The India Story

In the broader sense of the word, design has always held its place of importance in Ancient India.

- Divya Thakur

More formal applications of it were perhaps first seen during the post-Independence era when nation building was in full swing. In the interim years from then to now, design took a backseat, but of late it does seem poised to come back to the forefront once again. Today, Indian design, particularly in the field of art, has brilliantly taken its rightful place on the global stage. And fashion seems all set to follow suit.

I personally believe that the ‘Indian’ aspect of design is not an external phenomenon. It’s not like drawing a maatra on a type to make it look Indian or a bindi you may put on as an adornment. It is not even an object, like a lota or kulhar (clay tea cup) or a sari. The essence of Indian design is intrinsic to its being. So it is ultimately seamless with its function — and function has always dictated India’s approach to design. Today, minimalism may be a global trend but aeons ago, we were designing things based simply on what was essential. We weren’t creating wastefully, or for the sake of it. I’ve o” en heard people say that decoration is a key feature of the Indian aesthetic. Even that was done with reason and not just for the sake of beautification. A temple or statue was painstakingly adorned, painted or carved with the intention to draw out one’s emotions — to evoke reverence in the people who saw it.

Another facet of Indian design which I find very interesting is something I learned when I was working on the exhibition India Past Forward that showed in Stockholm in 2015 — India’s approach to design transcended individual egos; the creator was supreme, and artists were mediums. There was also no singular author to things that were created. When you think of the lota or the