The clock strikes 7 pm on a Monday, and Vikram Goyal, a whirlwind of creative energy, sits down for a chat, a chuckle escaping him as he mentions his upcoming holiday. But those who know him well understand the truth: Goyal’s passion for design knows no off-days. This Delhi-based designer’s relentless pursuit of innovative artistry has propelled him to the forefront of the global design scene.
Last month, Goyal showcased his collaboration with de Gournay, the renowned British luxury interiors firm, at PAD London 2024. This collaboration, a stunning fusion of Indian craftsmanship and de Gournay’s signature style, featured hand-painted wallpapers, fabrics, porcelain, and hand-carved furniture, a testament to Goyal’s unique approach to design. Next week, he travels to Miami to unveil his latest creations with The Future Perfect gallery at Design Miami, further solidifying his international presence.
His impressive trajectory includes being the first designer to exhibit at the India Art Fair and the first Indian designer to grace Nilufar Gallery in Milan. Goyal’s pioneering spirit is evident in his consistent breaking of barriers and pushing the boundaries of design. This relentless innovation stems from a mind brimming with ideas, cultivated over two decades of dedicated work. His remarkable portfolio stands as powerful evidence that artistic excellence transcends formal education. While a background in engineering, Development Economics from Princeton, and a career in finance have undoubtedly honed his business acumen and technical skills, the true essence of his designs is rooted in his childhood memories of Delhi and Rajasthan.
Goyal’s deep-seated affinity for Indian crafts, particularly his innovative use of brass – an ‘impure’ alloy of copper and zinc considered spiritually pure in Indian tradition – is inextricably linked to the rich history and cultural heritage of these regions. His mastery of repoussé, the technique of hammering metal into relief from the reverse, has garnered him global acclaim, even inspiring a ten-minute short film, “Drawing In Metal,” by documentarian Aradhana Seth in 2023.
This skill is the very heart of his collaboration with de Gournay, unveiled earlier this week at Goyal’s Delhi-NCR studio. “This collaboration stemmed from a long-held desire to engage more deeply with India’s vibrant creative landscape,” explains Claud Cecil Gurney, founder of de Gournay. “Vikram’s work resonated deeply with us; we instantly recognized the potential of his intricately carved and molded metalwork, infused with Persian and Chinese influences, to be reimagined as breathtaking wallpaper designs.”
The collection features three captivating designs, each a testament to Goyal’s meticulous approach. He considers them an “incredibly faithful” translation of his signature brass repoussé pieces, rendered as bas-relief scenes on gilded paper using a specialized solution that creates a remarkable relief effect when heated. ‘Dreamscape,’ Goyal’s personal favorite, is imbued with auspicious Indian symbolism, echoing themes of protection, prosperity, and opportunity. ‘The Garden of Life,’ a favorite of Gurney’s, vividly depicts the legendary Silk Road, tracing the historical journey of hand-painted wallpapers from China to Europe. Finally, ‘Harmony of the Heavens,’ inspired by Jaipur’s Jantar Mantar, completes the collection with its equally compelling astronomical theme.
The synergy between the two studios is undeniable. Both share a passion for Chinoiserie, a deep appreciation for Asian lore and tradition, and a shared commitment to championing handmade craft in an increasingly fast-paced world. Gurney elaborates, “Much of Vikram’s design is based on Indian and Persian bronzes, plaques, and decorations, imported by the Mughals from Persia and originating from China via the Silk Road. Our works represent steadfastness, happiness, beauty, and longevity—symbols found in both Chinese and Indian art. We express these emotions differently—de Gournay in 2D, Vikram in 3D—and the translation is seamless.”
Goyal echoes this sentiment, using the word “seamless” to describe the collaborative process. “There was a shared integrity of thought. I provided the designs, and they reinterpreted them with their unique gilding and relief work, remaining faithful to the original concept.” The collaborative journey, from initial discussions in February to the collection’s launch in London in early September, was remarkably efficient and harmonious.
When asked about his vision for India’s place on the global design stage, Goyal’s response is clear: “Craftsmanship and narrative. I aim to dispel the misconception that Indian handicrafts and brass are merely ‘cheap and cheerful.'” He is undoubtedly well on his way to achieving this ambition, his creative drive seemingly unstoppable. His dedication to his craft, his relentless pursuit of innovation, and his undeniable talent are shaping the future of Indian design, one remarkable piece at a time.
