Adélia Borges and Maria Fernanda Paes de Barros explain how indigenous pieces are gaining ground in contemporary interiors and adding new layers of meaning to the way we live
Submitted at Apr 19, 2026, 10:00 AM
Banco Buriti, criação conjunta de Maria Fernanda Paes de Barros e Kulikyrda Mehinaku. (Divulgação/Divulgação)
The Indigenous Peoples’ Day, celebrated this Sunday, April 19, is an invitation to recognize the diversity of native cultures in Brazil and the importance of preserving their histories. These are the stories that have also been gaining strength in the world of decoration, not only as aesthetics, but as a way to value what is essentially Brazilian.
To deepen this perspective, CASACOR spoke with two specialists: Adélia Borges, journalist, researcher, historian, and associate curator at MASP, and Maria Fernanda Paes de Barros, designer, researcher, and founder of Yankatu, a studio focused on the development of cultural projects and social design. Both argue that the consumption of traditional indigenous elements contributes directly to the appreciation of Brazilian cultural identity. For Adélia, this bond is also symbolic: “They connect us with the original peoples, the first peoples who were here. In fact, a curiosity is that there is no word for art in any Indigenous language — art is so embedded in life that it has no name.”
Poltrona Ariranha, de Maria Fernanda Paes de Barros (Divulgação/Divulgação)
Maria Fernanda, in turn, underscores the role of these objects as mediators of narrative. “I very much believe that objects tell stories. Every time you bring a piece like this into your home, it can be a starting point to talk about the subject.”
Among the indigenous-influenced elements that appear most in contemporary projects, the specialists mention basketry and stools — like those gathered in the BEI collection, with more than 500 pieces from different peoples. Ceramics, feather arts, and personal adornments are also gaining ground, adding layers of meaning to projects.
Coleção BEI, bancos indígenas. (Divulgação/Divulgação)
Adélia calls attention to a central point: there is not a single indigenous culture, but a plurality of knowledge, techniques, and raw materials. “What is very interesting is that each ethnicity has its own culture,” she notes.
When we think of pieces of indigenous origin, it is common to associate them with the use of natural materials and artisanal techniques — a relationship with sustainability that becomes evident and reinforces the value of these products. “All the materials used by indigenous peoples are sustainable. They never take more raw material than necessary; they only work with what is around them. All the practices are also sustainable, not only in the environmental dimension, but also social and economic,” argues Adélia.
Caminho meu, seu, nosso, de Maria Fernanda Paes de Barros. (Divulgação/Divulgação)
Maria Fernanda adds by highlighting the impact of this consumption in daily life, as a continuous practice of conscious choices. “From the moment you bring a piece made with seeds, for example, you are putting it in the place of a plastic one. You are bringing sustainability into your home.”
If, on one hand, sustainability presents itself as an intrinsic value of these productions, on the other, the topic also opens space for a recurring discussion: that of cultural appropriation, defined as the adoption of elements of a subordinated culture by members of a dominant culture. In contrast, the interviewees argue that it is possible to include indigenous pieces in décor with respect, awareness, and purpose. “Beyond buying, it is worth seeking to understand who they are, where they come from, and to research more about the Indigenous people in question. We also have to pay the price that artisans ask, not keep haggling — after all, the artisan makes a living from this,” advises Adélia.
Balanço Kaupuna, de Maria Fernanda Paes de Barros, Kuyawalu Aweti e Kulikyrda Mehinaku. (Divulgação/Divulgação)
Maria Fernanda calls attention to the importance of listening and information. “You are bringing a bit of the culture with you, so it requires tremendous care to talk with these peoples and understand their points of view about it.”
Among the references highlighted by Adélia Borges are the works of Marcelo Rosenbaum, as well as the designers at Ovo, Luciana Martins and Gerson de Oliveira. Maria Fernanda, in turn, highlights creators she has collaborated with, such as Stive Mehinako, Deuzani Gomes dos Santos, Juão de Fibra, in addition to the artisans from the riverside community of Urulhá and the Campana village. Outside interior design, she also points to the creations of Antonio Castro, from the brand Foz, reinforcing the power of these narratives in different fields.
