KELLY

Wearstler is in a state of flow.

- Nuriyah Johar

In the white cube gallery of collectible design called aequó in Mumbai or in the sun-dappled carpentry workshop of master craftsman Jeevaram Suthar in Alibag, a coastal town south of the city, Wearstler, in her cool, inimitable way, pursues the possibilities of artisanal wealth that designers have access to in this country. Based in Los Angeles, California, and an icon of design, particularly in the United States, Wearstler’s first foray into India is the result of a three-way collaboration between aequó; artisans specialising in carpentry, enamel work and metal casting; and her eponymous design practice. The result, titled Lahar, meaning “wave” in Hindi, is a 12-piece collection that includes a console table, a bar cabinet, a low centre table, and smaller objects like trays, vases and wall sconces; and a limited-edition set of three burnt teak wood seats. Each enamel piece of the Lahar collection is of its own unique measure—all chiselled and crafted by hand. Wearstler’s and aequó’s coming together with the artisans of India is a beautiful case study for explorations in contemporary craft.

We are in Alibag on a warm afternoon, at a carpentry workshop surrounded by lush greens on all four sides.

Kelly Wearstler is in animated conversation with Jeevaram—the owner, who comes from a generational suthar (carpenter) family—over his suggestion to use a more sophisticated hinge for one of her cabinets. Rather, she’s in conversation with Jeevaram’s son, who is playing the role of translator, given the linguistic gap. A five-minute proposition, supported by visual demonstrations on a product sample, and Wearstler is convinced on the hinge. She promptly moves on to the next order of business, and it is made clear that despite their language barrier, they communicate perfectly. In a remote Maharashtrian workshop, some 15,000 kilometres from her home in Los Angeles, Wearstler appears to be right at home.