House of Heirloom by Rahul Singh is a luxurious take on Indian craft. The young entrepreneur shares his design aesthetics
We are immediately taken in by his energy and gift of the gab. But Rahul Singh, who worked seven years as a private equity lawyer at Amarchand Mangaldas, has been in the business of impressing and convincing his clients for a really long time. Except the weekends of his 30-year existence. Those were reserved for visiting museums, imbibing the “art of living” courses from his grandmother and indulging in painting or identifying stones and porcelain blindfolded, just by feeling their texture and weight. This tactile, 3D approach to design in every shape and dimension became an all-consuming passion. Till he found his true calling on the ghats of Banaras. “You look up at the stars and your mind wants you to touch them. That is the imagined reality. But to make it happen, you also need to travel within yourself, feel your core, your soul. Only that realisation helps you transcend all limits. That’s how I found I could create my own art.”
And he began from his roots, exploring Indian craft and learning from our master artisans and weavers, even living with them. He travelled the length and breadth of the country. He picked up his inspiration from heirlooms and gave shape to his imagination and inspiration through most things precious — paintings, carpets, chandeliers, silver cutlery, louis XIV chairs, chaise lounges, a Burma teak four poster bed and even items that were once mundane, like a colonial-style breakfast linen and butter trays. All these are now assembled under one roof at the House of Heirloom, Singh’s maiden design venture.
Entering the soon to be opened art store is no less than walking into a princely castle. You can feel the luxury around in the form of velvet and stone-studded curtains, mother of pearl cushions, 100-year-old carpets, brocade sofas and golden walls. looking dapper in his summer blazer with a satin black handkerchief peeping from the pocket, Singh is as precise and detailed about his collection. So a self-autographed book of Picasso, detailing his inspiration of the war years, the dribble of molten wax in the porcelain chandelier, a Husain from the artist’s early years, Souza’s unusual Srimati, a rare William Bennet and an old puja alcove from a fort in Rajasthan are casually laid about amid the European crystal and figurines. Yes, some of the heirlooms and collectibles are on sale but are intended to, as Rahul says, “educate” the visitor about the value of heritage and the ceremony that we have lost in our daily rituals of the digital age. Most of the furniture are transcreations of that past, one that Rahul has an absolute knowledge of. He hopes that will give him an edge in presenting luxe living in a way no other designer studio has so far in Delhi. He has a story to go with each piece. Call it research or sales pitch, it does get you personally involved enough to make a buy.
Early lessons
My formative years were spent in Malaysia, Egypt and the Emirates. During this span of time, I studied in the British school, and came back to India in my late teens. I grew up with my maternal grandmother and she defines a lot of my designing aesthetics. She was a doctor, a great patron of art, a ghazal singer and a poet. We would have musical baithaks at our homes every alternate Saturday. I was taught about names like Abida Parveen and Farida Khanum as a child. A lot of time was spent on trips to museums all over the world and I think that was when this designing bug bit me. I was able to see spectacular art pieces in spectacular settings and engage with them and that is how my learning happened. My grandmother would rarely miss any art or craft event and I imbibed those traits from her. She would take me out for fabric hunting as a kid. I got the sense of judging the fabric by touching it from her. I was her best student and she would always allow you to think ahead. I was always sketching as a child and I remember sketching the design of the chair and showing it to my grandmother. She would often point out at the bottom and say, ‘You got lazy here. Draw it again.’ Even today I pay great attention to designing the bottom of the chair. The other lesson I learnt from her was about elegance and sophistication. While dining I would complain about having soup with a heavy spoon but my grandmother insisted I eat from that only. Thanks to her today I understand how to have the soup without spilling it. As a child I would sit with the best cutlery and everyone would say that he is drinking water out of a wine goblet, he is holding that crystal glass. But my grandmother would say that he is never going to learn to appreciate it if he doesn’t touch and feel. So I grew up with great taste for design values and aesthetics and I learnt early to appreciate class and luxury.
Indian experience
After spending time as a private equity lawyer and being part of big mergers, I was looking at expansions and partnerships, but one thing I never missed was art openings. I realised that I was missing out a point in life. I asked my mother if I should choose from a successful career or living a dream she said do what your grandmother would have told you. She would have told me to do both but I decided the latter and went to Bali and laos to spend time with artisans. I understood design, fabrics. I came to India, met craftsmen and it was such a liberating experience. To see things, visualise and come up with the design. I travelled to almost every part of India looking for inspiration. It was Varanasi where I had the most soul-stirring experience. I think when you reach out for stars and when you look deep within you are chasing the same thing, just in opposite direction. You have to search within to create and realising that has been the phenomenal part of my journey. Be great and create what you want. Your design should always have soul.
Work with artisans
I have been blessed to have an access to craftsmen from different parts of the country. We have a list of National Award winners to come up with wonders. I met with an artist who does miniature paintings near Jaipur. I realised that most miniature works artists were doing were about elephants and horses. I stayed with this artist and asked him to give me one week. I told him I would pay him for a week and gave him something from the national archives to create a miniature piece from. He told me it will be done in few hours but I wanted him to take time with it. What he ultimately came up was the masterpiece. That is a part of our next collection. Dhotis he created has lachak (flow) and that was my point. Art cannot be flat. We have immense pool of artisans to draw inspiration from, why would I look anywhere elseIJ To encourage artisans hold on to their skills, I am giving 10 per cent of what I make to them.