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The Global Editorial Director and US Editor in Chief at Architectural Digest Amy Astley speaks to internationally acclaimed American designer and Creative Director Kelly Wearstler about cross-cultural collaboration, inspirations from India, and a shared design language. Photograph: (Architectural Digest Instagram, Jio World Convention Center Instagram)
The Architectural Digest Design Show 2025 took place from 21st to 23rd November at the Jio World Convention Centre, bringing together the best in art, design, and architecture. Known for championing creativity, innovation, and craftsmanship, the show once again positioned itself as a key moment in India’s design calendar.
For three days, the venue transformed into a dynamic design hub featuring premium brands, curated installations, talks, workshops, and experiential zones.
More than 100 premium brands and over 15 international names showcased their collections across furniture, lighting, textiles, ceramics, and home décor.
“This year, we had two goals: to bring in three times the number of brands from year one, and to spotlight more up-and-coming studios. We’ve been able to achieve both,” said Sandeep Lodha, Managing Director, Condé Nast India.
Among the notable studios were Phantom Hands, presenting re-editions of Geoffrey Bawa’s iconic furniture within the Bawa Pavilion; Blanc & White, known for its handcrafted, material-driven objects; Jade Design Q with curated installations; and Amore Muro, showcasing artistic wall panels and luxury headboards.
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The Emerging Designers Zone featured over 40 independent Indian studios. “If you see discoveries here which is basically the up-and-coming brands we have 40 discovery brands and around 110 total brands in the curation,” Lodha added.
The show also brought together leading global and Indian design figures including Amy Astley, Global Editorial Director, AD and Editor-in-Chief, AD US; internationally acclaimed interior designer Kelly Wearstler; architect Channa Daswatte from the Geoffrey Bawa Trust; and Aparna Rao, co-founder of Phantom Hands.
One of the most talked-about moments came on the final day, when actor Imran Khan visited the show exploring key pavilions, speaking with designers, and interacting with visitors, drawing crowds across the central exhibit zones.
Beyond exhibits, the show hosted curated walkthroughs by design experts, live workshops, food pop-ups, and music sessions, giving the event a festival-like energy rather than a conventional trade setup.
Across the halls, exhibitors presented a wide spectrum of design—from handcrafted furniture and bespoke lighting to sustainable textiles and contemporary ceramics—reflecting how India’s design language is rapidly evolving while staying rooted in craft.
“The importance of Indian design, Indian craftsmanship, Indian heritage… it’s local but it’s global, which I think is true of this show, but also of where design is going,” said Amy Astley, Global Editorial Director, AD and Editor-in-Chief, AD US to Luxurious.
The 2025 edition also marked AD’s expanded footprint ahead of the brand’s upcoming showcase in Hyderabad next month.
Overall, the AD Design Show 2025 offered a comprehensive, forward-looking view of India’s design landscape—one that points towards deeper craftsmanship, sustainable materials, experimental forms, and growing global collaboration.
