SĀR

At , sustainability is not an initiative—it is a way of thinking. It informs how we source materials, how we approach making, and how we imagine the life of an object long after it leaves our workshop. Every design decision is an opportunity to create with greater intention, ensuring that longevity, repair, and renewal are considered from the very beginning.

It also informs the SĀR Sustainability System (SSS), our commitment to designing furniture that can be repaired, upgraded, and lived with for generations.

Before creating something new, it may be worth asking what already exists.

BLOOM by for began with one question: When does a material's life actually end?

Photography by @.

(construction waste, furniture design, object design, material innovation, circular design, adaptive reuse, contemporary Indian design, industrial design, architecture and design, material culture)

This is SĀR's new collection HOOF taking shape behind-the-scenes, no staging, no polish.

HOOF was developed through continuous prototyping between leatherworkers, fabricators, craftsmen, and the studio — testing tension, proportions, joinery, comfort, and the behaviour of materials through use.

These moments matter to us as much as the final object, because the process of making carries its own honesty.

Designed by for .

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Long before leather became associated with luxury, it was a material of movement.

Across centuries of trade, cavalry, migration, and sport, leather travelled through the Indian subcontinent as utility — shaped into saddles, bridles, reins, harnesses — objects that demanded durability, flexibility, and immense precision by hand. In cities like Kanpur, this knowledge slowly evolved into one of the world’s largest saddlery industries, supplying equestrian goods across Europe and beyond.

“We are familiar with leather as ornament or luxury, but the material culture of leather under tension — leather stretched, stitched, reinforced and softened by use, a material constantly renegotiating strength and flexibility — is relatively under-explored,” says designer .

This became the source material behind HOOF, with an ode to its equestrian roots presented through formal nods.

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For generations, in the narrow lanes of Kanpur, leather has moved through the hands of craftsmen who understand the material instinctively. These hands have shaped objects (saddles, briddles, harnesses) through precision, endurance and repetition. These are objects designed for more than just beauty. They are designed for tension and movement, to mold to the rider and the horse over time.

What fascinated was the craftsmanship of course, but also the entire ecosystem around it: the coexistence of hand skill and industrial scale in a lesser-known town in India.

Today, much of the world’s equestrian leather goods quietly pass through Kanpur. Yet the craft often remains invisible outside the industry that depends on it. HOOF began as an attempt to translate this legacy into another context — not as nostalgia, but as continuity.

At its core, HOOF asks a (deceptively) simple question:
How can craft and industry coexist within an object today?

Designed by for .
Photography by

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