James Baird

As we enter 2026 amid global uncertainty, James Baird believes art offers comfort “not through escape but through recognition”. I ask of the role art plays: that of comfort, continuity, or challenge and the chairman of Irish linen manufacturer WFB Baird says “art holds all three roles often at once”. A sentiment he carries forward in his recently-launched Burgoyne Original Masters (BOM), a platform dedicated to creators across art, music, design, and more.

To commemorate the launch, the team has launched a coffee table book that brings to the fore voices of nine artistes: designer Ashita Singhal; storytellers Syed Sahil Agha and Shah Umair; visual artists Jayati Kaushik, Sachin Tekade, and Shivani Aggarwal; photographer Akash Das; yoga teacher Seema Sondhi; and Kathak dancer Shivani Varma.

James says that art reminds societies that disruption is not a new concept and that creativity has always endured alongside it. “Every object admired from the past was made without certainty of outcome yet continues to carry meaning. Art also provides continuity, and preserves ways of making, thinking and seeing that move quietly across generations. Craft traditions and artistic disciplines adapt to changing worlds while holding on to what matters. This continuity offers reassurance that culture does not disappear when circumstances shift,” says the 69-year-old.

Having said that, James says art presents a “gentle” challenge. “It asks for attention, patience and care in a world that often rewards speed. That insistence on depth becomes especially important during uncertain moments. Burgoyne Original Masters exists in this space where comfort, continuity and challenge meet through craft story and dedication,” says James, adding that content for the book’s second edition will start dropping from February 2026.

He explains that BOM also extends to the brand’s digital platforms by way of films, archives and collaborations with festivals and cultural institutions. “BOM’s debut partnership was at India Art Fair 2025, and we also found resonance with Jahan‑e‑Khusrau’s 25th edition held in early 2025. We also partnered with Delhi Contemporary Art Week last year and presented Unwoven, a linen installation by artist Juhikadevi Bhanjdeo,” he says.

James sees BOM evolving into a storytelling and archiving platform “for those who make with their hands, think with their hearts and shape the world with originality”. He has also launched the 2026 BOM Artist Grant, named Masters in Making that supports “emerging creators, particularly those working with heritage textiles and material memory, by offering time, resources and visibility without demanding compromise”.

At BOM, James adds, the spotlight is on creators. “By partnering with leading cultural platforms and producing films, workshops, and digital archives, we foster meaningful artistic dialogue. We also support emerging and established talent.” As for the book, he says the idea came about to create an asset that could be “prominently displayed, sparking conversation and awe, rather than just being read”.

Over time, does Burgoyne envision creating dialogues between old masters and contemporary artists? James says this dialogue already exists within “the act of making”. “When contemporary artists work with inherited techniques, materials or forms, they are continuing a conversation rather than starting a new one. We aim to hold space for this continuity. Placing established practices alongside emerging voices allows experience and experimentation to inform one another. One brings memory and discipline and the other brings curiosity and renewal. The intention is to recognise the masters as living influences whose values continue through material process and attitude,” concludes James.