India’s creative ecosystem is growing and evolving, with artists and the industry currently taking center stage. At Blur The Border, recognising this momentum, we began by featuring the country’s emerging and established artists—spanning graphic designers, ceramists, architects, fantasy botanist and paper-cut artist.
Two years and over 60 makers later, we have grown beyond written articles and exclusive interviews to launch The Creators’ Loft—a podcast series that moves away from mainstream topics to offer fresh, in-depth insights.
Each episode brings together two artists from different disciplines to explore industry insights, cultural identity, and their creative processes in depth.
Stay tuned for Episode 1 trailer.
India’s identity has long been confined to conventions such as vibrant colours, bollywood, cricket, spirituality, and other cultural stereotypes.
In Season 2 of Backstage with Blur The Border, Raul Rai, co-founder of Nicobar, Shivam Punja, founder of Behno, and Dhruv Khurana, founder of Almost Gods, discuss how their brands’ origins aim to challenge these common perceptions.
What stereotypes would you like to see shattered in the future?
Founded in 2013 and operating between Bangalore and London, TIIPOI looks at the quiet design language of everyday Indian objects. Stainless steel thalis, terracotta pots, chai glasses, and stackable storage become references for contemporary pieces shaped by function and familiarity.
Working with craft communities across India, the studio reinterprets traditional techniques through subtle shifts in scale, finish, and material creating objects that feel both familiar and newly considered.
Events today are no longer just moments — they are infrastructure built for connection. Here is a look at the ones that stood out last quarter.
Vogue Values: Women of Excellence — Three panels, one room, and conversations about sport, craft, and leadership that felt as necessary as they were overdue.
Nicobar at 10 — A brand that has quietly set a benchmark, marking a decade with the community that helped build it.
The Gathering — An annual festival of first-time collaborations between chefs and artists, where food became memory, geography, and material all at once.
Lovebirds in Sri Lanka — A 60-look collection presented at Geoffrey Bawa’s Lunuganga estate, where the community became as much a part of the show as the clothes.
Read the full recap at the link in bio.
Drawing from Persian miniature painting, Kantha, and Gond visual language, Sanket Viramgami builds his compositions through meticulous layering, holding multiple moments at once and allowing time to bend and overlap within a single pictorial plane.
Motifs repeat and shift across the surface, while his palette oscillates between muted earth tones and heightened hues, introducing a subtle dissonance. Shaped by both rural and urban contexts, his works hold memory and mythology as lived, continuous presences rather than distant references.
Within the evolving landscape of contemporary Indian design, Length Breadth Height emerges as a practice that reconsiders the relationship between material, form, and everyday use.
Working with materials such as alabaster, terracotta, wood, and marble, its pieces are defined by restraint.
Rather than asserting presence, the collection settles into its surroundings, creating moments of stillness within domestic environments. In doing so, Length Breadth Height proposes a way of living with objects that are not merely seen, but experienced over time
Made and bottled in India by co-founders Madhav Narang and Arhum Jain, Khet moves away from an imitation-flooded mainstream market to build fragrances steeped in generational memory and snippets of India’s history.
Think rituals like raw mango with chilli, or fond childhood sweets like Phantom, distilled into scents that are broken down by notes, mood, and wearability—making perfume less abstract and more intuitive. Thoughtfully produced and culturally grounded, Khet offers an accessible entry point into Indian fragrance that feels contemporary without losing context.
Raw Mango’s Kolkata store is set within an early 20th-century Art Deco building in Ballygunge, drawing from the city’s architectural memory.
Light, proportion, and material guide the space, letting the textiles lead. Original asymmetries are retained, branding is kept minimal, and the store unfolds slowly—shifting the focus from quick transactions to spending time with the space and the garments.
Picture credits: @studiolokeshdang
