India Design ID is back for its 13th edition to bringing together with a promise to strike a dialogue between modernity, heritage and sustainability. Considered one of India라이브 바카라 premiere events for interiors, architecture, and product design, this year라이브 바카라 exhibits, yet again, focused on innovative luxury but very little attention was given to inclusive design.
Function vs Form/ Individuality vs Collectivism
There was no dearth of beauty at the ID Exhibit, the fair라이브 바카라 centrepiece. The Exhibit showcases over 150 Indian and international brands. Pocho Living, with minimalist yet warm furniture stood out for its a contemporary approach to sustainable woodcraft.
BoConcept, a Danish brand known for its luxuriously simple furniture, showcased an interesting mix of functional and comfortable contemporary designs. The company라이브 바카라 director Naveen Khanna noted that globalisation has led to a lack of individualisation of people라이브 바카라 tastes, to some extent.
But, perhaps the most thought-provoking section of the exhibit is TRANSITION, a curation of chairs that challenge the idea of everyday objects as purely functional. Curated by ID Fair Director Misha Bains, the exhibit is a “reimagining the humble chair as an artistic and philosophical entity.” The designs include the now famous Rhianna chair, designed by Chamaar Studio and Sudhir Rajbhar.
One of the most eye-catching works at the exhibit was Takkhad, a Naga smoking chair designed by Shivangi Vasudeva, an independent furniture designer from Central St Martins. Inspired by 18th century Naga works that have been eradicated over a period of time, the design sought to replicate not only the woodwork but included authentic Naga weaving done by Heirloom Naga, a 400-strong women라이브 바카라 collective.
This TRANSITION segment is a collection of 45 chairs designed by 45 individual designers, but only Takkhad appeared thought out for communal or outdoor sitting. The exhibit “forces visitors to reconsider the intersection of form and utility”, but it led one to question why in a country where two million homeless people, there isn’t more explorations of a park bench, or innovative designs for shelters.
The focus on the individual luxury element did not take away from the stunning designs at the Fair, nor from many designer라이브 바카라 sincere efforts to find innovative solutions to save heritage woodwork, metallurgy and weaving techniques. Two exhibits that stood out were The Design Pavilion라이브 바카라 ‘The Indian Crafts Story.’
Sustainibility And Tech At The Forefront
The showcases at the 2025 India Design ID did signal at a shift in what is seen as luxury. The shift away from mass produced work towards ethically sourced textiles and biodegradable materials was striking— as with Chamaar라이브 바카라 chair which is made from repurposed rubber from tires. Another striking trend is the revival of traditional crafts, but with a contemporary twist. Veeram Shah, the principal designer at the Gandhinagar-based Design ni Dukan, was fascinated by the carpet weaving techniques in the Patamadai. Shah has repurposed the weaving for furniture resulting in a visually pleasing and tactile sculptural experience.
India Design ID 2025 is more than a showcase of objects; it is a barometer of cultural and economic shifts. On one hand, the emphasis on sustainability speaks to a broader reckoning within the luxury design community about responsible production and the role of aesthetics in a time of climate crisis. On the other, the continued exclusion of public design and placemaking speaks volumes about who, according to us, should reap the benefits of good design.
With a few days still left to explore the exhibits, India Design ID 2025 is a must-visit for anyone invested in the future of design.
ID 2025 is currently underway at the NSIC Exhibition Grounds in Okhla, Delhi from February 20 to 23, 2025
