
Meet our new member, the inspiring & successful Jyotsna Mishra.
Jyotsna Mishra is a Sydney-based landscape architect, designer, and creative entrepreneur with a passion for blending culture, design, and storytelling. With a background in architecture and landscape architecture ,she has built a career at the intersection of design innovation, placemaking, and digital workflows in the built environment. She has contributed to conversations around BIM and landscape design through industry platforms including Landscape Australia.
Alongside her professional design career, Jyotsna is the founder of Kahaani Sydney; a handcrafted Indian décor and lifestyle brand inspired by heritage, craftsmanship, and meaningful living. Through Kahaani Sydney, she brings together timeless Indian artistry with contemporary aesthetics, curating soulful pieces that celebrate culture, storytelling, and the beauty of handmade design.
Her work is driven by a deep appreciation for thoughtful spaces, artistic detail, and creating experiences that feel authentic, warm, and deeply personal.
Kahaani Sydney is a handcrafted Indian décor and lifestyle brand that celebrates the richness of Indian artisan heritage through timeless, soulful design. Rooted in storytelling and craftsmanship, Kahaani Sydney aims to bring meaningful pieces into modern homes while supporting traditional artisans and preserving handmade techniques passed down through generations.
“Our vision is to create a bridge between culture and contemporary living by offering thoughtfully curated décor, textiles, and lifestyle products that carry warmth, authenticity, and individuality. Every product reflects a story; of skilled hands, cultural traditions, and the beauty of slow, intentional craftsmanship.
At Kahaani Sydney, we believe homes should feel personal and inspiring. Through carefully designed collections, we strive to help people create spaces that are elegant, comforting, and deeply connected to heritage. Alongside promoting sustainable and ethical production, we are passionate about empowering artisans and giving handmade creations a place in modern Australian living.
More than a brand, Kahaani Sydney is a celebration of culture, creativity, and human connection, bringing stories from India into homes across Australia in a modern and meaningful way.” Jyotsna says.
We recently enjoyed interviewing her.
Q. You work across two very different worlds; architectural design innovation with BIM and digital workflows, and handcrafted, heritage-rooted décor at Kahaani Sydney. How does your landscape architecture background actually shape the way you curate and design Kahaani’s collections?
A. My landscape architecture background has shaped Kahaani more deeply than one might initially expect.
As a landscape architect, I’ve always been interested in how people experience a space; not just how it looks, but how it feels, how people move through it, what they notice and, ultimately, what makes a place feel like it belongs to them. That philosophy naturally carries into the way I curate Kahaani.
I don’t look at a piece simply as an object. I think about its relationship with the space around it; its scale, proportion, texture, materiality, colour and even the way light interacts with it. I’m always asking myself: where does this piece belong, and what feeling can it create within a space?
There is also a beautiful contrast between my work with BIM and digital workflows and the handmade world of Kahaani. BIM is about precision, systems and efficiency, while traditional craftsmanship celebrates the human hand, time and the subtle imperfections that make each piece unique.
I don’t see those worlds as contradictory. For me, they represent two different expressions of thoughtful design.
For me, Kahaani is where my understanding of space meets my emotional connection to material, craft and heritage.
Q. Kahaani Sydney’s story is built around “the beauty of slow, intentional craftsmanship”. What was the moment or realisation that pushed you to build a brand around preserving these traditional artisan techniques rather than staying solely in your design career?
A. I think the realisation came from understanding how easily heritage can become something we admire from a distance rather than something we continue to live with.
Coming from India and working in design and BIM management in Australia with my husband through wkndBIM, I found myself constantly moving between two worlds. We were managing interior and BIM projects and importing large-scale elements such as tubs, sinks and tabletops from India for hospitality and high-end residential projects. But when it came to designing our own apartment, we were working with a very limited budget and suddenly found ourselves looking for smaller, more intimate pieces that could still carry meaning.
That experience changed something for us. We realised we weren’t simply trying to furnish an apartment; we were trying to recreate a feeling of home; something intangible, emotional and deeply connected to memory and belonging. Being far from home made that feeling even more important.
Yet we struggled to find objects that felt intentional, rooted and accessible at the same time. As designers, we also found it difficult to simply choose something off the shelf unless it genuinely resonated with us.
That made us wonder how many other people might be in a similar position — people who love Indian craft and storytelling, who want to bring some of that into their homes, but may not have large budgets or may simply enjoy curating their spaces with care and intention.
That gap led us to formally start Kahaani Sydney about a year ago as a B2C extension of our design practice. We wanted it to sit alongside wkndBIM, but speak in a more personal voice; one that could become part of people’s everyday lives and homes.
For us, it was never about preserving craft as something static or distant. It was about allowing it to continue living; giving traditional craftsmanship a place in contemporary homes, new contexts and new stories.
Because when a handcrafted piece finds a place in someone’s home, its story doesn’t end with the artisan who made it. In a way, a new chapter begins.
Q. You talk about creating spaces that feel “authentic, warm, and deeply personal”. Can you walk us through how you translate an artisan’s story in India into a piece that resonates with a home in Australia?
A. For me, it is about translation rather than transplantation.
I don’t want someone to bring a Kahaani piece into their home and feel that they have simply imported an Indian object. I want it to feel completely at home in an Australian space while still retaining the story, craftsmanship and cultural identity of where it came from.
I begin with the craft itself; the material, the technique, the history, the colours and the hands behind it. From there, I think about context. How will it sit within a contemporary Australian home? What will surround it? How will the light interact with it? Does it become a focal point, or does it quietly introduce texture, warmth and character?
That is where my design background becomes important. I naturally think about proportion, materiality and the relationship between an object and its surroundings.
Our collections explore traditional techniques such as marble inlay, hand-painted marble, meenakari, handwoven and embroidered textiles and block printing, but we curate them with contemporary living in mind.
Ultimately, I want each piece to start a conversation. Someone might initially be drawn to a marble inlay piece simply because it is beautiful. Then they discover how it was made, where it came from and the craftsmanship behind it.
That is when it becomes more than décor. It becomes a story that has travelled from one culture and found a new chapter in another.
Q. Balancing a professional design career with founding and running a heritage brand is a lot. What does supporting your artisan partners in India actually look like day-to-day, and what has been the hardest part of building that bridge between two cultures?
A. For me, supporting our artisan partners begins with relationships rather than transactions.
For our marble products, we work closely with artisans and family-run businesses in Jaipur. For our handwoven and embroidered fabrics from Kolkata, we work with families I have known for some time. That familiarity and trust is important because Kahaani is built around relationships, not simply sourcing products.
A lot of the creative work happens between our sourcing trips. At the moment, we travel to India twice a year, so throughout the year I’m developing ideas, refining designs and finalising dimensions so that when we are there, we can sit with the artisans and turn those ideas into samples specifically for Kahaani.
Embroidery is an even more collaborative process because of the time and skill involved. I might develop a design here in Sydney, share it over WhatsApp and then have a video call to explain what I’m envisioning. We select the fabric, discuss the details, and then the crafting hands take over and bring the design to life.
Something particularly important to us is making sure our artisans don’t carry the commercial risk of a young business. When we commission work, we pay for that work regardless of when the finished piece sells. We are still growing ourselves, but we want the people we work with to be able to grow alongside us.
The biggest challenge has been finding the balance between staying true to the craft and allowing it to feel relevant to contemporary Australian life. I never want to dilute the craftsmanship simply to make something easier to sell. At the same time, I don’t believe heritage should remain frozen in time.
For me, keeping heritage alive means giving it a sustainable reason to continue; allowing traditional skills to find new homes, new audiences and new stories.
That is the bridge Kahaani is trying to build between India and Australia.
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