Growing up, mehndi (also generally known as henna) was something I often saw as traditional and quite alluring due to its intricate process and design. I believed of it as sacred and meaningful, a bond between my relations and I for special occasions. As I got older, I realised mehndi is something that may very well be used as a type of expression and break barriers between what’s traditional and what’s art. 

Mehndi may be defined as a type of body art created from the powdered dry leaves of the henna plant. It dates back to ancient India but may also be present in cultures of Africa and the Middle East. It’s been said that Cleopatra used henna to adorn her body, the probabilities and origins are vast. 

Normally, mehndi may be found on the palms and back of 1’s hands but doesn’t limit to those parts of the body. It follows an intricate pattern yet not a strict one, often it’s left as much as the person performing the mehndi. Traditional mehndi designs include paisley, floral, geometric patterns and a few use peacock motifs. Henna paste is often applied using a plastic cone, paintbrush, or stick. When the mud begins to crack lemon juice is often applied to make the henna appear darker when it dries.

The uses of mehndi vary from body art to more traditional uses like at weddings or Eid. Each culture uses henna in its own way, for instance, at Hindu weddings it’s used as a spiritual awakening to symbolise joy and sweetness. Once I saw my friend Ayqa subverting traditional norms of mehndi and using it as her own outlet of creative expression, I used to be inspired by those like her in my generation communicating tradition in alternative ways. 

Here, I seek advice from 4 different artists – Mriga, co-founder of NorBlack NorWhite, Ayqa Khan, Huq That, and Pavan Dhanjal – from Latest York to London to India about how they’re communicating mehndi of their art.

What do you think that is the normal significance of Henna? What role did it play in your life growing up?

Mriga: Probably the most often celebrated henna moments occur throughout the Mehndi ceremony of Indian weddings. It’s a time when the women gathered, sometimes with skilled henna artists and sometimes simply family aunties who had an important hand. With a tonne of events that lead as much as the principal wedding day, the henna ceremony is when the bride is adorned in often intricate, floral, flowy henna designs. 

Some decide to design the feet and hands but some go all the way in which up from the feet, ankles and up the legs to the knees, while doing up the palms, full hands, and sometimes even as much as the elbows. It’s a cute gathering time with the women, plenty of pre-wedding gossip and sometimes singing and an earthy scent of henna being dried up and rubbed off often soaked in lemon juice to maintain the color vibrant.

How do you incorporate henna in your creative work? How did you begin experimenting with henna in a non-traditional sense? Did anything specific encourage this? 

Mriga: We’ve all the time appreciated the clean lines and type of hand and feet Alta designs utilized in classical Indian dance forms. The floral and complex wedding henna designs have been popularised a lot that henna tattoos are actually a thing all around the globe – I assume we will thank Madonna for that one (or not). Although we respect the intricacies and steadiness of that form of handwork, we’re drawn to the clean outline and central circle focus. 

We were inspired by a friend, Azra based out of Dubai who we saw using henna in probably the most beautiful, contemporary, fresh ways. We first attempted an ode to our favourite Alta design through a pin we designed in collaboration with PinTrill for ComplexConLA. We then desired to see if we could translate our favourite classic design right into a wearable long sleeve which led to the birth of this Alta shirt. It’s a hand-painted design that eventually got translated right into a screen print after which onto the shirt. We felt it could only be appropriate to shoot the shirts in collaboration with Azra herself together with a tremendous photographer Gibz who directed and shot beautiful visuals within the Khawaneej date farms outside of Dubai. We desired to develop images with this talented crew to share the story of henna being a cultural practice that goes beyond religion and borders and the way we’re all connected to it.

Since using henna in a non-traditional sense, have you ever received backlash?

Mriga: Not thus far. We’re celebrating the design and paying respect to it by sharing it in a design form that hopefully people appreciate. Thus far no backlash but there are all the time trolls waiting across the corner.

What do you’re keen on most about henna? 

Mriga: It’s really special to see how some ways Henna is used throughout cultures spanning from South East Asia to the Arab regions and in parts of Africa. Everyone has their very own style, it’s been such a female-focused practice and has been around from time.

What do you think that is the normal significance of Henna? What role did it play in your life growing up?

Ayqa: From my understanding, the normal significance of henna is ceremonial. It’s a ritual that prepares one/a collective to embark right into a recent journey, a recent life change. Marriage, Eid celebrations, baby showers, coming of age etc. I grew up in a beauty salon and once I was young, I looked up to those two sisters, Saba and Sana who were working with my mum on the time. 

They began practising mehndi for patrons and I asked them to show me. I might go to the salon on daily basis and so they made templates for me to practice on. I might draw flowers with my very own mini cone they might make for me over and once more on paper until they were perfect. I used to be in a position to do full bridal henna by the point I used to be 16. I discovered some vintage henna books pretty recently within the basement of the salon. Henna is in all places I’m going. I consider it a guide.

How do you incorporate henna in your creative work?

Ayqa: I’m enthusiastic about the long run of henna in a wide range of alternative ways – physically, conceptually, futurity, etc. I made a tool for the long run called Henna 3000 wherein the technique of putting henna on is replaced by a machine and lasered onto the skin. It may possibly be read in alternative ways but I used to be fascinated with the rapid rate of globalisation and assimilation and where the rituals from our ancestors are going.

Once I first began drawing and painting in my late teens, I used to be all the time drawing floral patterns that poured out of me. They brought much peace and it was very intuitive. Looking back, I realise it was from my earliest sight of those patterns – henna. They hold numerous power actually – and I’m finally admitting this to myself since it keeps coming back. 

Different regions have their very own designs and all of us have the facility to create our own symbols. Islamic architecture is an enormous a part of the facility of shapes, geometry and alignment. I began an ‘alignment’ practice where I began having sessions with friends. We talk together and give you symbols and imagery to assist them feel aligned with something they’re looking towards. I tattoo myself fairly often. Once I’m feeling low, once I’m feeling high, as a reminder of time and direction. 

“I’m enthusiastic about the long run of henna in a wide range of alternative ways – physically, conceptually, futurity, etc. I made a tool for the long run called Henna 3000 wherein the technique of putting henna on is replaced by a machine and lasered onto the skin” – Ayqa

How did you begin experimenting with henna in a non-traditional sense? Did anything specific encourage this?

Ayqa: Because I’ve been tattooing people of all ages for therefore a few years, I can say what really pushed me to interrupt free from traditional designs was children. They were all the time asking for things they wanted like spiders, rainbows, and unicorns. Once I began to see this imagery with henna on skin, I started trying recent things on myself and slowly other people. Also experimenting with different areas of the body. I like tattooing on the neck, chest, and face.

Since using henna in a non-traditional sense, have you ever received backlash?

Ayqa: Not likely. My family and my mum are sometimes a bit shocked once they see ten butterflies on my arm, but then I encourage them to let me tattoo something from their imagination.

What do you think that is the normal significance of Henna? What role did it play in your life growing up?

Huq That: Henna has all the time been a component of rituals across many cultures, we all the time enjoyed it during festive celebrations like Eid or weddings. There’s something very soothing and healing in regards to the process. 

How do you incorporate henna in your creative work?

Huq That: My creative work is deeply personal and reflective of the journey of how I discover, henna looks like a natural a part of that.

How did you begin experimenting with henna in a non-traditional sense? Did anything specific encourage this?

Huq That: I even have all the time appreciated henna as art my aim was to precise this so others may see it as an art form and recognise henna artists as artists. I wouldn’t say I’ve experimented in a non-traditional sense I see it as honouring its true nature, It’s a plant which has been adapted and used across millennia in alternative ways. That is my adaptation to have fun its magic. 

Since using henna in a non-traditional sense, have you ever received backlash?

Huq That: The feedback has been really positive. It covers beautiful rituals spanning so many cultures and its story is that of connection. I desired to create something that was accessible for everyone who appreciated the art of henna.

What do you think that is the normal significance of Henna? What role did it play in your life growing up?

Pavan: The standard significance of henna for me is for auspicious occasions, anything price celebrating would all the time end in having henna applied for an occasion.  It’s a type of make-up that has all the time been a must for weddings, after which festive occasions, and significant in bringing luck, and color for those wearing it. 

The background of henna played an enormous role in my life, not only since it was so necessary for weddings and auspicious occasions but in addition due to background and the link to my cultural roots. It made me happy with my ethnicity and the wonder offering that was and still is a really big a part of our beauty regime. My passion for henna gave me the motivation for business and shone light on how our wants are evolving.

How do you incorporate henna in your creative work?

Pavan: I like so as to add designs on anything and every thing, it’s so in me now that I involve it in all creative work without even realising it.

“The background of henna played an enormous role in my life. It made me happy with my ethnicity and the wonder offering that was and still is a really big a part of our beauty regime” – Pavan

How did you begin experimenting with henna in a non-traditional sense? Did anything specific encourage this?

Pavan: I began this from the very starting of my profession, I loved henna a lot that I wanted it on every thing and just thought there must be more to this that I would like to share with the World. I might start on candles, and cushions, and this lead on to so many commissions. 

Once I was asked to create a window display for Harrods, I knew my vision of showcasing henna in a non-traditional sense was catching on. This was on display for six weeks. I then was asked to do henna on a Formula 1 automotive for the British Grand Prix with Force India, and after this did a swimwear display with gold henna for Harvey Nichols and a display last 12 months for Selfridges. This was all inspired by the love of henna and the want for sharing the capability it has.

Since using henna in a non-traditional sense, have you ever received backlash?

Pavan: The one time I even have had some backlash is once we did henna for Little Mix’s Perrie Edwards and received a message asking us to stop doing henna for ’white people’. We didn’t respond but just kept going and she or he is now an everyday client of ours, I feel proud and so joyful once I see people not of Asian culture wearing henna. For me it’s appreciation, not appropriation.

My passion for henna and what it does is so strong, which is why we have now opened our Henna Bars globally, to make the art accessible to everyone and in a way that’s secure and appealing, and we’re so grateful that the response has been so positive.