Beginning in September, the rhythm of design weeks and festivals reverberated across the storied cities of Paris, London, Amsterdam, and Vienna, each offering a platform for design awards and an invitation to the vibrant celebration of art and creativity that marks the autumn and winter seasons. This year, however, a notable new player entered the fray—India, now proudly hosting its own design festival, Design Mumbai.

This debut contemporary design exhibition, rooted in interior design, presents a sweeping survey of home goods, from lighting to furniture, textiles to kitchenware, and even bathroom accessories. Although India has traditionally been more synonymous with textiles and crafts, the sheer scale of this exhibition signifies a new chapter: over 150 homeware brands, many of them internationally recognized, graced the event.

Among them, the Swiss furniture brand de Sede introduced their striking DS-888 Collina sofa set, while Italian powerhouse Poltrona Frau displayed exquisite collaborations with some of the world’s foremost designers. These included French visionary Jean-Marie Massaud, the boundary-pushing British artist and designer Faye Toogood, and German design luminary Sebastian Herkner. The exhibition was not confined to furniture alone, however—artistic sculptures and decorative works filled the space, such as Naja Utzon Popov’s Floorvase series, brought to the show from Copenhagen’s Noma, where they have been a fixture.

The connection between India and interior design is also evident in market trends. According to Blue Weave Consulting, India’s interior design market, valued at $28.97 billion in 2022, is set to expand to $51.4 billion by 2028. This growth fuels the ambition of the festival’s organizers to position India as a global design nexus, blending international excellence with homegrown talent. Of the 150 participating brands, roughly 40% hailed from India, emphasizing a rapidly growing local presence in the global design conversation.

This is not India’s first appearance in the international design limelight. In fashion, too, Indian craftsmanship has increasingly found its place on global runways. Take, for instance, Dior’s 2023 early autumn show, which saw the brand partner with the Indian Chanakya School of Craft to present a stunning Toran embroidery tapestry in front of Mumbai’s Gateway of India. This collaboration follows earlier ones, such as the 2020 partnership, where Chanakya’s intricate embroideries added an artisanal touch to Dior’s collections. Such collaborations reflect a nuanced shift: the craftsmanship of India, long in the shadows, is now celebrated as an integral part of contemporary design, not just production.

As Karishma Swali, General Manager of Chanakya, shared with The Voice of Fashion, the recognition of India’s traditional crafts is crucial to preserving its cultural heritage. Increasingly, global brands are seeking not just production, but inspiration from India’s rich craft traditions. This shift signals a larger narrative: India is no longer a mere source of production but a vibrant wellspring of creative inspiration.

Such developments are hardly surprising. As one of the oldest civilizations in the world, India’s deep-rooted cultural heritage remains a wellspring of creativity, continually influencing the contemporary design landscape. Take, for example, Italian designer Giorgio Gasco, who found inspiration in the Sukhasana position—the meditative cross-legged posture he observed at an Indian wedding. This led to the creation of the Paffe sofa, with armrests doubling as cushions that offer a place to sit on the floor, blending comfort with practicality.

At Design Mumbai, attendees had the opportunity to witness even more locally inspired designs from Indian interior design brands. These works offer a tangible link to India’s evolving design narrative, a narrative that is now poised to shape the future of global interiors. Next, let us explore 10 designs that embody the essence of India, each a testament to the country’s rich cultural legacy and its burgeoning creative future.

Every light tells a story.

On the official website of Shailesh Rajput Studio, you can explore and purchase the studio’s lighting designs through the “Stories” section. The founder’s central philosophy is to convey nature and narrative through the interplay of light, shadow, resin, terracotta, and glass.

In the Panch Bhutas series, the studio delves into the five elements of Ayurveda: space, air, water, fire, and earth. Meanwhile, the Kabir’s Doha series uses sculpted copper to reflect the philosophical thoughts of the sage Kabir.

From chandeliers and table lamps to floor lamps, the creations of Shailesh Rajput Studio are often imbued with a sculptural quality, in line with their design ethos.

The studio believes that light does more than simply illuminate a space; it enhances human perception and fulfills emotional needs. Therefore, their goal is to craft living objects, not just functional items. By embracing handmade techniques, they ensure that both narrative and beauty become enduring companions in daily life.

Ek Kalakaar

The Fantasies of an Environmentalist

Ek Kalakaar Studio offers a range of products, including furniture, sculptures, lighting, and decorative items, each unmistakably marked by design: vibrant colors, bold expressions, and a dynamic fusion of elements that make it difficult to imagine their origins—every piece is crafted from discarded materials.

The studio’s founder, Anurag Bhandari, is an environmental advocate who anchors his philosophy in the principles of “recyclable, reusable, and sustainable.” He transforms materials that are typically discarded—such as wood, acrylic, low-carbon steel, glass, and slag—into innovative new forms.

Each creation is meticulously handcrafted, reflecting their deep respect for nature: every natural creation is unique. As such, Ek Kalakaar strives to avoid uniform, conventional designs, instead daring to blur the lines between design and art. The result is work that is both timeless and unapologetically individual.

Jaipur Rugs

Weaving Connections in Society

Weaving a traditional Indian carpet is a complex, time-intensive craft that demands teamwork.

Over 40 years ago, NK Chaudhary, along with nine textile workers, embarked on an entrepreneurial journey. In doing so, he not only preserved this ancient craft but also introduced a new industry model to the local community: a single carpet involves the work of 180 artisans, from selecting the finest wool and spinning the yarn, to dyeing, hand-knotting, and weaving intricate patterns. Through this process, Jaipur Rugs has woven a network of local artisans, providing them with sustainable livelihoods.

Today, Jaipur Rugs stands as one of India’s largest exporters of handcrafted textiles, remaining true to the time-honored tradition of hand-weaving. Their collection includes carpets that celebrate traditional Arabic styles, with floral and intricate geometric motifs, as well as more contemporary designs, refined with simple lines and monochromatic palettes to suit modern tastes.

Among all of Jaipur Rugs’ collections, the Manchaha series is the most distinctive, with each carpet uniquely designed and brimming with creativity.

This series represents a custom project by Jaipur Rugs, where artisans from rural areas are given the freedom to infuse their personal creativity into each piece. In turn, customers receive a one-of-a-kind product, deeply rooted in India’s artisanal heritage.

Esvee Atelier

Minimalism in Perfect Measure

Esvee Atelier defines its style as “conscious minimalism,” with furniture designs that seamlessly integrate into the bedroom, living room, and dining areas. From sofas and cabinets to tables and chairs, each piece reflects the aesthetic philosophy of founder Srikanth Varma, who places a strong emphasis on functionality.

Srikanth believes that by intentionally highlighting a product’s functionality, the interaction between people and furniture becomes naturally evident.

With this focus on functionality, Esvee Atelier consciously simplifies its designs. When various functions are harmoniously combined, they create a balanced aesthetic—pieces that are neither excessive nor lacking, but perfectly suited to the living space.

Despite the minimalist approach, each collection from Esvee Atelier carries a distinct aesthetic theme. The Floating series, inspired by the image of floating water plants, features a collection of curved, grey-green furniture. The Blessing of Nature series, on the other hand, draws from the shapes of tree branches, emphasizing the rich texture of wood.

AKFD

Reawakening the Luxury and Splendor of Ancient Civilizations

AKFD, a brand under the esteemed home design company Ayush Kasliwal Design Private Limited, specializes in bespoke furniture and lighting. With a presence in India, the United States, and Dubai, their portfolio spans from intricate interior crafts and decor to grand installations in airports and public spaces. They are particularly adept at crafting opulent atmospheres in upscale restaurants and hotels through their exquisite furniture and decorative pieces.

AKFD’s interpretation of luxury transcends the merely “modern.” A case in point is their Yasmine furniture series, showcased at prestigious design festivals. This collection features a range of minimalist yet elegantly designed recliners, benches, and daybeds. A closer look at the cushions reveals they are crafted from reimagined Persian tapestries—historically, such ornate textiles have been emblematic of luxury. Intriguingly, the inspiration for the Yasmine series is drawn from the tale of Aladdin, reflecting the company’s penchant for infusing their designs with elements from myths, legends, and ancient civilizations.

Another venture under their aegis, Anantaya, focuses on artisanal crafts and home decor, exemplifying this ethos even further. They have created a portable table lamp inspired by the architectural marvel of the Konark Sun Temple and designed paper pulp containers that mimic the rugged textures of mountain stones, echoing the enigmatic stone ruins of the Harappan civilization. As articulated on Anantaya’s official website, their mission is to breathe new life into the opulence and grandeur of India’s traditional culture through meticulous craftsmanship.

Vivaarta

Beautiful Wooden Homeware

Vivaarta is devoted to infusing the timeless charm of handcrafted woodwork into contemporary homes. Their collection is a study in quiet sophistication—wooden bowls, plates, and jars with mellow hues and sleek, flowing contours. Beyond these essentials, they fashion unexpected delights from timber: lamps that emit a gentle radiance, vases that cradle flowers with grace, and butter knives that blend utility with elegance—each piece a fusion of artistry and purpose.

Founded by an architect and a designer, both steeped in disciplines that champion ingenuity, Vivaarta’s creators pursue a different muse: nostalgia. They aspire to craft objects that are at once unpretentious and enduring, functional yet resonant with lasting touch. This ethos drives their reverence for wood—a medium that, in their hands, becomes a vessel of time, its textures bearing the subtle imprint of history and permanence.

Every Vivaarta piece is painstakingly sanded and hand-finished with food-grade oil, promising longevity and a tactile allure. Among their creations, The Chakki emerges as a refined homage to the ubiquitous Indian spice grinder. Reimagined with care, it beckons generations to partake in the ancient ritual of hand-grinding spices and ingredients, its sturdy form echoing India’s storied culinary legacy as vividly as the wood itself.

The Wicker Story

An Experiment in Architectural Design

The Wicker Story, as its evocative name suggests, is a studio that transforms wicker into exquisite lamps, furniture, and sculptural installations. Its creations are defined by a distinctive flair for dynamic, sweeping curves—a hallmark born from the experimental vision of architect Priyanka Narula and her atelier, Prelab Design Studio.

Priyanka, seasoned in the realm of parametric architecture, has long navigated a discipline where intricate, fluid forms emerge from meticulous computational design. Yet, confronted by the technological constraints of present-day India, she found these ambitious blueprints difficult to materialize. Rather than press forward in vain, she chose to pivot, seeking a medium that could bridge her imagination with reality. In wicker, she uncovered a revelation: a material both sturdy and pliable, capable of being coaxed into elaborate, symmetrical shapes. When guided by principles of topology, it could even ripple into continuous, sinuous curves—mirroring the elegance of her architectural dreams.

From this discovery sprang The Wicker Story, a fusion of time-honored wicker-weaving artistry and modern computational precision. Through this alchemy, Priyanka crafts works that transcend mere utility, weaving innovation and beauty into the tapestry of everyday existence.

Morii Design

The Spirit of the Forest

The name “Morii” traces its origins to the Japanese word Mori, meaning “forest.” It was chosen by Brinda, the founder of Morii Design, who, during her design studies in Japan, grew enamoured of the culture’s profound appreciation for the interplay between tradition, nature, and daily life. Inspired, she named her embroidery studio “Morii” to evoke the spirit of a self-sufficient village—a harmonious existence mirroring the delicate balance of a forest ecosystem.

At a recent design festival, Morii Design unveiled their “Forest Spirit” series: a collection of embroideries crafted from locally sourced materials and dyed with azo-free, eco-conscious techniques. Each piece, painstakingly hand-stitched, blends versatility with artistry, doubling as striking wall decor or a refined complement to one’s wardrobe.

Beyond the needle and thread, Morii Design aspires to weave an organic way of working. Rooted in the use of natural, regional materials, the studio collaborates with 80 artisans across seven villages. This partnership binds people to the land, fostering a sustainable lifestyle that feels both timeless and perfectly attuned to its surroundings.

Objectry

Crafting Warmth and Charm

Objectry emerged at its inception as a lifestyle brand devoted to the creation of exquisite small desktop accessories—items such as mugs, bowls, and lamps that lend a touch of refined charm to one’s workspace.

Under the stewardship of founder Aanchal Goel, a team of adept woodworkers employs time-honored Indian woodworking techniques to shape their offerings. Yet, tradition does not confine them; Objectry’s designers skillfully draw inspiration from the vanguard of contemporary art and architecture. The result is a captivating fusion—products that exude a serene, almost contemplative texture, paired with strikingly innovative forms.

Each creation is distinguished by its flowing lines and impeccably smooth surfaces, a deliberate effort to challenge the prevailing notion that handmade goods are marked by uneven textures or irregular edges. On the contrary, Objectry demonstrates that artisanal craftsmanship can produce works of unadorned simplicity, infused with a warmth and whimsy that eludes the cold precision of mass production.

Since 2021, Objectry has ventured boldly into new territory, unveiling a collection of furniture that includes coffee tables, dining tables, chairs, and shelves. Today, their portfolio boasts over 100 distinct products, spanning tableware, stationery, door handles, and furniture. Each piece, whether humble or grand, reflects the brand’s hallmark blend of minimalism and enduring allure.

Orikrit

Folding Art on the Wall: The Intricate Beauty of Paper Sculpture

Orikrit is a brand dedicated to the creation of wall decorations, with a name derived from two words: “Ori,” meaning “fold,” and “Krit,” meaning “motion.” The brand defines its work as “creation through folding,” drawing inspiration from the art of origami.

In contrast to the delicate, lightweight nature of paper, Orikrit folds metals such as copper and aluminum, producing pieces that echo the symmetry and repetition of origami’s beauty.

Where traditional origami techniques merely alter the surface shape of materials, Orikrit deepens its exploration through the Lattice series—treating materials as “fabric” and folding them over a foundation of weaving.

Bamboo is the primary material in this series. By splitting natural bamboo into strips and weaving them into rattan, they follow the patterns of the weave to bend and fold the material, creating a flowing, undulating beauty. Orikrit describes the transformation of the humble, flat surface into intricate forms as a beauty in itself.

From lighting and kitchenware to furniture and interior decor, a striking observation across these ten brands is that most Indian designers instinctively anchor their design philosophy in traditional craftsmanship across various fields.

Today, more and more emerging nations are revisiting tradition to uncover elements that can be adapted for modern use. The central question often remains: should they blindly follow mainstream global trends, or can they uncover new expressions within their own cultural heritage?

In the realm of interior design, India’s approach is both simple and profound—beginning with life itself, posing one essential question: which crafts from India’s rich traditions can be carried forward to enrich daily living?

After all, whether traditional or modern, the finest craftsmanship remains the most enduring solution for “comfortable living.”