Partnership info
Overview
- Location
- Mumbai
- Type
- Product Collaboration
- Year
- 2026
Tarang started with the same book that shaped Lahar, but Wearstler found herself drawn to a different passage — not enamel or bronze, but the idea of transformation itself: what happens to wood the moment fire is allowed to finish it rather than ruin it. That question became the entire brief. She chose burnt teak before she chose a single form, curious what shape would emerge once char, rather than a blueprint, did the deciding.
Creative Process
Fire did more of the design work than any sketch could. Hand-carved teak went in as one thing and came out another — its surface irregular, blackened, unpredictable in exactly the way Wearstler wanted. Rather than sand those irregularities away, she treated them as the material's own signature, proof of process and change built directly into the grain, then added bronze detailing to ground that rawness in real weight — the same metal doing the opposite job it does in Lahar: not shine, but gravity.
Creative Direction
Tarang debuted alongside Lahar during Mumbai Gallery Weekend, inside the same exhibition, By Fire, at the æquō Gallery in Colaba — the weathered pink walls doing something different for charred wood than they did for bronze, warming the burnt grain rather than competing with it. The benches, chairs, and stools sat across pedestals of uneven height, so no two pieces shared an eye line, and the char caught light differently depending on where in the room you stood. Beyond the gallery, Tarang was also photographed out in the streets of India — the same instinct behind Lahar's street shots, but here it reads even more literally: wood that fire already transformed once, set back against the place that gave the whole collection its premise.
The character and imperfection of burnt wood was essential to the design. The material tells the story of process and change.
Shop the Collection
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Tarang Chair
Price upon request -
Tarang Stool
Price upon request
