Four studios that brought craft to India Design ID 2024

For 31-year-old Aku Zeliang, this was a story waiting to be told – of the Konyaks, one of the last headhunter tribes of east Nagaland, often recognised by their tattooed faces and elaborate headgear. At the recently concluded India Design ID 2024 in Delhi, the Dimapur-based designer brought the skills of his family craft to his cane and bamboo furniture. “One of the collections is inspired by the Konyak dances where people are dressed in black and wear colourful jewellery. With an ancient civilisation that had no script, it was the tattoos that became a way of communication. These are the motifs you see on our tables and chairs. We have also reimagined the tiger spirit tattoo, usually seen on Naga warriors, through dyed cane strips in the collection,” he said.

Urra Design’s Konyak dancer-inspired motifs

Zeliang’s Urra Design was one of the many firms that had reinterpreted India’s craft and stories into furniture and other accessories at the design festival that was held at the NSIC Grounds, Okhla, from February 15 to 18. An initiative by Ogaan Media, the fair in its 12th year brought together leading names in architecture and design from across the world, with over 130 décor brands showcasing their latest collections.

Where eri silk patterns find resonance in rugs and tables

Amidst all the glamour and luxury, there was 67-year-old Ishwarbai, who stood quietly watching visitors come to the booth and admire his pieces of wood marquetry on consoles, chairs and coffee tables. The Ahmedabad-based studio, This and That, has been working with him for over 25 years. Known to use the traditional crafts in their designs, this year, they went east to the Bodo tribes of Assam and succeeded in transferring the dots and dashes and lines from eri silk textiles onto wood. “I’ve been a carpenter since I was seven years old. I’ve learnt different techniques along the way and have mastered the art of working with wood blocks of varying sizes,” he said.

Morii Design presents the artistry of embroidery as wall art

Meanwhile, Gandhinagar-based Morii Design brought their wall art to the exhibition to showcase hand embroidery techniques of sujini and kalamkari from craft clusters across the country. The abstract landscapes that were being sold from a lakh and upwards, done in muted earthy tones of browns, ochre, green and blue, were the result of a sampling directory that lead designer Brinda Dudhat to work with over 80 women artisans in seven villages.

From the South there was Madras Makers, a bespoke furniture company that uses reclaimed hardwood from demolished bungalows. They believe wood science takes a lifetime to master. Each of their chairs and tables go through numerous iterations before the final piece sees the light of day. “It took us almost 10 years to strengthen our backend so that today we can bring our designs to a fair like this and show people what good, clean, lasting wooden furniture can be. Our strength is in our proportions. We draw inspiration from the yesteryears of Madras,” said founder-designer Prem Balasubramanian.

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