Indian artistry.
A multi-levelled structure with different nooks and crannies dedicated to celebrating India's painting and crafts-making prowess, Ganesh Emporium was established in the 1980s as a small shop dedicated to antique textiles. Today, the humble family-run space has grown exponentially. Picture over 100 rooms spread across 30 galleries, and additional Rajasthani-inspired courtyards to boot.
Robb Report India speaks to Vipul Shah, owner of Ganesh Emporium, to know more.
Robb Report India (RRI): Ganesh Emporium has been in your family for three generations. How did the original vision in 1980 evolve into what the emporium represents today?
Vipul Shah (VP): When my father and his brothers began Ganesh Emporium in the early 1980's, their vision was rooted in simplicity—bringing India’s finest crafts to a world that was just discovering Udaipur. What started as a tiny shop slowly grew into a cultural landmark.
Today, the emporium spans across a restored 17th-century haveli, and its purpose has moved beyond commerce. It has become a living archive, a sanctuary for textiles, and a space where history and craftsmanship unfold room by room. The scale may have changed, but the ethos—honesty, authenticity, and respect for artisans—remains exactly as it was in 1980’s.
RRI: What are some early memories that shaped your relationship with craftsmanship?
VP: My childhood was filled with fabrics, old objects, and artisans visiting the haveli. I grew up watching my father and uncles identify textiles by touch alone, listening to artisans narrate the stories behind their work, and wandering through rooms filled with old fabrics and curios. Those early years taught me that craftsmanship isn’t just technique; it’s emotion, memory, and cultural identity. I learned that every piece has a pulse.
RRI: How do you balance preserving the legacy of the Shah family business while adapting to contemporary tastes and global expectations?
VP: The balance lies in intention. We preserve our legacy through authenticity. We ensure every piece has provenance, meaning, and dignity. At the same time, we adapt by curating experiences that feel current: restoring textiles in thoughtful ways, designing modern spaces within a centuries-old haveli, and presenting heritage in a manner that resonates with today’s global audience. We never chase trends; instead, we let tradition guide us toward contemporary relevance. We want the emporium to feel timeless, not old-fashioned.
RRI: Spread across 65 galleries, how does the physical architecture influence the way you curate and display your collection?
VP: The haveli is my silent collaborator. Its narrow staircases, hidden alcoves, courtyards, and jharokhas dictate how each story unfolds. Every gallery becomes a world of its own: pichhwai in rooms, tribal textiles in earthy corners, and pashminas where the light is softest. The architecture creates intimacy, allowing visitors to discover the collection slowly, with a sense of wonder.
RRI: Walk us through your process of sourcing artefacts. What qualifies an object for the emporium’s collection?
VP: Sourcing is a journey of instinct and trust. My family travels constantly, meets collectors, and often uncover treasures in unexpected places. An object qualifies for our collection only if it carries authenticity, cultural value, craftsmanship, and a compelling story. Age alone doesn’t make something worthy; its soul does. Each piece must contribute meaningfully to the narrative of India’s textile and craft heritage.
RRI: What challenges do you face when working with antique fabrics and textiles?
VP: Antique textiles are fragile. They require gentle restoration, controlled environments, and an understanding of when to step in and when to leave them untouched. One of the biggest challenges is preserving their essence while ensuring they can survive another generation. Finding pieces in good condition is becoming rarer, and that scarcity deepens the responsibility and the respect with which we handle them.
RRI: Vipul’s bags, crafted from recycled and vintage fabrics, sit alongside the emporium’s archival pieces. How do you integrate a contemporary design studio with a heritage-focused space?
VP: The bags are an extension of the same philosophy that built the emporium—reviving what already exists. The bag studio uses old textiles in new ways, which perfectly fits with our idea of celebrating heritage. Using recycled and vintage fabrics allows contemporary design to have a conversation with the archive. The two worlds complement each other. It’s a demonstration that heritage can evolve, adapt, and even be carried as part of everyday life.
RRI: When international visitors come to the haveli, what do you hope they understand about Indian craftsmanship that they may not have known before?
VP: I hope they see that Indian craftsmanship is not merely ornamental. It is sophisticated, intellectual, symbolic, and deeply rooted in lineage. Every dye, motif, and stitch comes with knowledge passed down through generations. I want them to leave with a sense of awe for the depth and discipline behind our craft traditions.
RRI: What are some of your favourite artefacts at the emporium, and why?
VP: Some pieces speak to me on a deeper level, like early period Kota or Bundi pichhwai, handwoven pashminas, untouched Banjara textiles, and old Jain manuscripts. These works carry emotion, devotion, and layers of history.
RRI: What does “Indian antiquity” mean to you?
VP: Indian antiquity, to me, is a reminder of our immense cultural depth. It’s not about longing for the past; it’s about acknowledging the ingenuity and artistic sophistication our ancestors achieved. Antiquity represents continuity, identity, and an unbroken thread of creativity that still informs who we are today.
RRI: What makes an object truly luxurious to you?
VP: True luxury is intention. It lies in the human hand, the time invested, the rarity of skill, and the cultural value an object carries. Luxury is about soulfulness. If a piece moves you, teaches you, or stays with you, that is real luxury.
RRI: What are some changes you've seen among what collectors consider “rare” or “valuable” today versus a decade ago?
VP: Collectors today value provenance, condition, and narrative far more than they once did. A decade ago, age alone was enough. Now, people seek pieces that are culturally significant, well-documented, and aesthetically pure. Rarity is now defined by how meaningful a piece is within India’s textile and craft history.
RRI: Looking ahead, how do you envision the next chapter of Ganesh Emporium?
VP: The next chapter is about deeper storytelling, more sustainable practices, and global collaborations that amplify India’s craft legacy. I want the haveli to continue as a cultural destination—one that educates, inspires, and preserves. We will honour our past, but we will also innovate in how heritage is experienced. The goal is simple: to ensure that the spirit of Ganesh Emporium remains timeless, even as the world around it changes.