Ariane Thakore Ginwala, This and That
Ariane Thakore Ginwala has been practicing as an Interior Architect since 1997. Based in Ahmedabad, her work spans across India, encompassing a wide range of projects. She holds a degree in Interior Architecture from the Kent Institute of Art and Design and a Master’s degree in Economics from Gokhale Institute of Politics and Economics. Over the years, Ariane has completed more than a hundred projects, Including interior design, retail and restaurant spaces, furniture design, and sustainable spatial planning.
In this thought provoking conversation as part of DTalks, Ariane talks about her design philosophy and being an entrepreneur.
1. How would you describe your signature design aesthetic, and what key influences, whether cultural, personal, or design movements, have shaped it in the Indian context?
The aesthetic at This and That is deeply vernacular, rooted in the rhythm of Indian craft and the lived realities of its makers. We don’t begin with a concept; we start with a craft. A weaving technique, a forgotten material, or an old door panel becomes the starting point. Design follows.
My influences are not driven by trends but shaped by the time spent with craft communities across various regions of India. The people, their knowledge, and their ways of making guide what we create. This aesthetic doesn’t try to blend modern and traditional, it simply honours the material and its context.
2. Could you walk us through your creative process? How do you transition from the initial concept to the final execution?
Our process is intuitive and layered. We don’t plan a product and then assign a craft to it. It begins with discovering a technique or material like Tangaliya, Sabai grass, or Eri Silk, and imagining its potential in homeware or furniture.
Often, conversations with craft communities guide these ideas. Together, we explore what’s possible. The goal is to create something that feels relevant today, but still carries the soul of the original practice.
Sampling is slow and collaborative. Sometimes a piece takes months to resolve. We also spend time helping artisans visualise new scales and formats. The process isn’t linear; it’s led by trust, iteration, and respect.
3. How do you balance client requirements with your creative vision? Could you share an example of a project where this balance was particularly challenging?
We don’t follow a conventional client model. Most of our work is developed independently, and then reaches homes through interior designers and architects who align with our sensibility.
Buyers often discover us through these design professionals. In that sense, the autonomy stays intact. What’s selected is what we’ve already envisioned and created. The challenge, then, isn’t in balancing expectations but in staying true to the craft during each design decision.
What helps is that our collaborators value the story behind the piece. They aren’t just looking for a “look”, they’re looking for meaning, for work that holds presence. And that gives us space to stay honest in our making.
4. How do collaborations with artisans, craftspeople, or other creative professionals factor into your work? How do these partnerships enrich your design practice?
These collaborations are the foundation of everything we do. We don’t just source craft, we work with it, live with it, and build around it. Whether it’s Tangaliya weaving in Gujarat or Dhokra casting in Odisha, the process begins with understanding the makers and their world.
It’s not just about design outcomes. It’s about mutual learning. We bring ideas that stretch the craft’s form, and the artisans bring those ideas to life.
Through these partnerships, we want to revive forgotten techniques and adapt them for modern living, like using heritage textiles for upholstery or wall art. Over time, it becomes a relationship, not just a product or a project.
5. How can design meaningfully engage with India’s social, cultural, and environmental challenges?
Design in India can’t exist in isolation. We’re working within layered ecosystems of heritage, labour, material, and community. For us, engaging with these realities means focusing on relevance, not reinvention.
Socially, we at This and That try to work with women-led groups and rural communities where weaving or woodwork offers both income and identity. Culturally, we don’t borrow motifs, we collaborate to evolve them. Environmentally, we work with reclaimed wood, handwoven textiles, and slower methods that minimise machine use.
It’s not about solving everything. But it’s about ensuring our choices of material, partner, or scale not only create beauty but also sustain something deeper.
6. Looking back at your portfolio, which project represents a significant turning point in your career, and why?
One of the most defining moments was the discovery of my old hand-drawn furniture archives — pieces designed over 15 years as an interior architect. They had been forgotten, stored away in folders.
Revisiting those drawings sparked the idea to recreate a few of them just out of curiosity. When we saw them in physical form again, something shifted. That’s how This and That was born, not as a business plan, but as a quiet unfolding.
It reminded me that some of the best design happens when you aren’t trying too hard. You’re simply responding to memories, to materials, or feelings.
7. Among your recent works, which project are you most proud of, and what makes it special?
The Agor collection holds a special place. It grew out of a collaboration with the Mising community in Assam — a weaving tradition that’s deeply rooted, entirely female-led, and almost ritualistic in its rhythm.
What made it meaningful was how naturally everything came together. The women weave with silk they rear themselves. Every motif, every thread, carries generational knowledge. We worked with them to reinterpret certain tribal patterns for wall textiles, cushions, and eventually a small coat line, something I’ve never done before.
It wasn’t just a collection; it became a community effort. More women joined in. The energy around it was collective, and that’s what made it feel truly alive.
What unique challenges and opportunities have you encountered as a designer in the Indian design industry?
8. What unique challenges and opportunities have you encountered as a designer working in the Indian industry?
One challenge is the perception that craft must look a certain way, often rustic or “ethnic.” But craft is capable of much more. The opportunity lies in showing how it can live in contemporary spaces, without losing its depth.
Another ongoing challenge is the tendency to look outward. Imported furniture still holds aspirational value. But we’re seeing a slow shift. Designers and architects are encouraging clients to explore pieces made in India (pieces that tell a story).
The opportunity is clear: there’s growing respect for process-led work and handcrafted design. And as more people value the “how” behind a product, it creates space for more honest, grounded design practices.
9. How do you balance global design trends with local contextual needs in your practice?
We don’t actively try to balance the two. Our work is entirely shaped by what’s around us — craft, material, and community. I’m not trying to follow global trends or create a hybrid aesthetic. If anything, I’m more interested in responding to what’s here and now.
That said, contemporary relevance is important. Our designs aren’t replicas of old forms but reinterpretations. The proportions, the function, and the placement speak to how we live today.
So, while we don’t design with global influence in mind, the outcome sometimes feels globally resonant because it’s simple, intentional, and deeply human. And perhaps that’s why it resonates.
10. How do you approach sustainability in your practice, especially in blending India’s traditional wisdom with contemporary environmental concerns?
Sustainability isn’t a separate strategy; it’s built into the way we work. We use reclaimed wood, old architectural elements, and traditional materials like Sabai grass and Eri silk. These choices are not only ecological, they’re cultural. They respect what already exists.
We don’t chase “green” labels. We simply avoid excess. Our production is small-batch, handcrafted, and meant to last. The techniques we use, like slow weaving, hand carving, and natural dyeing, have always been sustainable by nature.
Contemporary concerns may speak the language of climate and carbon, but traditional wisdom has long known how to live lightly. We try to honour that, not by romanticizing the past, but by making it relevant again.
11. Are there any new materials or technological innovations you’re currently exploring in your practice?
We’re experimenting with materials like Dokra and Sabai grass in new ways by integrating them into furniture and home objects where they’re not typically used. The idea is to bring scale and structure to materials that are often treated as decorative or peripheral.
When it comes to technology, we tread carefully. Our work is handmade and community-led, so automation isn’t a natural fit. But we’ve started exploring how technology can support communication, like using 3D models to help artisans visualise new formats.
We’re not opposed to innovation. It just has to serve the craft, not overshadow it.
12. What’s worked best for you when it comes to building visibility and connecting with potential clients?
Most of our buyers come through referrals, especially from architects and designers who understand and value our approach. There’s a quiet network of like-minded people who recommend our work because it resonates with a certain kind of sensibility.
We haven’t relied heavily on marketing. Instead, visibility has come from collaborations, word of mouth, and slowly growing credibility. Each piece carries its own story, and that story travels.
Recently, we’ve begun working more consciously on PR and storytelling, especially around new collections. But the intent is always the same: to connect with people who see value in the process, not just the product.
13. What are some dos and don’ts for emerging designers in India? Any professional communities you’d recommend they be part of?
The only real ‘do’ I’d suggest is this: work with your heart. Design is not a race. It’s not about trends or aesthetics alone; it’s about intention. If you feel connected to a material or a story, follow it fully.
And the ‘don’t’? Don’t exploit. Whether it’s people, crafts, or ideas. Respect what you’re working with. Especially if you’re working with communities, be mindful of the exchange. Design should uplift, not extract.
There are many forums and residencies today that support young designers, especially those working with craft or sustainability. But beyond platforms, the best community is the one you build slowly through trust, collaboration, and real conversations.
14. What new project types or design directions are you eager to explore next? How do you envision the future of Indian design, and what role would you like to play in shaping it?
We’ve just begun exploring textile-based clothing, simple coats, and outerwear made from traditional weaves. It’s new terrain for me, but it feels like a natural extension of the work we’re already doing in home textiles.
As for the future of Indian design, I think we’re moving into a powerful phase. There’s more awareness, more respect for handmade work, and a stronger push for rooted storytelling. Designers today aren’t just making things, they’re reviving ecosystems.
I hope to continue doing work that stays grounded. Work that keeps forgotten crafts alive, offers communities a livelihood, and creates objects that feel quietly essential in modern life.
Featuring Image Courtesy: Architecture + Design.com
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