"Designers are first world professionals and Indian craftsmen are part of a third world culture" says Gunjan Gupta, a furniture designer based in Delhi whose work brings together these two far away worlds.

We met Gunjan Gupta in her soon-to-be-moved studio, Wrap,  in the outskirts of Delhi. Inside a beautiful village house, the design studio is full of inspirations: from materials, to contemporary design masterpieces, to antique Indian furniture, to - of course - Mrs. Gupta's own creations.

Creations which, each in a different way, follow one common principle - discovering and applying the heritage of Indian crafts to contemporary furniture design.

The studio setting reflects the work: just like the gold laminated throne or the seat made of bicycle parts, the place is a sum of modern and edgy and very traditional, experimental and meaningful, local and international.

Gunjan, how did you get into furniture design?

I have a background in interior design, which in India is treated in a very different way than it is abroad. Here it is not about having an idea of the space and creating it with the client, but most of the times it is simply about manifesting the client's taste and choices, without an overall plan.

I was tired of that type of work, and I noticed that there was a lack of high end, bespoken furniture made locally with a culturally relevant mix of design and craftsmanship, so I decided to focus on that instead.

How does your creative process work?

I look at old Indian furniture and de-structure it, transferring them into a contemporary imaginary. I don't simply apply the local knowledge, I move it around to get inspired by it.

What's the most difficult part of your work?

I have been trained abroad, and dealing with the Indian ways of production is difficult. Getting consistency in quality or respect for time lines can be very frustrating.

How do the local craftsmen feel about working on unusual projects like yours?

At first they are sceptical and find that it's a waste of time, but when they see the final product they are inspired and proud of it.

What will be the future of Indian crafts?

I think the next ten years will be fundamental for our crafts. There is a lack of support for our traditional, high end productions that needs to be addressed. We can see it very well with what's happening with the sari weavers of Varanasi who keep committing suicide because they can't support themselves. The preciousness of their work needs to be understood and valued, and Indians need to stop taking the hard work for granted and understand that, for instance, a sari is just like an haute couture dress.

Do you think the lack of value given to crafts in India depends on the fact that they are so readily available?

It does. We are very spoilt. We are used to any type and level of craftsmanship at the smallest price, so we don't value it. The problem is that because of this even the craftsmen don't have any interest in improving their skills, so they are losing them. That's why valuing their work is so important, because it will also bring education and improvement.

What is luxury?

I think luxury is a mix of austerity and audacity. In India luxury has always been over the top, and now needs to be revised in some ways: not everything can be audacious, and I think only one element should be; for instance, it can either be the shape or the material of something, not both. But surely has to be audacious, only then we can talk about luxury.

How do you convert this idea of luxury into your production?

I do that in every piece, from the smallest to the biggest. For instance, my throne has a simple design, but then is covered in gold. On the other hand, the bicycle seat has a shape that's over the top, but the materials are quite simple.

Do you see space for your work, and in general for expressions of Indian high end crafts, outside the luxury market?

Of course. That will be my next challenge, working on pieces that are more affordable, though remain very designed. I believe that the work I do should speak to a mindset and not just to a buying power.

What are your currently working on?

I am setting up my own production, with a factory and a retail unit, which will solve the problems I have had dealing with the delays and inconsistency of external productions. The new work is on the back seat for now but I will pick it up soon.