The 13th edition of India Design, marking new strides in contemporary Indian decor and architecture, carried little of the remnants from the India Art Fair that preceded it. Instead, it surprised with moments of collaboration between art and design, exploring their relationship across contexts of technology, history, culture and society. Organized by Ogaan Media in partnership with Asian Paints, this week-long event’s strong commercial focus was complemented by experience spaces, dialogue-driven events and awards.
ID Honours recognized exceptional work in categories such as residential architecture, sustainable design, vernacular design, and emerging design firms. While Sriram Ganapathi and Siddharth Money’s KSM Architecture was awarded “Architect of the Year,” Amrita Guha and Joya Nandurdikar’s Untitled Design won “Interior Design of the Year.” The panel discussions at the ID Symposium involved experts from the domains of global architecture, design and town planning. They addressed themes such as the reimagination of heritage, the futuristic scope of design, the preservation of Indian crafts, the significance of minimalism, and interpretations of luxury in contemporary spaces.
While much of the event was centred around booths set up by individual studios, design houses, and luxury and home décor brands, two exhibitions in addition marked design’s interface with art.
India by Design, curated by Mumbai-based lifestyle store Baro Market’s Srila Chatterjee, brought together craftspeople and designers engaging with history and tradition to pay tribute to Indian crafts from different parts of the country and their presence in everyday surroundings. From Gond art and Pattachitras to Mata Ni Pachedis, Kharad weaves, Namda craft and works with sholapith and kantha, the objects were created in a mix of conventional and readapted styles, embodying a modern view of nature and minimalism. The motifs and patterns used in contemporary wall hangings, carpets and dinnerware were also contextualized by drawing in cultural and mythological narratives from regions like Ladakh and Rajasthan.
Parallely, the exhibition Transitions saw ID Director Misha Bains curate works by 45 designers, who interpreted the everyday chair as a solitary object. The placement of these chairs against muted white walls distanced them from their associations with daily comfort and functionality, elevating them to sacred aesthetic entities. While some participants like Linde Freya Tangelder, Gunjan Gupta and Manish Maheshwari experimented with proportion and mediums, others allowed their collaborative works to embody shared histories and identities. While the traditional elephant grass raincoat attached to Ashiesh Shah’s chair was an ode to the people of Nagaland, Sudheer Rajbhar used rubber to create his blue chair as an alternative to leather, revisiting the term “chamar” to lend new dignity and status to the Dalit community in Dharavi he works with.
The focus on community was carried forward in the section dedicated to studios and firms, where the designs closely engaged with the stories of various indigenous groups. Anavila Misra’s open assembly of design objects was dedicated to the Birhor tribe residing in the forests of Jharkhand and Chhattisgarh. Her vision involved an earthy colour palette, sculptures clothed with traditional garments, and woven images of birds and insects that capture the essence of the Birhor way of life and the delicate natural ecosystem that surrounds and shapes it. Further, Gurugram-based studio Beyond Dreams’ furniture collection, Chimi, was an ode to Bhutanese culture through folk art, decorative motifs, and an emphasis on material energy. It also incorporated elements symbolizing Buddhist philosophies of sustainability and enlightenment. The collection was accompanied by artisanal sculptures, intricate textile works, monastery bells, and images of everyday life from the region.
The ID Collectibles section featured familiar names from the Indian art scene and was dedicated to locating fine art in everyday spaces. Among the participants was the Apparao Galleries booth (renamed Apparao Projects for the occasion), with works that reflected a gallerist’s response to interior decor and design. Summarizing her vision, Sharan Apparao said, “I have upped the level of home accessories by giving them a view of using art rather than just a vase, a pretty texture, or a pretty fabric.”
The Collectibles section included a stall by Ahmedabad-based furniture studio, Design Ni Dukaan. Their architectural project, Roop Aroop, celebrated their collaboration with textile designers, artists and craftspersons from all over India. Inspired by the Kabir bhajan which lent itself to the name of their collection, the project used each object to tell the story of its related craft, maker and region, with the bigger goal of not just producing utility pieces but also empowering communities and traditional knowledge systems that are dying out. One such story was that of Rafiq Bhai, the last artist from the family of the Bharuch-based Sujaniwalas, known for producing hand-woven quilts called sujanis.
Legacy and the intersectionality of historical and contemporary contexts was also at the heart of the presentation by The Carpet Cellar, which had a large number of woven artefacts from Mughal India and Central Asia. The 35-year-old venture, which grew out of its founder Sheel Chandra’s treasury of antique carpets and textiles, today also commissions new works that revive these archival designs and the use of natural, sustainable materials and techniques from centuries ago. The organization also loans its pieces to museums, heritage, and even contemporary settings, to introduce the wealth of these art and craft forms to larger audiences.
Beyond the stalls and exhibitions, there were a range of immersive installations created with sustainable materials. One of these was Padmadari, a gateway designed by Shantanu Garg in collaboration with KF Designs, made of vegan leather, wood, metal and alabaster. It drew inspiration from the lotus motif in Indian art and architecture and recreated outlines of pillars typical to historical structures. Sculptor and designer Alex Davis’ 22-feet-long installation, An April Stack, used a large column made of steel and pigments to give the appearance of an assemblage of 15 different kinds of spring flowers. A third major attraction was Jaipur Rugs’ space for visitors to tuft words onto a rug and directly engage with the process of creating textile art.
Beyond its yearly additions to enhance the education and experience of its visitors, India Design 2025 remained consistent in showcasing a large number of brands it has supported in the past as well. The latest edition stood out with its focus on sustainability andrevivalofcrafttraditions, prioritizing ecologicalandsocio-cultural concerns over commerce and visual appeal. Forging new dialogues with the world of fine arts, it also offered more than just a market for luxury.
India Design 2025 took place at the NSIC Grounds, New Delhi, from February 20 to 25.