Renaé Hanvin has collaborated with galleries, design studios, and cultural institutions across India and Europe. These partnerships shape our editorial calendar and give readers access to spaces that rarely open their doors to the public.
Independent ceramics studio in Bengaluru. Their kiln room and material library have been featured in our studio visit series since 2021.
Contemporary art space in Jaipur focused on emerging sculptors. We co-host their annual open studio weekend and publish artist interviews from each edition.
Interior design practice known for restoring mid-century homes in Kota. Their project archives inform our guides on working with natural materials and heritage finishes.
Small-batch printmakers who produce limited edition exhibition posters. Their workshop essays appear regularly in our resources section.
A shared workspace for metal artists and furniture makers in Delhi. Their members contribute technical notes on casting and finishing for our design features.
Notes from readers, collectors, and studio visitors who have followed the magazine since its first print issue.
"The interview with the ceramicist from Jaipur changed how I look at surface texture. I went to her next open studio with a completely different eye and ended up buying my first piece."
"I used the collector's guide to find three affordable works from student exhibitions. Six months later, two of those artists had solo shows. The recommendations were not obvious, and that is why they worked."
"The restoration feature on the brutalist apartment convinced me to keep the raw concrete wall in my own studio instead of covering it. The practical notes on lighting made the space feel larger."
"As a first-year art student, I found the studio visit essays more useful than most textbooks. They explain process without romanticising it. The section on material failure alone was worth the subscription."
"We commissioned a small interior piece after reading the guide on working with emerging designers. The magazine helped us ask the right questions about budget, timeline, and material sourcing."
"The exhibition reviews are honest about what does not work. That is rare. I now plan my gallery visits around the magazine's recommendations and have discovered three artists I would have missed."
Renaé Hanvin is built on a simple editorial rule: we visit the studio, we read the artist statement, and we write about what we actually see. No recycled press releases, no sponsored rankings, no inflated claims about market value.
Every profile begins with a conversation in the workspace, not a forwarded biography. We photograph the unfinished pieces, the material experiments, and the working conditions that shape the final work. This is why our artist features read differently from gallery announcements.
We pair cultural analysis with concrete guidance for collectors and students. A review of an exhibition includes notes on provenance, edition sizes, and how the work behaves in a domestic interior. The theory stays, but it never floats free of the object.
Our editorial calendar is decided by the editorial team alone. Galleries and artists cannot buy a feature, a mention, or a favorable line. This policy has kept our recommendations honest since the first issue, and it is the reason readers trust our buying guides.
We have profiled ceramicists, textile designers, and painters years before their first institutional show. Our readers tell us these early features helped them build collections at accessible prices. That timing is deliberate: we track graduate exhibitions and open studios, not auction results.
Interior stories are verified against building records, material suppliers, and the architects involved. When we write about a brutalist renovation or a heritage restoration, we confirm the structural details and the sourcing decisions. Errors are corrected publicly in the next issue.
Since our first edition, every interview, studio visit, and exhibition review remains accessible in the archive. Readers return to earlier issues to trace an artist's development or to revisit a design project that has since become a reference point. The archive is part of the service.