Mumbai-based gallery Æquo is the result of founder Tarini Jindal Handa and creative director Florence Louisy coming together to introduce collectible design to an Indian audience. At the core of the unique platform is a reverence for cross-pollination, connecting international designers with Indian techniques, reimagining heritage craftsmanship, and celebrating an Indian contemporary ethos. This spring and summer, Æquo will showcase an experimental and sculptural show with French designer, Frédéric Imbért. Whitewall spoke with Handa about her upbringing in the arts and the future of Indian design.
Closing the Gap Between Heritage and Innovation
Courtesy of Æquo.
Courtesy of Æquo.
WHITEWALL: What was your vision for Æquō initially? What did you want to bring to the cultural landscape of India that you weren’t seeing?
TARINI JINDAL HANDA: When I founded Æquō, my vision was clear but ambitious. I wanted to create a platform that celebrated the extraordinary skill of Indian artisans, while offering them a global presence. I wanted to give people the opportunity to discover work that truly represented the depth and sophistication of Indian workmanship—often inaccessible. India is home to such an incredible heritage of craftsmanship, yet it wasn’t being recognized in the global design world. Æquō is my way of saying, “Look here—this is what we have, and it’s special.”
“India is home to such an incredible heritage of craftsmanship, yet it wasn’t being recognized in the global design world.”
-Tarini Jindal Handa
WW: India is known for its craftsmanship and unique design language—how do you hope Æquō closes that gap between heritage design and contemporary collectible design?
TJH: At Æquō, the goal is to bridge the two worlds—traditional craft and contemporary design. Indian artisanship has such a unique narrative, but we’ve often seen it relegated to the background, either lost in time or misunderstood. By collaborating with international designers and giving our artisans the freedom to innovate within their craft, we’re creating a space where Indian techniques meet the contemporary design ethos. It’s about pushing boundaries and reimagining traditional crafts—whether that’s through innovative scale or the fusion of materials. It’s not about preservation; it’s about evolution, and this intersection is where collectible design truly begins.
Connecting Craft with Contemporary Design
Courtesy of Æquo.
Courtesy of Æquo.
WW: Who are the designers in India whose voices you want to highlight?
TJH: Bijoy Jain stands out for his thoughtful integration of local craftsmanship and sustainable practices. He redefines contemporary architecture, while Rooshad Shroff’s work explores the intersection of tradition and modernity through innovative materials and techniques. Similarly, Asheish Shah’s minimalist yet tactile designs offer a fresh perspective on luxury, blending precision with emotion. They are shaping a new narrative for Indian design. Their work represents the dynamic future of our creative landscape, and I believe they are at the forefront of positioning India firmly within the global design conversation. I’m constantly discovering new talent, and it’s an exciting journey to witness the incredible voices emerging all around us.
WW: Who are the international designers you want to bring in?
TJH: International collaboration is key to what Æquō is about—it’s not just about showcasing Indian craftsmanship; it’s about the cross-pollination of ideas. We’ve worked with Florence Louisy, who is also the creative director of Æquō, and brings a perfect blend of French sophistication and an eye for detail that complements Indian techniques. I’m interested in inviting designers from Brazil, Japan, and Italy—countries that I find fascinating in terms of their design heritage. The idea is always to think beyond borders and bring in designers who are excited by the challenge of integrating India’s rich design heritage into their own work. I love the possibilities that global collaborations bring.
Building A Market for New Collectors
Courtesy of Æquo.
Courtesy of Æquo.
WW: How have you connected with design collectors in India?
TJH: Connecting with collectors here has been an evolving process. When we started, the idea of collectible design was still fairly new to India. But what’s been incredible is the genuine curiosity and enthusiasm that people have shown for the work we’re doing. I always say that we’re creating a market for collectible design in India, and that’s exactly what we’ve been seeing. People are beginning to understand the intrinsic value of craftsmanship—the same way you would appreciate an artwork. It’s not just about owning an object; it’s about investing in a legacy, in a tradition. It’s been a slow burn, but incredibly rewarding to see more and more collectors come forward and show their support.
“This isn’t just about investment; it’s about finding something that resonates with you, something that feels timeless.”
-Tarini Jindal Handa
WW: What would be your advice to someone interested in getting into collectible design but not knowing where to start?
TJH: My advice would be to approach it with curiosity and patience. Start by understanding the craft and what makes it special—whether it’s the technique, the materials, or the narrative behind it. Visit exhibitions, talk to designers, and immerse yourself in the world of design. It’s a journey of discovery. And importantly, collect pieces that speak to you personally. This isn’t just about investment; it’s about finding something that resonates with you, something that feels timeless. Don’t rush into it—take your time, learn, and enjoy the process.
