India’s Design Landscape: Where Tradition and Global Influence Converge

India Design Forum is one of the country’s most significant platforms for design. Founded in 2012 by Rajshree Pathy and Aishwarya Pathy, the organization has played a pioneering role in promoting the value of design and increasing awareness of its impact. Today, it stands as India’s largest and most influential design forum, spanning all disciplines within the field.

Co-founder Rajshree Pathy recently visited Helsinki, where she reflected on the rapid evolution of India’s design landscape. According to her, design is gaining a stronger foothold both in everyday life and in business. From product design to architecture, there is a growing interest in circular economy principles and sustainability across the sector.

Design, however, is far from a new phenomenon in India. Pathy emphasizes that it is deeply embedded in the country’s cultural DNA. India’s rich craft heritage remains highly influential, and its visual culture continues to reflect both ornamental traditions and historical layers, including Persian and Islamic aesthetics. Unlike in Western Europe, where the World Wars steered design toward simplification, design in India has traditionally retained a strong emphasis on detail, material richness, and ornamentation. Today, these traditions increasingly coexist with more minimalist influences. In recent years, international players have also shaped the market. Notably, the Swedish furniture company IKEA has acted as a catalyst by introducing so-called democratic design to a broader audience. Through its presence, Nordic minimalism has gradually integrated into Indian interiors and everyday aesthetics.

At the same time, regional diversity remains a defining feature of Indian design. Pathy, who is originally from South of India, highlights the importance of local materials, such as various types of stone and ceramics, in shaping both design and architecture. These material-driven practices form a distinctive design language that has evolved largely from local conditions.

A generational shift is now underway. A new wave of designers is emerging, reshaping the field with confidence and ambition. Many young practitioners have studied at leading Western institutions and are now returning to India, blending international knowledge with local traditions. Earlier uncertainty about the relationship between Western and Indian design is giving way to a more self-assured, hybrid expression — particularly visible in the field of fashion. Indian designers are also becoming increasingly active on the global stage. They are participating in international exhibitions, building networks, and confidently presenting their expertise in collaborations with industry partners.

Strong economic growth is further accelerating this development. India’s expanding middle class has significant purchasing power, and younger consumers are increasingly able to invest in design. Shifting consumption patterns are opening up new opportunities for international actors as well. Pathy sees particular potential for Nordic design in India. The Scandinavian approach — characterized by simplicity, refined color palettes, and functionality — resonates strongly with younger generations of Indian consumers. According to her, Finnish design is especially well positioned to strengthen its presence in this rapidly growing market.

India’s design landscape is not only expanding: it is transforming, combining a distinctive craft heritage with global influences and the demands of sustainability in new and compelling ways.

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Rajshree Pathy in conversation at the Design Forum Finland office, photo: Miia Pöytälaakso