How women entrepreneurs are shaping a new narrative in the design industry

The new India is bold, expressive and doesn’t shy away from taking risks. This philosophy also reflects in India’s design vocabulary, with women-led studios taking the lead. From being typecast as ‘decorators’ when the industry was in a nascent stage to now being sought-after for their aesthetics, several women entrepreneurs have been instrumental in shaping a new narrative in the design industry. They have a strong vision and a distinct language that helps in creating spaces with heart. 

At the same time, they have also been advocates of diversity and inclusion, ensuring that young voices in the space do not get deafened in the crowd. 

However, the journey hasn’t been easy. 

This Women’s Day, we speak to some prominent voices in design to understand the journey from then to now, how they have navigated challenges, and their contribution to the evolution of design. 

A throwback to initial times 

When Monika Choudhary, Founder and Chief Development Officer at Habitat Architects, forayed into the design world in the early 90s, the industry was a different place. In the absence of digital tools and fancy 3D software, every idea was sketched by hand with a pen. 

“Back then, people often saw architects and designers as just draftsmen who made pretty drawings, not as creative storytellers shaping spaces. As a young woman fresh out of design school, I remember walking into construction sites filled with seasoned male contractors and feeling a mix of excitement and intimidation,” she says. 

“It wasn’t common to see women in those meetings, and I knew I had to prove myself through hard work and bold ideas.”

A pioneer in collectible design, Gunjan Gupta, too, had to work through several challenges to carve her niche when she founded New Delhi-based Studio Wrap, an interior and product design studio, in 2006. 

At the time, mass production dominated the industry, with little space for experimental and concept-driven work that blurred the lines between art and design. 

“The idea of design as a collectible rather than being purely functional was still taking shape,” says Gupta, who today runs brands such as Studio Wrap, GG Collectibles, and IKKIS where craft and concept converge. 

Almost a decade later, when Farah Agarwal established her design studio Chestnut Storeys, there wasn’t any magical transformation. There was a slight change in the design approach. However, the industry was leaning towards predictable aesthetics and time-tested formulae. There was little room for fluidity and spaces that told stories beyond their function. 

“The challenge was to navigate this rigidity while staying true to an intuitive, experiential approach—one that embraced the moment, the emotions a space could evoke, and the way people truly lived within it,” says Agarwal. 

The ‘woman’ tag 

It wasn’t just about breaking barriers to create new design methodologies; women designers and architects encountered sexism for attempting to break into a male-dominated space. 

Hiloni Sutaria, Founder of multidisciplinary architectural firm, HSC Designs, recalls her first meeting as an architect with a client, where the contractor behaved in a misogynistic manner before the entire team. 

“It was 7 pm and he said, ‘Don't you have to go home and cook dinner for your family?’ That moment summed up the landscape I was stepping into.”

It was hard for clients to trust women-led firms with large scale projects. The biggest challenge, Sutaria says, wasn't just proving technical expertise. “It was making people trust that a woman-led firm could execute complex, high-value projects with precision and innovation,” she says. “Now, after eight years, I can safely say that the trust is there.”

Founding partners at Untitled Design, Joya Nandurdikar and Amrita Guha, echo these thoughts. In the initial days of their practice, they were second guessed by clients. 

“We had to constantly take charge, staying late at sites to reinforce the responsibility that builds credibility. Being assertive in our creative choices was often mislabelled as aggression—something our male counterparts rarely had to contend with,” says Guha. 

About two decades ago, being an ‘interior stylist’ was unheard of. When Mita Mehta decided to go against the grain, there was a lack of opportunity for such individuals. Alongside, there were the barriers that women had to face in the industry. 

First there was the issue of a woman on a construction site, and then it was difficult for people to take her seriously in a male dominated industry, says Mehta.

A tool for change and creativity 

In the current context, design has evolved as a tool for change, making room for individuals old and new to experiment with ideas, materials and narratives. It has also given women entrepreneurs in the field the confidence to scale their practice.

In the case of Choudhary, her two-person team has blossomed into a multidisciplinary firm over time. “When we decided to scale, I was not only designing interiors or planning spaces, but also managing finances, building a team, and strategising for the future,” shares Choudhary.

“It was challenging because, as creative people, we aren’t usually taught how to organise or delegate. I had to step out of my comfort zone,” she adds. 

Work wise too, their design philosophy has evolved over time and has also made noise on the world stage. In 2020, Habitat Architects presented how Mahatma Gandhi’s principles of simple living could translate into contemporary sustainable architecture, at the Dubai Expo. “These milestones motivate me to keep innovating and never rest on our laurels,” she mentions. 

For Nandurdikar and Guha of Untitled Design, their practice has evolved beyond just creating beautiful spaces. They have found a deeper meaning in what they do—understanding that design is a powerful tool for social change. 

“We prioritise local materials, traditional techniques, and antique elements such as restored doors and columns, giving a story and character to modern homes,” explains Nandurdikar. 

Citing an example, Nandurdikar highlights how at the 2023 Serendipity Arts Festival, the duo explored the intersection of craftsmanship and contemporary design by curating a composition of diverse Indian crafts. 

“The concept was inspired by wall frescoes, and we created totems incorporating natural lime wash, Kerala mural art, Shekhawati art, Tarkashi work, inlays, and marquetry.  It was a deeply enriching experience, particularly the engagement with artisans, which reinforced our belief in the power of craft,” she says. 

An evolution for the better 

What's heartening, Mehta says, is the massive expansion of the design industry in India. Earlier, the sourcing was dependent on countries abroad. Today, with the spotlight on local artisans and the growth of successful creative brands, the scenario has changed. 

Technology has also been an enabler, ensuring the industry evolves in multiple ways. It has connected designers and stores from across the world and within India, believes Mehta. 

“In fact, social media has helped me find local artisans to source from for my work and it has helped people find me,” she says. 

The industry has transformed—there’s more space for dialogue, experimentation, and individuality than ever before, shares Agarwal. 

“Women are no longer just participating–they are leading, redefining aesthetics, and driving innovation. While challenges remain, the shift towards inclusivity and the celebration of diverse voices is undeniable, and that is an evolution worth championing,” remarks Agarwal. 

However, Gupta believes inclusivity is still evolving largely due to systemic challenges. Historically, women were seen as hobbyists, often overshadowed by male designers. 

“The goal is not just visibility but agency where our contributions are integral to the design discourse,” she says. 

Sutaria, too, urges for more representation in the design community. Even today, she often finds herself as the only woman in meetings or on site—a stark reminder of how severely underrepresented women still are in the construction industry. 

“It can’t happen in isolation and requires active support and encouragement. Women in architecture need to be in environments where they are not constantly put down, not made to feel inferior on sites or in offices, and where they are recognised for their expertise rather than their gender,” elaborates Sutaria. 

Even in the craft ecosystem, there are several roadblocks preventing women artisans from growing. 

“While they comprise a significant part of this space, local women artisans often face societal restrictions—limited mobility, fewer educational opportunities, and little access to entrepreneurship. Meanwhile, their male counterparts, often the more visible workforce, have the freedom to travel and expand,” points out Guha.