Kelly Wearstler launches furniture collection inspired by Indian craftsmanship

As of 2019, a Mumbai-based gallery is now established even it has been positioned with a unique proposition: shed new light on the myriad of Indian crafts that are often overlooked through the contemporary format. In turn, the platform helps preserve these traditions, imbue them with new relevance, and reveal the extent of their potential.

However, æqō—which translates as equal in Latin—does its best to sidestep the all-too-inevitable condition of designers coming into their own and simply commissioning the construction of new works. steam rolls over any hint of idiosyncratic, culturally rooted distinction. Instead, the gallery carefully balances the creative drive of these great talents with the integrity of this savoir faire. The works he ostensibly commissions result from consensus and intensive collaboration.

“Our role is, first and foremost, to convey our fascination with an art and to ignite the same enthusiasm in the designer. This is the foundation of our curatorial approach: creating the right encounter between the universe of a designer and a workshop,” says creative director Florence Louisy.

Noted designer Kelly Wearstler—whose prolific and often experimental practice has at times sparked wider debates around authorship and influence in contemporary design, while maintaining a large and impressively experimental body of her own idea—developed the new Lava and Tense capsule collections along these lines. Through intense periods of on-site housing, he worked closely with artisans specializing in glass glazing, bronze casting and burnt teak carpentry. And while their names may not be spoken outright, their bravery is fully honored. he made the star of the show in new, unexpected ways.

“The æqō team introduced me to traditional craft techniques – processes that the region has been known for for centuries, with knowledge passed down from generation to generation,” says Wearstler. “Understanding that pedigree, that depth of expertise passed down over time, transforms how you approach the work. You’re not just creating something new, you’re starting a conversation with history.”

The unifying 3D vector mesh—the LA-based “waveform” patterns—is rendered as a cast metal surface treatment throughout the Lahar collection: limited-edition bar cabinet, china cabinet, console, coffee table, drinks table, tray, table lamp and vase. Anticipated organic glass enamel panels are inserted between the slightly fused but structured matrix. The designs are equal parts monolithic and graphic, aesthetically unified and yet texturally contrasting. iridescent reflective but opaque patinated. ancient yet modern.

Crafted from hand-carved burnt teak into the almost pristine chairs, benches and stools, the second Tarang collection puts the imperfection of the manual process – highlighted by a bronze overlay – on full display. But again, this gesture is limited to geometric form.

To see this and other works by the famous designer, visit kellywearstler.com.

Photo by Manan Seth.

Adrian Madlener is a Brussels-born, New York-based writer specializing in collectible and sustainable design. With a particular focus on themes that exemplify the best of craft-based experimentation, it is committed to supporting talent pushing the envelope across disciplines.