Sanjyt Syngh’s latest creation, unveiled at Design POV in Mumbai, is not a space for the subtle or the shy. It’s a visual manifesto—a decadent collision of past, present, and what’s unapologetically now. Titled Echoes of Tomorrow, Glamour of Yesterday, the installation is a celebration of maximalism, nostalgia, and individuality, curated with theatrical flair and conceptual precision.
Somewhere between the glint of a disco ball and the audacity of a design revolution, the space pulses with energy. It doesn’t whisper luxury—it shouts it, laughs in its face, and then offers it a glass of champagne. The setting is built for those who don’t simply occupy a room but own it—people who live out loud, dress in metaphor, and carry their presence like a beat you can dance to.
This is not an homage to the Seventies—it’s a reimagining. There’s soul and a certain kind of cinematic swagger, but make no mistake, this isn’t retro. “I am not interested in nostalgia,” Syngh says. “I am interested in the now—how energy from the past can fuel the present.” In that spirit, the space doesn’t mimic eras—it channels their essence and amplifies them into something singularly current.
Every piece, every object, is chosen for its ability to provoke. Nothing blends quietly into the background. The furniture is sculptural, unexpected, and expressive—each item is a character in its own right, delivering a performance. Smooth lines rub shoulders with bold forms; playful silhouettes share space with raw textures. It’s a dance of friction and flow, not symmetry.
In Syngh’s hands, design becomes a layered narrative. Comfort exists, but it’s cloaked in attitude. A chair may invite you to sit, but it also dares you to stare. A console doesn’t just hold objects—it declares them. This is interior design as personality—larger-than-life and impossible to ignore.
Art in this space is not polite. It doesn’t play by gallery rules. It dominates. It startles. Sculptures twist and tower like attitude frozen in time. Paintings refuse to blend into the wall. Lighting becomes jewellery—dripping, gleaming, seductive. And objects? They speak. They shout. They flirt. Photography and art are not merely decorative here—they’re personal, punchy, and visceral.
The material palette is equally fearless. Plush velvets, mirrored surfaces, lacquered finishes, and bold metallics collide with moody tones and surreal accents. The tension between glamour and grit creates a sensory rhythm that is both chaotic and curated. There’s a touch of irreverence—just enough to keep the viewer off balance, to make them look twice and smile.
Despite its edge, the space never feels artificial. It breathes. It plays. It holds space for emotion. It’s not a showroom and certainly not a historical set. This is a living, pulsing expression of design that dares to be bold. It’s an invitation to move through space differently—to feel something unexpected, even electric.
Syngh doesn’t design for categories. He designs for characters. His audience isn’t defined by demographic, but by personality—those who crave the expressive, the eclectic, the extra.
In Echoes of Tomorrow, Glamour of Yesterday, contradictions are not conflicts—they’re fuel. Elegance meets eccentricity. Structure courts seduction. Familiar forms are twisted into unfamiliar gestures. There’s always an edge, always a wink. The space is not afraid to be glamorous, not afraid to be loud, and absolutely not afraid to be itself.
“This is not just a booth,” Syngh states with a smile. “It’s a bold proclamation.”
And that’s precisely what it feels like—an immersive declaration that style can be both serious and fun, that design can be both disruptive and elegant, and that personality should always take center stage.
