Eeshaan Kashyap on wanting to challenge the perception of functional art

For Eeshaan Kashyap, the world is a playground. Over the years, the chef-turned-designer and stylist has gained a reputation for his whimsical work in collectibles and tableware. In 2022, he launched Tablescape, an online concept store showcasing his novel interpretations of familiar functional objects. The brand quickly gained traction for its fusion of elements, playful twists on form and function, and expression of Kashyap’s eclectic sensibilities. His designs, inspired by everyday objects yet crafted with materials he loves, are redefining functional art—one collection at a time.

“This year, I want to put this playground on display—a sort of sneak peek into the mind of Eeshaan Kashyap, where intuition and unguarded imagination animate pairings and connections,” he confesses. The wheels are already in motion: In March, the ‘Mad Hatter’ takes over The Stands, a gallery at Mumbai’s Wankhede Stadium, with his exhibit, aptly titled PLAY. When asked what he hopes people will take away from this public display of his psyche, his answer is clear: Just as he draws inspiration from the mundanities of everyday life, guests too are invited to engage with the visceral reality of the here and now. Each collection on display encourages interaction—between people, place, and pieces. Here, shapes, colours, and textures that Kashyap works with daily will be reimagined in fluid forms and silhouettes greater than the sum of their parts.

Kashyap is joined by Maithili Ahluwalia, curator, former founder of concept store Bungalow Eight, and owner of the exhibition space. After 16 years in retail, launching brands such as Lovebirds, Injiri, and Hanut Singh, Ahluwalia is now embracing new passions. She runs The Stands as an exhibition gallery for like-minded artists. “Today, there’s an unprecedented emphasis on showcasing how well you live and entertain, which has undeniably helped the design industry. Greater demand allows creatives to flourish,” she says. In this booming landscape, she seeks individualistic pieces that stand out against the tide of mass production. “With Eeshaan, you never know what to expect, and that unpredictability keeps his work fresh and exciting. This exhibit, too, feels almost like a group show, offering an incredible diversity of products—from tableware and furniture to lighting and textiles.”

But there’s a method to the madness. For PLAY, Kashyap has divided the space into three sections, each spanning a triangular area. Each section focuses on either colour play, material play, or fluidity of form. The first, Surreal Playground, is a sectional gallery inviting viewers to mingle with imaginative objects in a sublime setting. Here, textiles are configured as art, shades of scarlet contrast with golden totems that form a walkable forest. The second—Tonal, Tactile and Terrific Play—explores fluid shapes and morphed objects in a design symphony. “We’ve mirrored our daily diversity through tableware in this section, playing with orbs and spheres for contours, angles and forms for mass, and sheen and colour for surfaces,” he explains. The third section, Memory Play, reinterprets history through a contemporary lens. Techniques of the past appear in antique pottery and textiles while Kashyap’s modern perspective emerges in experimental glazes, textile totems, and embellished antiques.

The exhibit as a whole is designed as a spectacle to be savoured, but each individual object also puts on a performance of its own. The designer's “table jewellery” conveys that relics of the past can become heirlooms of the future. “I’ve transposed precious ornaments and gems from the body onto tableware. These familiar treasures inspire my gold-plated utensils, lab-grown crystal candle stands, hand-carved stone cutlery, coral sculptures, and varq-covered edible delicacies.” Also on display are antique Lawon scarves he has collected over the years, an homage to tradition. A few familiar pieces make a comeback at the show, such as a revamped version of his signature Modern Matka series, but most of the collection features newly sourced or crafted one-of-a-kind pieces. Some pieces reflect Kashyap’s relentless pursuit of learning. “The best and most challenging part of my work is the process. I didn’t go to design school—my life revolves around food and cocktails—but I’m drawn to various techniques like raku firing (an ancient Japanese ceramics technique), acid wash, and inlay. Working with artisans who possess these skills has been truly enriching, such as when I had modern Kalamkari table linen crafted with natural plant-based dyes,” he shares.

On display from March 4 to 9, the show is set to be a manifestation of Kashyap’s unique way of seeing things and interacting with his environment. And if all goes to plan, it’ll convince the world of how anything and everything around us can be shaken out of its comfort zone into something completely new—something bold, flexible, even risqué.

All images: Eeshaan Kashyap & Co

This article first appeared in Harper's Bazaar India, Jan-Feb 2025, print edition. 

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