February POOL 2012

February 2012 | # 20 Indian edition

Supported by

“Vietnam has been the hardest part of my travel so far. But it was amazing from another perspective...”

“Blogging is often about sharing your own passion about a particular subject with readers.”

Cagri Cankaya 09

Chandana Banerjee

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India’s First International Design Magazine D E S I G N • I N N OVAT I O N • C R E AT I V I T Y

TEXTILES Ekta Kaul 10

MIXED MEDIA Sameer Kulavoor 12

FASHION Rachana Reddy 18

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Charmaine D’Souza

CRAFT Tejas Soni 26 LAUNCH Dutch DFA Workspace 04

RECOGNITION India Design Mark 06

Photographed by Marielle De Winter

PHOTOGRAPHY Can, Acelya, Gorkem

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TOY DESIGN Little Known Heros 16

CAMPUS FLAME 30

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Advisors

Time: Patience

Abhijit Bansod Studio ABD, India

Kigge Hevid CEO, Index Awards, Denmark

Adil Darukhanawala Editor, Economic Times, Zigwheels, India

Kishor Singh Business Editor, India

Dr. Inyoung Albert Choi Professor, Hanyang University, Korea

Kohei Nishiyama Founder, Elephant Design, Japan

Anaezi Modu Rebrand, USA

Madhukar Kamath Managing Director and CEO, Mudra Group, India

Prof. Anil Sinha Principal, NID, India

M P Ranjan India

Anna Muoio Social Innovation, US

Prasoon Pandey Corcoise Films, India

Anuj Sharma Designer, India

Rajesh Kejriwal Kyoorius Exchange, India

Aradhana Goel Designer / Strategist, Ideo, USA

Rodney Fitch UK

Cathy Huang President, China Bridge Shanghai

Shilpa Das Head, Publications, NID, India

Craig Branigan Chairperson, Landor, CEO, B to D Group, USA

Dr Soumitra R Pathare Psychiatrist, India

Christopher Charles Benninger Architect, Studio CCBA, India

Shrikant Nivasarkar Founder, Nivasarkar Consultants, India

David Berman David Berman Communications, Canada

Subrata Bhowmik Subrata Bhowmik Design, India

Deepika Jindal Managing Director, Artdinox, India

Sudhir Sharma Designindia, India

Essam Abu Awad MIDAS, Jordan

Suresh Venkat CNBC, India

Hrridaysh Deshpande Innoastra, India

Uday Dandavate Sonicrim, USA

Jos Oberdof NPK Design, Netherland

Umesh Shukla Auryn, LA, USA

Julia Chiu Executive Director, JIDPO, Japan

William Drentell Winterhouse, USA

Kieu Pham Haki Brand, Vietnam

William Herald Wong WHW Design, Malaysia

Editor in Chief Sudhir Sharma sudhir@indidesign.in

Finance Kuldeep Harit Deepak Gautam

Copy Editor Ashvina Vakil

Art & Design Pradeep Goswami Swapnil Gaikwad Sayali Lonkar

Design Coordinator Shriya Nagi Research Team Maitreyi Doshi-Joshi maitreyi@indidesign.in Vaibhav Mohite Triveni Sutar Layout & Production Pradeep Arora Satyajeet Harpude Subscription & Logistics Seema Sharma subscribe@poolmagazine.in

Sudhir and Ashwini Deshpande of Vinayak Arts with POOL Annual 1

Time is a funny concept; it consumes us, defines us, makes us and destroys us.

Sometimes I feel we just don’t grasp the full meaning and dimension of Time, and end up not giving it enough consideration in our work and life. We believe we know so much about it. We always have it at hand and on our mobiles, but rarely do we really know what it is.

We are either too eager and spoil things before their time has come, or sit pretty and lose the time when we could have done something instead. I strongly believe that the more you use your time, the more of it you will have; if you think you are busy, you will always have less time.

When we started POOL, we didn’t know if we would have time to run a full-fledged magazine, and already it is time for us to celebrate as we launch the POOL ANNUAL 1!

It is also time to see POOL on iPad. The INDI team has been extremely busy with expansion of offices, client projects, our own projects, and it still doesn’t let a good idea pass. I experience a high when I see concepts turning into reality. I feel inspired by the team and its sincerity to see things happen. We are not afraid to waste our time.

My suggestion is to check if you are hiding behind ‘Time’ to cover your shortcomings.

Start something and don’t be in a hurry to finish it…let it take the time it will to happen….and it will surprise you that so much happens in so little time! Try this: next time don’t say, ‘No, I don’t have time’ - instead go ahead and do it!

As American writer Elbert Hubbard famously said, “If you want work well done, select a busy man - the other kind has no time.”

Sudhir Sharma Editor in Chief sudhir@indidesign.in Publisher INDI Design Pvt Ltd www.indidesign.in

Designindia was founded in 2002. It was started as a platform for interaction for the design community in India and abroad.

Over the years it has grown into a forum spread over many social and professional networking domains, linking design professionals into an active, interactive and thought leading community.

Digital Manish Kori Marianna Korniienko Aboli Kanade Marketing Arjun Samaddar arjun@indidesign.in Tarun Thakkar Assistants Yamanappa Dodamani Shailesh Angre Pranil Gaikwad

February 2012 | # 20 Indian Edition

Indi Design Pvt Ltd C-1, Unit No 503-504, Saudamini Commercial Complex, Bhusari ColonyRight, Paud Road, Pune 411038 Phones: +91 20 2528 1433 www.poolmagazine.in

http://in.groups.yahoo.com/group/designindia International Design Media Network Participant

NOW RELEASED

FIRST ANNUAL A compilation of first 12 issues of POOL Magazine, this hard bound, 450-page annual showcases the Indian Design World and More... `3000 info@poolmagazine.in

Headlines REMEMBERING KABIR

POOL is partnering with the Rajasthan Kabir Yatra, a traveling festival to be held from February 23-29. The Kabir project brings together the experiences of a series of ongoing journeys in quest of the 15th century north Indian mystic poet as well as other Bhakti and Sufi poets in our contemporary worlds. Started in 2003, these journeys inquire into the spiritual and socio-political resonances of Kabir’s poetry through songs, images and conversations.

The Bangalore Chapter is looking for participants who are passionate about identifying opportunities and designing services using design thinking methodology. These may include students, business owners, innovation consultants, ethnographers, UX designers, developers, graphic/product designers, user researchers, product owners, sales executives, brand strategists, business designers, etc.

For more details check www.globalservicejam.org/; Twitter handle of Bangalore Chapter - @GSJ12_Bangalore

Reform, and Culture and Technology, in an immersive and multi-sensorial format.

Experts and emerging innovators will debate, discuss, present and perform their own perspectives and work, to inspire and provoke participants to re-imagine their own work and explore new practices.

Workshops anchored by various experts will also give participants a chance to build skills and intimately engage in specific areas of interest. www.unboxfestival.com IIID SHOWCASE

11th Auto Expo, Delhi The Festival journeys through a stunning diversity of social, religious and musical traditions which Kabir inhabits, exploring how his poetry intersects with ideas of cultural identity, secularism, nationalism, religion, death, impermanence, folk and oral knowledge systems. The core inspiration of the project is music, and Kabir comes alive in four documentary films, 10 audio CDs and poetry books through the power of song.

An initiative of filmmaker Shabnam Virmani as an artist-in-residency project at the Srishti School of Art, Design and Technology in Bangalore, the project is being supported by the Ford Foundation, New Delhi and Wipro Applying Thought in Schools, Bangalore. www.kabirproject.org

Asia’s largest motor show, the Auto Expo, recently concluded in Delhi and was in the news for a variety of reasons. The biennial automotive show brings together big and small players in the auto industry, and is witness to some high profile launches and unveilings.

This year’s Auto Expo witnessed 32 car launches; of these eight were global launches that were showcased for the very first time. Some of the important highlights were the unveiling of Maruti’s compact SUV XA Alpha; Amitabh Bachchan unveiling India’s first super car, Avanti; Renault launching Pulse and unveiling Duster; TATA unveiling the new Tata Safari Storme and Tata Pixel; and Piaggio unveiling the Vespa. Ferrari and Peugeot participated in the Auto Expo for the first time.

BANGALORE TO HOST GLOBAL SERVICE JAM 2012

Also among the most talked about launches this year was Bajaj Auto Ltd’s RE60. The ‘ultra cheap small car’ was displayed at a striking pavilion designed

by INDI Design Pvt. Ltd., which also designed the pavilion for Varroc

Fifty cities around the world, including Bangalore, will host Global Service Jam (GSJ) in the last weekend of February.

A premier design thinking event, GSJ is a platform for friends, colleagues and complete strangers to research, design and prototype brand new services based on a common theme in 48 hours. At the end of the weekend, the collection of brand new services will be published to the world.

UnBox CONFERENCE

The UnBox Conference to be held on February 3-4 will focus attention on inter-disciplinary innovations and thought processes across the domains of Development, Design, Business, Identity,

The Institute of Indian Interior Designers – Mumbai Regional Chapter (IIID MRC) and AIMS Expositions Pvt. Ltd. (AMEX) are jointly organizing ‘IIID Showcase 2012’ in Mumbai on March 23-25. Positioned as a ‘design show for designers’, it will display products related to interior and exterior architecture. The event will also feature symposiums to facilitate interaction amongst professionals and manufacturers. www.iiidshowcase.in/event.html TYPOGRAPHY DAY

The fifth edition of Typography Day will be organized on March 1-3 at the Industrial Design Centre (IDC), Indian Institute of Technology Bombay (IIT Bombay) with support from India Design Association (InDeAs) and Aksharaya. The event will include an international conference devoted to addressing issues faced by type designers, type users and type educators. The theme for this year’s event is ‘Typography in Publication Design’. The conference will feature presentations on the last two days preceded by a day of workshops dedicated to Typography and Calligraphy. Exhibitions on typography posters and book publications will also be hosted at the venue. www.typoday.in/index.html content@poolmagazine.in

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Launch

DUTCH DFA WORKSPACE INDIA

Dutch Design Workspace India will be inaugurated in Parel (Mumbai) on 5th February 2012. DFA Workspace will act as a base for Dutch designers and design companies wanting to establish themselves in India, and is slated to be the first point of contact for Indian designers and organizations who want to connect with design, fashion and architecture from The Netherlands.

The cross-disciplinary program will facilitate a working environment where designers from different fields can support and learn from each other. The idea is to strengthen the connection between the design fields and communities in both countries and support the spirit of entrepreneurship between both cultures. Dutch designers setting up in India will receive business support specifically tailored to the local context, and customized according to a designer’s specifications if required.

Designed by Studio Makkink & Bey, Dutch Design Workspace India offers desk and event space on rent for short and long term use. Workstations are part of a fully-equipped shared office space; designers can make use of communal facilities like the meeting room, reception and a cross-cultural library about Dutch and Indian design. Designers and design companies can apply for rental of desk and event space through workspaceindia@dutchdfa.nl. www.dutchdfa.com/india

rameshsrivats Welcome to the post-lunch session of the 5th day of the 3rd test between Ind & Aus.

I’m happy to report that all players had a great lunch.”

4 POOL | 2.12 | #20

INDI, POOL & DESIGNINDIA AT DUTCH DFA WORKSPACE INDIA The recently launched Mumbai branch of Indi Design Pvt. Ltd. will find a home at the Dutch Design Workspace India along with POOL and Designindia.

Niti Modi, INDI’s creative partner in Mumbai says, “I’m looking forward to a lot of healthy interactions with the Dutch designers at the workspace. The space is inspirational and the design is conducive to creativity. INDI Mumbai will do some kickass work in design.”

www.poolmagazine.in 5

Government of India

India Design Council An autonomous body under Ministry of Commerce and Industry Government of India

invites applications for granting of

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India Design Mark SIGN

India Design Mark is a design standard, a symbol, which signifies design excellence.

India Design Council grants India Design Mark after evaluating good design through a systemized process.

in association with G-Mark, Japan

India Design Mark symbolizes product excellence in form, function, quality, safety, sustainability and innovation. It communicates that the product is usable, durable, aesthetically appealing and is socially responsible.

India Design Mark provides strong differentiation and market positioning as a design and innovation leader. It acts as a brand extension and imparts competitive advantage to the product in local and international markets. It serves as a unique promotional launch pad for new products and services entering the market.

The symbol can be used in a wide range of ways, such as advertisements, catalogs, product packaging, and other promotional mediums.

Applying for India Design Mark India Design Council is a an autonomous body of Government of India established under the aegis of Department of Industrial Policy & Promotion, Ministry of Commerce & Industry. India Design Council is a strategic body for multi disciplinary design. It envisions to make Indian industry a design enabled industry.

For more information visit www.indiadesigncouncil.in

All types of mass produced products are eligible for India Design Mark.

This can include consumer electronics, computer and communication products, machine tools, construction machinery, lighting systems, white goods, household appliances, capital goods, medical equipment, toys, vehicles, and agricultural machinery.

Anyone can apply - the manufacturer, the brand owner or the designer.

Any product, which is designed and is in market since January 2010 can be entered. Detailed categories, application process, judging criteria and other details are available on www.indiadesignmark.in

In case of any query, kindly direct your mail to msidc@nid.edu

India Design Council invites manufacturers, SME’s, brand owners, and exporters to register and submit their innovative products for getting India Design Mark

Apply Now! www.indiadesignmark.in 6 POOL | 2.12 | #20

Recognition

India Design Mark Launched

Launch of India Design Mark by Anand Mahindra in Mumbai on January 12, 2012

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INDI DE

SIGN

The India Design Mark, a design standard that recognizes good design, was recently launched by the India Design Council (a statutory body under Ministry of Commerce and Industries, Government of India). The India Design Mark symbolizes excellence in form, function, quality, safety, sustainability and innovation and communicates that a product is usable, durable, esthetically appealing and socially responsible.

The symbol can be used in a wide range of ways, such as advertisements, catalogs, product packaging, and other promotional mediums.

distinction to Indian products in domestic as well as global markets as products that are designed in India for the world. It will help Indian and global consumers to confidently buy Indian products as they can be assured of design excellence and quality,� he said.

All types of mass-produced products, ranging from consumer electronics, computer and communication product to toys, vehicles, and agricultural machinery are eligible for India Design Mark.

A

A jury comprising eminent designers and leading trade journalists, and chaired by Initiated in cooperation with Good For MORE than 10 Design mm in height Prof. Pradyumna Vyas, Member Secretary Award, Japan, the India Design Mark of India Design Council and Director of will be granted by the India Design National Institute of Design, will consider Council (IDC) after evaluating good applications for the India Design Mark. design through a systemized process.

Detailed categories, application process, Anand Mahindra, President, IDC, who judging criteria and other details are launched the India Design Mark along available at their website. with other members of the IDC, invited Indian manufacturers to apply for the India Design Mark for their products. “India Design Mark will provide a unique www.indiadesignmark.in

nachiketbarve 4 weeks to Fashion Week. Saying this to self on repeat, is better than a large shot of caffeine www.poolmagazine.in 7

Photography Slug Here

A New Spin on Things!

Can Kırış, Açelya Altıntaş and Görkem Özdemir from Turkey captured various facets of India with a Lomography Spinner 360°, a truly extraordinary camera. While a standard panoramic picture yields a 120° perspective, the Spinner 360° spins 360 degrees on its own axis in one split second, capturing every detail in sight! The result is an extra-super-wide angled breathtaking image, four times longer than a standard landscape picture.

Have you ever seen the Amber Fort and Palace, Jaipur; Red Fort, New Delhi; Khajuraho; and the Taj Mahal in Agra look like this?

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Around the World

VIETNAM N A T I L O P O M COS kaya’s working Road’ Cagri Can s in Vietnam ‘Designer on the ces some obstacle fa ld or w e th nd trip arou

After amazing days in Thailand, I traveled to Ho Chi Minh City in Vietnam. Lowe, one of the world’s biggest advertising agencies, was waiting for me there. I have worked with Young & Rubicam in Istanbul for two years and apart from some small things, the two are pretty similar: people working till late into the night, others working through the weekends to meet tight deadlines. Big agencies are the same everywhere!

In Turkey however the ad agencies employ mostly Turks and we always use Turkish to communicate. In Lowe Vietnam there were people from around the world, all working together. I had friends from Italy, England, Canada, Sri Lanka, Phillippines, India and many other places. Because of this international working platform, the workflow is in English instead of Vietnamese. I think this is a positive feature that encourages international creativity and strong ideas.

However it can be negative for local jokes and cultural references in advertising.

Vietnam is a nice place for many reasons.

I think the traditional dress worn by Vietnamese women is the sexiest I have ever seen in my life! Beer is very cheap here – perhaps the cheapest in the world!

Some brands are even cheaper than water! The Vietnamese people are hard drinkers - don’t try to race with them, even the girls. They drink like crazy. But be careful, because if you don’t drink with them they can get sad or mad.

Taxi drivers are very honest in Vietnam. They don’t cheat you and they take you wherever you want to go, even the shortest distances. You can bargain like crazy here. If you want to buy something but are not happy with the price, just turn your back and start walking - the seller will come after you and reduce the price.

Life is mostly cheap in Vietnam - that is why it’s very popular with backpackers.

There is an area for backpackers, full of cheap hostels and guesthouses. If you are planning a world trip on a low budget or if you want to visit places where people don’t usually go, Vietnam is a must-see for you.

In my four weeks with Lowe, I worked on the Vinamilk logo project for Vietnam’s number one dairy products company.

I also worked on a print ad for Johnson’s baby body milk, a web project for a noodle company, and a condom pitch.

The first half of my time in Vietnam was perfect, but the last week was quite hard. Big problems appeared one by one. I was to work with two agencies in Ho Chi Minh, but the second one didn’t answer my calls for a while.

So I asked for an extra week in Lowe and the Creative Director agreed. Then the other agency called me but I declined this time because there was not enough time to work.

I had a flight to catch five days later.

Though my time at Lowe was extended, the agency didn’t pay the last week’s rent for the guesthouse. The problem with big agencies is there are too many people, which means too much bureaucracy and paperwork for everything. Sometimes solutions are very practical and easy but big companies don’t move like that.

Added to all these things some health problems ruined my last few days. I had food poisoning and gastric bleeding, and went to hospital, where I spent a lot of money. Then I cut my finger!

Vietnam has been the hardest part of my travel so far. But it was amazing from another perspective - it was good to experience another big agency in another country. It was also great to meet colleagues from different places around the world. My Italian friend Mark helped me very much. Naveem, Kumkum, Bikramjeet, Zenith, Hien and many others took care of me very well…

Best regards to POOL readers. I will meet you in Seoul next time! www.designerontheroad.com

designyatra We’re looking out for indie product brands for a story in Kyoorius Magazine, Think you should be featured? Tell us more www.poolmagazine.in 9

Textiles

SHIFTING strands Textile Designer Ekta Kaul’s eponymously named brand offers a luxurious range of handcrafted contemporary textiles for interiors and fashion

What inspired you to be a textile designer?

EK: My mother’s collection of hand woven saris was probably the first precursor to a lifelong love of textiles. My nani’s embroidered baghpulkaris that my mum brought out on special occasions and my dadi’s handmade quilts using old saris that we used every day deepened this love.

Growing up around these beautiful textiles made me want to design textiles that one would hold dear too, all one’s life and pass on as heirlooms.

While training at the National Institute of Design (NID) as a Fashion Designer, I realized that I was as drawn to creating the silhouette as I was to designing the fabric.

The desire to have complete creative control right from material stage to the

final outcome led me to print, embroider and hand-dye the fabrics I used in my garment collections. After working in the industry for a few years, I decided to further specialize in textiles and go back to University. I won the Charles Wallace Scholarship and another British Council scholarship to undertake a Master’s degree in Textiles in the UK. I set up my practice in the UK soon after graduating.

For me, the process of design is incomplete without designing the base material - textiles. Similarly, simply designing the fabric and not the end product also feels incomplete. So my practice is about creating graphic fabrics using bold colors and then using them to create garments, fashion accessories and interiors.

Share with us your experiences as a fashion/textile entrepreneur.

EK: Starting a business anywhere in the world is not the easiest of things. Despite zero start-up money, no studio space and no equipment, I was determined to set up my practice. Fortunately, the UK has a very vibrant creative industries scene. There is a lot of advice available for budding entrepreneurs. I set up my design practice after winning the UK Craft Council’s prestigious business set-up award, Next Move, which is a national scheme set up to help talented designer makers. I have come a long way in just three short years. I now have a beautiful studio in Central London where I work from. I show regularly at British Design Festival, Origin – UK’s most eminent contemporary craft show, and other internationally recognized shows and exhibitions across the UK. What materials and processes do you use?

EK: My work has two strands, namely one-off bespoke art textiles; and limited editions of functional textiles including accessories like scarves, quilts, throws and cushions. I work exclusively with natural fabrics including luxurious cashmere, silks and cottons. I create contemporary textiles using traditional techniques like embroidery, stitch and block printing.

My design process starts with a drawing, a found object or simply a feeling. This is followed by intense experiments with materials and techniques to translate that feeling onto textiles. Final designs are made into prototypes and then into final pieces after making requisite changes.

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These pieces are then showcased at exhibitions.

I work in series. The ‘Text Textiles’ series is inspired by handwriting and includes pieces like scrolls quilts, scribble scarves and script cushions. My latest collection is inspired by maps of Delhi and London, the two cities I call home.

What inspires the bold and vibrant grids in your textiles?

EK: I love color and collect hues and tones wherever I go. I travel through Europe and India every few months and photograph extensively. Visits to flea markets, flowers, urban architecture, my photographs, doodles and objects find their way into my idea book. All of these feed into new surface designs and patterns.

As a fashion/textile designer, what is your mantra?

EK: I think the thing to avoid is getting too caught up with following ‘trends’. As designers, we should design things that don’t become redundant in a few months, but become more valuable with each

passing year. The mantra should be creating pieces that would be loved for years in a style that is timeless, using sustainable materials and practices.

How do you differentiate yourself in the fashion/textile market?

EK: My artistic voice is distinctive.

I use 100% natural fabrics and processes that don’t cause damage to the environment.

I source my base fabrics from artisan groups that support livelihoods, preserving centuries old skills. I believe in building long term relationships with my suppliers, producers and clients. I keep them informed of my work through my website, Twitter and Facebook. My work reflects my ethos and hopefully engages the audience in an interesting way.

I also maintain a blog (ek-taar. blogspot.com). Blogging is a great way to connect instantly with like-minded individuals worldwide. However, I don’t see my blog as simply a marketing tool for my work. I see it more as a platform to talk about things that I am interested in - art that moves me, architecture that inspires me, books that I enjoy. All of these represent my personal view of how I see the world. Each of these influences ultimately shapes me and my work.

EkTaar means a single strand of thread in Hindi. The blog is an attempt to untangle interwoven, entangled masses of my

thought strands and examine them at leisure. Strands of inspiration are unpicked, unraveled and examined.

Must fashion always be about style, or substance and functionality?

EK: In my view fashion and style are two different things. Fashion is ephemeral.

However, style can be enduring; it could be something that is not in fashion at all.

Style is eccentric, eclectic and celebrates individualism. Fashion is not just about style or function. It is an art form, it is about celebrating ideas. And like all art, it may or may not choose to focus on function.

Which textile designers do you admire?

EK: I love Scandinavian design. I admire the clean lines, simplicity and the enduring timeless quality of their designs. I admire Bauhaus Master Annie Albers’ work as well as that of Anne Kyyro Quinn, Nanna Ditzel and Asha Sarabhai.

It goes without saying that Indian textile heritage has had a deep impact on my work. My Indian roots and my training at NID lie at the very heart of how I approach design. At the same time, living in Britain and traveling around the world also influences my work.

Any advice for upcoming textile designers?

EK: Be original. Experiment. Textile is a tactile medium; be hands on and celebrate serendipitous accidents. Read, go to museums, and art shows, keep abreast of science, literature and technology. Learn your skills. Definitely apprentice with a craftsman - there is much to learn from our craft heritage. Be open. And have fun. www.ektakaul.com

brainpicker “”...postcolonial issues facing the digital economy of the 21st century translated

into a string quartet...””

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FISHING FOR INSPIRATION Sameer Kulavoor’s obsession for creating images, and an enduring love for his city, resulted in the birth of a studio called Bombay Duck Designs!

Zeroxwallah Zine – a spontaneous hands-on visual errand, reminiscing the numerous visits to the zeroxwallahs (copy-shops) in Mumbai

featureshoot Photographer Ben Roberts documents the boom and collapse of the Spanish economy 12 POOL | 2.12 | #20

Mixed Media of Applied Arts in Mumbai. I was already working professionally before I opted for formal education in the field. I focused on illustration, design, animation and broadcast design, often experimenting with content, methods and mediums, and my work was commissioned by agencies and clients like Asian Paints, Britannia, BBC, and Chivas Regal, among others.

In mid 2009, I took a short sabbatical to travel and work on my limited edition booklet of personal sketches ‘Sidewalks & Coffeeshops’. After that I set up a studio called Bombay Duck Designs, where I am Director/Designer/Illustrator.

We specialize in illustration design and image making for advertising, editorial, publications, motion graphics, animation and music projects.

And before you ask why the name ‘Bombay Duck’ – it’s a fish only found in the (Arabian) sea close to Bombay. It shares my love for the city. And (most of) the city shares my love for ‘Bombil fry’- a popular seafood preparation!

Rolling Stone Magazine, 2nd Anniversary cover

Tell us something about Sameer Kulavoor…

SK: I was born in suburban Mumbai and was witness to the chaos and contrast of one of the fastest growing metropolises in the world. I’ve closely seen globalization transform my surroundings. I’ve seen the advent of mobile phones and the Internet and the way it changed communication and design. I’ve seen television when it had only two channels, and now when it has a thousand. I’ve watched ‘EkAnekChidiya’ on DD national and ‘Avatar’ on HBO. And music on MTV (when it was about music).

I’m from a generation that has seen things change very rapidly. I think it has shaped me workwise and as a person. My dad is Malayali and my mom is Gujarati. I’m lucky to have parents with an open mind who never once stopped or questioned me when I used to make flipbooks out of textbooks as a child. They knew I was an artist long back, even before I knew what it meant.

And your work?

SK: I had a keen interest in visual art and an obsession for drawing and creating images. I acquired a BFA, with a specialization in Illustration, from Sir. J. J. Institute

What type of work do you enjoy the most?

SK: A multi-disciplinarian approach to work helps when it all stems out of the same esthetics. There’s no definite process. It’s all very organic. Whatever feels right for the project at hand. At the core I am a designer. As a designer I use my senses and skills to illustrate, animate and curate art projects. When I sit down to work at my studio I do not distinguish between them. Sometimes one may be more enjoyable than the other but that depends on the project. I enjoy music and it’s a huge part of what I do in the sense that I take up a lot of music related art and design projects: Album art for Zero – one of the top Indian rock bands; music videos (Lovedrug Climbdown, and Disconnected) for Pentagram – India’s foremost electronica rock band; channel show packaging for MTV; logo design and animation for Dewarists, etc.

Do you think illustration is a skill that can be taught?

SK: Illustration is not just a skill; if it were a skill it could be mastered by practice.

Some of the best illustrators worldwide have been great thinkers and designers.

It’s a combination of skill, knowledge and

Campaign_India McDonald’s promotes its ‘Happy Price Menu’ in new campaign www.poolmagazine.in 13

Bacardi NH7 Weekender 2011

sharp sense/understanding of design and concepts. An understanding of culture and history is a bonus. A good illustrator has a genuine interest in things other than design; it could be food, music, other forms of art and design, travel, books, fashion, science, etc.

Do you have a favorite project?

SK: Our latest project was to develop the look, design, identity, illustration and overall art direction for India’s biggest music festival - Bacardi NH7 Weekender – it was a great experience to have done a project of such magnitude. And the feedback couldn’t have been better.

My self-initiated projects: Zeroxwallah zine and Sidewalks & Coffeeshops Volume 1 – have been received well. We recently launched 100%ZINE: Indian visual art zine, a platform for upcoming and established visual artists. Initiated and curated by me and a designer friend, Lokesh Karekar, the response to it has been really good and it will soon be retailed in select stores. Although tiring, these projects have been extremely satisfying. I would definitely love to do more projects that are in my area of interest.

100%Zine India’s first visual art zine

www.sameerkulavoor.com

designindaba Take a smell tour around CT with scent expert Sissel Tolaas. She’ll be speaking at Design Indaba Conference.” www.poolmagazine.in 15

Toy Design

LARGERTHANLIFE

(From Left) Vasuki, Garuda, Jatayu and Sharabha

Picture Courtesy: Chris Dame, Soujanyaa Boruah

Little Known Heroes – where Indian mythology come to life through striking urban vinyl toys

‘Little Known Heroes’ is a collection of ancient mythological warrior toys brought to new life by a small group of artists who wanted to create something new by using urban vinyl in an Indian context. Little known heroes from Hindu mythology have thus been brought up to date through a blend of western design and the intricate detail of traditional Indian artisans from Varanasi. The result is a team of halfanimal warriors that are adorably lethal.

It all started when Manjari Sheel and Soujanyaa Boruah, both from Delhi, met Chris Dame from USA at Quicksand Design Studio. Explains Chris, “Toys are an amazing medium to create art in - they are a three-dimensional canvas to create within, and you even get to create the canvas. Toys are a direct emotional line to your childhood and the bonds you created by bringing them to life with your imagination every day. You get to bring new characters into people’s lives for them to befriend and play with.”

Six characters make up the Little Known Heroes, including Vasuki, the eightheaded leader of the snake people, and Garuda, the half-eagle warrior who retrieved the elixir of immortality to save his mother.

Hand carved Garuda

“The concept of anthropomorphic mythological characters developed over a period of time as we were exploring and trying to define the character lines,” says Soujanyaa. “While developing the characters we came across some fascinating stories

related to historical and mythological warriors but most of it was popular in the Indian culture and crowd. So we went deep into Hindu mythology to come up with characters that had never been popularized and whose stories had been left untold over the ages. These half-animal warriors and their stories were convincing enough for us to share with people.”

Each hero comes with his personal story from the Hindu epics told in modern language. “A lot of research came from our own understanding of the epics and from the stories we’ve heard as children,’ states Manjari. “In Indian mythology, there are varying points of view and each story is told in a slightly different version in each part of the sub-continent. The effort was not to decide which myth is more correct, but to pick up the version that is most interesting and easiest to connect to.”

Adds Soujanyaa, “We started our research with a study of Indian toy craft and urban vinyl toys. A large part of our research covers the understanding of Indian history and mythology in their original form as well as their contemporary interpretations. We also made several market surveys in order to source the materials required for the toys, since we wanted them to be sustainable, informative and fun to play with.”

The toys are made with local wood that is turned on the lathe, then coated with lac made from wood sap for color and texture, and polished using the leaf of

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another local tree. The final toys are almost entirely made of sustainable trees. The colors, patterns and details were developed in Varanasi, where the group spent a couple of weeks working with different groups of artisans to come up with variations on designs they had developed. The entire process took the artists about three months.

“Wooden characters made by artisans are nothing new to India,” says Chris. “What we tried to do was introduce a new style and playfulness that encouraged people to play with them and bond with them, instead of just keeping them in a cabinet somewhere.” Agrees Manjari, “Wooden character toys have been part of both the folk realm and religious life in India, however they are mostly quite stoic and not made to elicit an emotional response.

We’ve made them more relatable, expressive and human.”

Not surprisingly they have their favorites.

“Sharabha,” states Manjari. “He’s the ‘least known’ amongst all the little known heroes!

He was quite a difficult character to handle because he’s an eccentric combination of a lion, bird and human all rolled into one, but I think we tackled it pretty well. But I also love Bali with his aggressive stance.”

For Chris, it’s Vasuki that touches a chord.

“There’s something about his clever little grin that perfectly captures how adorable and evil he is at the same time. You just know he’s more intelligent than he lets on!”

Soujanyaa adores Bali. “Since childhood I have been fascinated by fictional characters like Batman or Wolverine, who are actually good but are portrayed as the most lethal men in the galaxy. Bali has been drawn on those lines with that ultraferocious expression, the blazing tilaka on his forehead, a deadly hand gesture and the color red perfectly symbolizing his strength, potency and dismay against his brother who betrayed him. He looks amazingly expressive and the contrasting rings around his ears make him very attractive.”

Half-finished carved Sharabha

Hand painting Bali - the angry monkey king

Storyboard for Vasuki

Interestingly, the toys are aimed at people like the enterprising three – passionate designers in their 20s and 30s who love exploring new artistic media and want personality in the things they buy.

“We didn’t want to forget that these are toys, however, and we made sure they were durable enough for children to use,” assures Chris. “Based on the feedback we’ve got from customers so far, children love playing with them, and adults love having them displayed in areas where they can play with them regularly.”

The toys are in production right now and going to be up for sale at www.afday.com soon.

every leap of success and smash of bitter defeat through hilarious stories as they work to bring the characters to life.

Amidst the chaotic world of Indian artisans, and you can read all about it. blog.littleknownheroes.com Jambavan - the bear king and master strategist for Ram’s army in Ramayana

The artists have been keeping a detailed blog that shows

Naina A trip to Gurgaon means : drive + fuel + wine + dinner + meeting + overnight stay + friends + family.

And possibly sushi :-)

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Fashion

Rachana Reddy’s stunning fashion accessories in wood and leather are truly avant-garde! She talks to POOL about her recently launched brand and staying true to her natural affinities.

How was your accessories brand conceived?

RR: My label ’Rachana Reddy’ was born out of the creative passion of bringing forth avant-garde fashion accessories, artful concepts and detailing to life. It is about a year old and this been one of the most exhilarating and creatively satisfying years for me.

Warrior, The Global Gypsy Collection

clutch

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I studied Accessories Design at the London College of Fashion and knew for sure I wanted to do something with accessories. I later quit my job with a footwear company and was quite charged up about starting something myself.

The artist in me needed an outlet and I was constantly pondering over ideas of bringing together art, fashion, tradition and luxury in a very unconventional way.

I love wood and wood carving and I absolutely love clutches. It was just a matter of bringing my most natural inspirations together. The idea of wood carved clutches actually came to me in a flash and I began work on it! My first product was my signature ‘Padma’ clutch.

How did you go about setting things up?

RR: I was aware right from the start, from when I got my first proto made, that this was going to be a very challenging task. So many processes and so many

Padma Reflection, Packaging

people are involved just to have one clutch ready. There’s a point where you just believe in your idea and become so invincible that you will convince anyone you need to make it a reality.

But finding one’s first employee is usually quite a task. For me it was finding the right production person with capabilities of working with such distinct material combinations. It was extremely frustrating but nevertheless I managed to find the right fit. Then the next few came in easily.

What kind of projects did you start with?

RR: I started showing my samples around and got a lot of feedback. Day in and out I was improvising and building on them. When I realized people appreciated my wooden clutches for their esthetics and originality I decided to make them my niche. For me it was extremely important to be original and create something very distinctive.

What was the genesis of your first collection?

RR: Like I said earlier, it was about bringing together my most natural affinities and inspirations. The first product came to me in a flash after a lot of pondering and reflecting. I built around it step by step, taking a lot of constructive feedback which is extremely important while creating something fairly new. The first collection used individualistic materials like wood, silk and leather in distinct combinations and with artistic detailing.

What is the essence of your brand?

RR: The core of my label is the juxtaposition of art, fashion, luxury and tradition. I enjoy clean cuts, elegant motifs and artistic detailing which blend tradition with contemporary luxury for the versatile new age woman. Conceptualized and designed by me, the clutches are handcrafted by skilled local artisans.

I believe that accessories are an inspiring medium of individualistic expression and ensure each of them is a piece of art and a piece of luxury. Now that we stand for making bold and stylish accessories in distinct combinations of materials, the challenge would be to stay true to this core and push boundaries.

What, in your opinion, makes a good designer?

RR: I believe it is very important to know your core and tap into its most original creativity. To be your true self and express your most natural inspirations in a very distinct way is what helps you become a good designer. But, whether one is a good designer or a bad one is totally subjective so I guess it just comes down to being original.

especially when you are running the whole show yourself. I am extremely lucky to have a strong support system to help me with building the business in a sustainable and a growth oriented way without losing track of my real purpose of being in this business. In the long run I would like to do as much interesting work as possible in all kinds of accessory design, be it footwear, bags or jewelry.

Any words of advice for fellow entrepreneurs?

RR: It is extremely important to carve a niche for yourself and be original. If you are not good with business, find someone to help you with it. It is also important to be constantly innovating and experimenting and keep your eyes and ears open for any interesting collaborations or business opportunities to take your designs to a wider audience.

Who or what are your design inspirations?

RR: One designer who has inspired me a lot recently is Alexander McQueen.

I recently got to see the McQueen exhibit at the Metropolitan Museum of Art in New York City and I was bowled over, shaken up and extremely inspired! He gave everything to what he believed in and let his inspirations shine so strongly and artistically. He lived and breathed art and fashion.

I enjoy looking at works of photographers and other avant garde designers. I also love architecture and interior design.

For me patterns, colors, and proportions make all the difference and I love looking through interior magazines to help me through my creative blocks. In fact if I were not an accessories designer, I would have been an architect! www.rachanareddy.com

How have you grown as an entrepreneur?

RR: I am someone who used to dread the ‘managing’ part. In the past one year, I have learnt some important tricks and just about started to enjoy it bit by bit. There are times I wish I could just be an artist or designer and not have to deal with anything else. But it is important to be a fairly good entrepreneur Krishna, The Lotus Sutra Collection Free Spirit, The Global Gypsy Collection

theSEAMLESS NATUREofDESIGN Photograph Courtesy: Marielle De Winter

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Brand communication consultant Charmaine D’Souza moved from Bangalore to Dubai in search of a different platform to grow. Her brand communication firm, aeca, provides brand strategy and design consultancy services for a range of high profile clients. She tells POOL how her time in the two diverse locations has given her the expertise to create international brands without losing the understanding and essence of local markets… resulting in truly seamless design.

Cover Story You went to design school at a very young age. How was it?

CD: My passion for branding and design led me to design school at age 15, and it was a fantastic experience! A complete culture shock! I was an introvert, paavam (innocent) kid in those days and every day was a complete surprise to me – the terrified gardener boy posing as our semi-nude model for anatomy drawing class, wild parties where I mostly felt like an observer, and film club screenings of Caligula and Satyricon. These are priceless memories. It all made me mature much faster and I wouldn’t trade my decision to join design school at the age of 15 for anything else in the world. I still believe that if a kid knows what they want at an early age, they should start right away!

What happened next?

CD: I graduated from Srishti, School of Art, Design and Technology in Bangalore in 2003 and went on to work with India’s brand pioneer, Sujata Keshavan at Ray + Keshavan (now Brand Union, WPP). In 2004, I presented my personal project, Indian Urbanscapes, at Biennale Internationale Design 2004 at Saint-Etienne in France. In 2006, I was invited by Alliance Française de Bangalore to showcase my first solo exhibition, Official/ Unofficial.

What was Indian Urbanscapes about?

CD: During the time I lived in Bangalore, I had seen the city evolving from a retirement paradise to a media and technology hub.

The roads were getting over-crowded, the skyline had more billboards, the architecture of the city was changing drastically from low rise bungalows to unfriendly glass and aluminum clad buildings.

Indian Urbanscapes was

my observation of those changing urban settings in the form of two visual essay crafted books.

Why did you move to Dubai?

CD: The big question! There were several factors in making the move…

Bangalore was starting to become more and more disturbing to me in terms of air, noise and visual pollution. I used to have dry eyes, chronic burning sensation, and was tired of the unnecessary noise and visual overkill. My parents and brother had moved to Dubai and I used to travel regularly. After a year of traveling, I decided to make the move.

Dubai is a much safer city and I feel secure here. As a woman, I don’t have to worry about being called ‘cutie’ or ‘tomatar’ or ‘samosa’ or have the threat of men trying to feel me up or come onto me on a daily basis. It has hardly ever happened to me here. I mentioned this to a friend of mine during my last days as a resident of Bangalore, and she said, “You should be used to it by now.” And I just thought,“Why should I?” Dubai also showed a world of opportunities; it’s a place where you have more than a hundred nationalities, all living in harmony and while it is a tough place to break into like New York, London, Mumbai and other big cities, it gives you a platform to grow and succeed as an entrepreneur.

On the work front, while in Bangalore, I was getting some pretty big projects with the big brands and couldn’t really believe it. I felt it was coming a bit too soon, a bit too easily and I wanted to retain my primal instincts. It’s what keeps us alive as designers, as human beings – experiencing the unknown and positioning ourselves to accept the nuances it brings with it.

What led to setting up your own brand and design studio?

CD: Wish I could answer that one in a straightforward way! The simplest would be to say that as a freelance designer, I had more work that I could chew and so aeca was born (www.aecadesign.com) in December 2008. The name is inspired by ‘ArsEstCelareArtem’ which translates as ‘True art is to conceal art’. I believe true art must appear artless and so must design, by appearing seamless.

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with a number of multi-national design firms coming to India now, they’ve realized that having Indian designers on board is key to a successful project.

It is the same here and while the rest of the world may see the Middle East as one Arabic speaking mass, this region is made up of several ethnicities, countries, local Arabic spoken styles, cuisines, cultures and traditions, with Dubai as the melting pot for a lot of these people. Showing images of people eating with their left hand would be inappropriate in India, here it is a given to have images of women dressed modestly depending on the brand’s values, and no alcohol imagery for outdoor publicity.

Most of my decisions have been based on intuition. I started working at the age of 15 and by the time I finished design school I had a range of clients, no dearth of projects and was making at least three times the salary of a design graduate.

The conventional way was to take up a good job and rise through the ranks, then may be start your own company after a decade or so. So when I was offered my ‘dream job’ in one of the most respected branding companies, I took it up as soon as I graduated. By doing this, I traded my freelance revenue and independence to gain experience. The first two projects given to me on day one were designing the packaging for a fairness cream, and a cigarette packet. Saying ‘no’ to both could have made that the shortest job!

While I enjoyed the work culture and studio atmosphere, I missed working on my own, interacting closely with clients, clinching the deal and most importantly, selecting the work I wanted to do.

Over a period of time I realized that working on my own helped me meet people from diverse backgrounds, learn from them, and gain far more insights on life, culture,

human behavior - that helped me design better. I just couldn’t compartmentalize myself into doing 8–12 hours of just pure design a day. That just wasn’t for me.

After I moved to Dubai, I worked with Fitch, got a tremendous insight into the Middle Eastern culture and was part of a small team that did the rebranding of Burj Al Arab along with some very prestigious hospitality and real estate projects. But at some point I missed doing my own stuff.

How is the work culture in India and Dubai different?

CD: It’s been a while since I’ve worked in India so that’s a hard one. I am sure a lot has changed in five years and if I could compare anything, it would be just Bangalore and Dubai – I can’t speak for India as a whole.

What role does culture play in design?

CD: Even in today’s globalized market, local understanding is critical. I am sure

During one of aeca’s projects for Barclays Wealth, I collaborated with an Arabic graphic designer and calligrapher. It was to create the branding and event collateral for a very exclusive music recital that Barclays Wealth was organizing in collaboration with the prestigious Stradivari Society, for their niche clients. Being able to understand the context and having local talent on board enabled us to create an Arabic theme, which insufficiently translated into English as ‘Let the Music Rise’. In Arabic however, it emotionally means let the music transcend boundaries and barriers.

This carefully chosen simple message touched an emotional chord with the attendees and definitely helped Barclays connect with their regional clients in a deeper way.

Another example of the role culture plays in design is the continuous efforts of the Khatt Foundation (www.khtt.net) that I follow online. A few years back, the Arabic font library was very limited; the basic ones used the world over are also used in propaganda, terrorist and other negative activities, making anything typed out in Arabic to be associated with negative connotations. Huda Smitshuijzen AbiFares at The Foundation

designsponge it just started sleeting here in BK. i cannot even describe how happy i am that we found

this kitten when we did. here’s to warm beds :)

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Cover Story

has been a part of creating new Arabic typefaces to match their Latin counterparts. The new fonts help build cultural bridges through their esthetic, positive and familiar appeal.

Tell us about your work in Dubai.

CD: I work on brand management projects with clients like Barclays, Nokia and Wade Adams, and on branding projects for small companies who realize the value of a strong brand to their bottom line and legacy. Like anywhere, there are the ideal ones and some others…we deal with the usual constraints of budgets and timelines, lack of knowledge about branding. I still select the clients we like to work with.

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March 2-10, 2012 New Delhi www.Indiadesignforum.com

Karim Rashid . Paola Antonelli . Rem Koolhaas . Rajeev Sethi .

Tim Leberecht . SujataKeshavan . Tom Dixon . Ronan Bouroullec .

Tim Marshall . Christian Louboutin . Subodh Gupta . Kapil Gupta .

George Beylerian . Bharti Kher . Praduymna Vyas . Kigge Hvid .

Thukral &Tagra . Michael Anastassiades . Formafantasma .

Jan Chipchase . Rohit Bal . Jeanne Gang .

Michael Aram . Justin McGuirk . Nada Debs . Kunle Adeyemi .

Manish Arora . Maurizio Travaglini .

Jitish Kallat . William Bissell . Nacho Carbonell .

Ambrish Arora . Robert Fabricant . Satyendra Pakhale . Aditya Pande . Manit Rastogi and others.

Artwork by Thukral & Tagra for IDF

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Cover Story What would be your dream project?

CD: I don’t really have one specific dream project. I enjoy the work I’m doing now with other entrepreneurs who want to build powerful, meaningful brands. If anything, I’d like to spend more time in the boardroom as a brand consultant, advising decision makers on branding and design strategies.

Who are the people you look up to?

CD: No specific idols. I always take inspiration from people who have been around me and there have been so many!

Geetha Narayanan, my director and mentor at Srishti, showed me by example how to dream big and be a true trailblazer and powerhouse. Sach Holden, a singersongwriter and my brother, through his minimalist Japanese and Korean films inspired sadist and liberating dirty love songs. Sujata Keshavan, not just for all that she has accomplished,but while I worked with her, she always looked like she had it all figured out. Shehad a great work and life balance and was always calm, relaxed and composed.

What’s next for Charmaine D’Souza?

CD: As a brand consultant and designer, I’m looking forward to launching aecalite, our first product and service package to educate and enable small companies create a creditable brand for themselves. I’m also working now on a self-initiated awareness campaign for cervical cancer and the HPV vaccine that we as a studio launched in January. As a business owner, I’ll be looking to work more and more on the business rather than in it and create a better platform for my employees to succeed. As for myself personally, more time traveling, scuba diving, my first skydive, and prepping myself for my first big trek in Kilimanjaro. www.aecadesign.com

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Craft

Pipal Leaf Tea Coaster

C Lily Platter

CRAFTwith METTLE

Tejas Soni, a young product designer from Jaipur, is using forgotten craft forms to create an attractive range of contemporary products in metal

What influenced you to become an artist?

TS: I was born and brought up in a family of goldsmiths in Gujarat and hence the love for metal was always there. I grew up in an environment where crafts were appreciated and this gave me the opportunity to explore this area.

I majored in Product Design at the Indian Institute of Crafts & Design, Jaipur. There I was able to take my skills to the next level and explore without hesitation; I realized that I had the capacity to visualize. When I interned with Michael Aram Inc in India, my skills were sharpened further.

My regular interactions with the artist himself made me more confident about my skills. That was a turning point in my career, and I decided to work separately from the masses and create the unexpected.

What is Tejas Soni Design about?

TS: My designs synergize traditional knowledge and skills with contemporary needs and they are a hallmark of the bridge between the artist, designer and the artisan. I love metal, and I use a lot of brass and copper in my creations. I also like experimenting with mixed materials.

I am currently using lead-free brass and trying to cut down on the plastic used during packaging.

I am based in Jaipur, which is a hub for all craft activities and historically and culturally very rich. It’s easy to find craftsmen of various skills and caliber here, which in turn helps me develop my ideas better. At Tejas Soni Design we work as a team. I work with my artisans to create my products and my wife takes care of the PR and Marketing for the products we create. We are a close knit group of like-minded people.

What is the process of creating a product?

TS: There are no set patterns as it varies from project to project. If it’s something I am doing as a product for my brand, I would take inspiration and work towards its refinement, decide the process and create prototypes which would then result in the final product. However if I am working on a commissioned project I would discuss the project brief with the client and involve my client in the design process, for him to understand the value of the product as well as the craft process.

Are you working to revive dying crafts in India?

TS: I am working extensively with the craft of Dhokra from Chattisgarh where I am giving the art a new form in terms of usable cutlery and decorative items.

My designs are inspired from the lives of the locals, and I create products

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that fit perfectly in contemporary lives. The craft is witnessing a major change in terms of products as I offer the world a more usable form of Dhokra apart from what is available in the market in the form of statues and figurines. I am also working with the crafts of Jaipur - Chetai and Nakkashi. These two forms of crafts are slowly becoming extinct. The craft requires a lot of labor and skill. I enjoy exploiting this craft to create meaningful products.

What inspires you?

TS: Nature inspires me! I am fond of the flora and fauna around me and I try to recreate their magic. I also use the textures found in various craft forms to create the face of a product, which makes it look spectacular.

What would you say has been your biggest challenge so far?

TS: The market, and its understanding on crafts. Today a lot of people have polluted the market with pseudo craft products that are relatively cheaper than authentic crafts. I am trying to change the mindset; I am trying to give the audience authentic products made with original craft techniques. The biggest challenge today is replacing pseudo craft with the original.

At whom are you targeting your products?

TS: Anyone who understands and appreciates the beauty of a handcrafted product, and can invest in a well designed and good quality product! I currently retail my products through various channels, online as well as physical stores. I also indulge in commissioned and custom purchases. A few exhibitions are in the pipeline too.

What is the scope for your kind of work in India?

TS: In India, people look at craft and art products as decorative items; I see them as both decorative and utilitarian. I am creating both and offering them to the Indian market so that the consumer can make his choice.

I believe this way I am widening the scope of craft techniques. India is waiting for products that have the ability to change the consumer’s lifestyle. I have the ability to create the change and create a market for my craft products. My kind of work has a lot of scope as the craft is presented in many

Dhokra Wine Bottle Holder

Banana Leaf Bowl

Peanut Shell Condiment Container

rameshsrivats Govt: If you complain, we’ll ignore you. If you protest, we’ll harass you.

If you threaten violence, why then, we’ll listen to you.” www.poolmagazine.in 27

Dhokra Tea Set

ways and the consumer has a choice.

I have faith in my creations and the craft techniques.

Where do you see your work going in a few years?

TS: I see my craft being showcased at the world level, and establishing Tejas Soni Design as a brand that is consciously making efforts to strengthen the craft sector in India. I wish to work with more crafts like Dhokra, Chetai and Nakkashi, which are facing serious problems today. These crafts need a market - the market needs to see them in a different form. I am interested in identifying more crafts like these and in working extensively with the artisans. I want Tejas Soni Design to be on the world stage. I want Indian crafts to regain their identity and I want my brand to establish itself and collaborate with like minded people to deliver world class products.

Leaf Kettle

Dhokra Wine Glasses

What do you enjoy most about your work?

TS: I enjoy every bit of the process. I enjoy working in my studio. I enjoy sharing my thoughts with the craftsman while creating the product.

I enjoy listening to him while he shares his expertise on the subject with me. So it’s the entire process for me, not just one thing. I have always taken every challenge and risk as a learning curve, and my design esthetics and the good response for my work as steps towards my success.

I have built my dreams around this. www.tejassoni.iicd.in

freegeek “”If you don’t have anything nice to say, say it in a different language”” 28 POOL | 2.12 | #20

Blogger

www.

cookiejarsandfireflies

Chandana Banerjee’s blog is full of interesting nuggets about designers and other artists whose work appeals to her Let’s begin with a little about yourself…

CB: I’m a writer and journalist with over 16 years of experience in writing for national and international magazines, newspapers and websites. I’ve also been writing website content and communications materials for well-known companies across India and the globe.

Currently, I’m enrolled at the Institute of Integrative Nutrition in New York, and studying to specialize as a health journalist and health coach. I own and run Pink Elephant Writing Studio, a niche writing and content firm, and am also starting a health coaching business called Luscious Health. I’m married to a fighter pilot in the Indian Air Force, and we lead a nomadic life because of our postings… moving, living and working across the country. Currently we live at the Air Force Academy in Dundigal, near Hyderabad.

Why did you start blogging?

CB: I started a couple of blogs earlier because I was still finding my ‘blogging voice’. Blogging is often about sharing your own passion about a particular subject with readers. It’s a good feeling to get comments on a post from fellow bloggers or virtual readers. I’ve been writing about design and art entrepreneurs extensively, and wanted to create an online journal/ blogzine that would be all about art and design, featuring the work of talented entrepreneurs. The reason I started Cookie Jar a year ago was because I’d stumble across the wonderful work of so many amazing people, and wanted to write about each of them. And a blog seemed like just that place, where I could not only feature art and design, but also interviews of the artists/designers. I write about designers/artists/photographers who create fabulous eye candy – digital or real art, photographs, merchandise, etc.

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evenings. I also like big, fat glass cookie jars that are synonymous with goodies and good things. Also, as a child, I’d often read about luminous natural lanterns that fairies created with fireflies in cookie jars (with holes in the lid to help them breathe). The name brings together two of my favorite concepts. My blog is called ‘Cookie Jar: Where all the good things are…’ So this blog is like a cookie jar… you dip your hand in and pull out some wonderful nugget.

What will the New Year bring for you?

CB: I wish I would spent more time on the blog - it’s definitely part of my resolutions for 2012! I also hope to eventually build a successful health coaching business, become a business coach to women entrepreneurs, continue to work as a journalist, and write a few health-food-lifestyle books, and lots of children’s books.

Photos by Sandeep Banerjee

What are the rewards of blogging?

CB: For me, it’s personal satisfaction. This is one place where I can write without sending out queries to editors first. I can write about what I want to write, how I want to write. I don’t agree that blogging is only for those who can’t publish their writing elsewhere. Blogging is for anyone who wants to write…full stop. It’s about connecting with other people in the world, on topics that you and they enjoy.

Does your blog help you network?

Is it an effective marketing tool for you?

CB: I didn’t start Cookie Jar with marketing or networking in mind. It’s my personal place to chill out online, and I’m glad that a bunch of readers like to chill out there too. While blogs are often great marketing tools, Cookie Jar is a work of love. I don’t market the blog much just through Facebook.

What tips do you have for budding bloggers?

Write with passion. Find your own blogging voice. Blog about things you enjoy.

What’s behind the name ‘cookiejarsandfireflies’?

CB: I like watching fireflies dancing across the velvety night sky on long, hot summer

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Campus FLAME (Foundation for Liberal and Management Education) BRIEF OVERVIEW FLAME (Foundation for Liberal and Management Education) was founded in 2004 by Nemish Shah, philanthropist, financial advisor, investor and founder, ENAM Financial Consultants Pvt. Ltd.; and Parag Shah, former Founder Chairman, FLAME and entrepreneur. It commenced operations on 16th September 2007. Prof. Indira J. Parikh, former Dean – IIM Ahmedabad, is the current President of FLAME. FLAME was established with the motive to give something back to society. It is a reaction to the formalism of a syllabus-bound educational system. FLAME aims to enhance formal education with traditional knowledge through a progressive methodology. The innovative pedagogical structure emerged after substantial discussions with distinguished intellectuals, scholars, philosophers and educationists.

Anchored in Liberal Education, the fundamental aim of FLAME is to expose students to different analytical frameworks and enable them to think critically through any issue. The curriculum includes perspective building, skills and competencies for communication skills, problem-solving skills, creativity, innovation and teamwork.

SIZE OF CAMPUS FLAME is spread over a verdant 75-acre campus.

A total of 437 students currently live on the campus, which is conveniently located 90 minutes from Mumbai, and 30 minutes from Pune.

FLAME School of Business: Majors: Finance & Accounting, Marketing, Entrepreneurship, Human Resources, Information Technology, Production & Operations, International Business. For detailed courses please visit: http://www.flame.edu.in/ program/school-of-business/specializations FLAME School of Communication: Majors: Marketing & Advertising, Film & Television, Broadcast Journalism & New Media. For detailed courses please visit: http://www.flame.edu.in/ program/school-of-communication/specializations FLAME School of Performing Arts: Majors: Music, Dance, Theatre. For detailed courses please visit: http://www.flame.edu.in/program/school-ofperforming-arts/specializations Degree/diploma FLAME offers a degree and a diploma in its undergraduate program and a diploma in its postgraduate programs.

Short courses FLAME has a Center for Organizational Growth and Excellence that offers Management Development Programs for the Industry.

FACULTY FLAME’s permanent faculty consists of 44 individuals. It also attracts the best international and domestic faculty on a visiting basis.

NUMBER OF GRADUATES The first batch of 68 students graduated from FLAME School of Liberal Education in May 2011.

Faculty development programs Faculty Development Programs through internal programs, research and external events are regularly conducted.

COURSES OFFERED FLAME consists of four programs, each offering various courses: FLAME School of Liberal Education: Majors: Economics, Psychology, Literacy & Cultural Studies, International Studies, Math, Finance, International Business, Human Resources, Accounting, Marketing.

For program details please visit: http://www.flame.edu. in/program/school-of-liberal-education/program-details

EXCHANGE STUDENTS FLAME has tie-ups with the following universities, where students can do a study abroad program: • SUNY – Fredonia • St. Ambrose University • Virginia Commonwealth University • Kent State University • University of North Texas • Suffolk University

Admission Procedure Admissions to FLAME programs take place through entrance tests, group discussions and personal interviews.

Last date to apply for the second round: 13th February 2012.

CONTACT: Foundation for Liberal and Management Education, Gat No. 1270, Taluka Mulshi Village Lavle, Vadzai Dist. Off Pune-Bangalore Highway, Pune 411042, India Phone: 1-800-209-4567 | E-mail: enquiry@flame.edu.in | Web: www.flame.edu.in

30 POOL | 2.12 | #20

www.poolmagazine.in 31

Pool Poll POOL will conduct a monthly POLL in the Designindia group on Linkedin on topics related to design, creativity and innovation. Highlights of this discussion will be published here.

Join this discussion by becoming a member of the Designindia Group -

www.linkedin.com/groups/Designindia

As a designer in India what do you think is holding you back from doing great work in India?

TOTAL NO. OF VOTES

84

TOTAL NO. OF COMMENTS

Clients don’t have enough money!

18

11 votes

“Clients have money - but not for design and designer!”

SANDEEP DHOLE

67% Lack of Awareness of Design 57 votes

“Lack of awareness, amongst design buyers, design users and the public at large...”

A BALASUBRAMANIAM

Comments “1. With lack of awareness, lack of appreciation towards design.

2. Lack of design research.

3. The incapability of design to reach out to such a huge and variant customer base at the same time, i.e., the proposed design should have more contextual solutions, but that does not occur due to the above reasons.

4. It is not true that people don't have the money - it is about less budgets for design since it still takes a back seat when it comes to strategy.”

SANMITRA PATKE

“1. Lack of awareness of design, not with the clients necessarily but the rest of the stakeholders in the value chain - those that make design possible. Great design is just a cog in the wheel that would make a product, and hence the design, successful.

2. More serious reason: lack of design talent, both at thinking and skills levels. Lack of conviction in design community to go beyond conventional boundaries of design as taught in schools. Design houses need to collaborate more seriously with other disciplines of design, engineering, and business. ” ANAND PALSODKAR

13%

Not enough time for Design 5 votes

6% 9%

“While it is heartening to see that that the new generation of startups in India value design, they often want it in the shortest possible time... ” KSHITIZ ANAND

Lack of Facilities for Design 7 votes

5%

“There is no Infosys of design in India yet...”

PREETHI BAYYA

Corruption 4 votes

“Corruption is the top answer without competition...”

RAAHUL KHADALIYA

“I hope you don't think that Indian start-ups are unique in this? There are ways to solve this problem. If there weren't, there would be no start-ups that use design. You can take a percentage of sales achieved as a result of the design, stock in the company, and there are other ways. Sometimes you have to share the risk. Sometimes you can learn about a new area by working with them. Nothing is perfect and it never will be. Loosen up!

Except for corruption, all of you are stating assumptions that I had been hearing in the US and the UK for a very long time.

We did not have the Internet to disseminate information and help companies understand how design can affect their bottom line and their share price. But you do.

There is lots of this information on the Design Council (UK) website in language business people understand. Why not put together committees for each industry you want to attract/infiltrate and start an information campaign tailored to each? You can send emails with short meaningful messages linked to parts of that website. You can get on the speakers list at conferences they go to, to make presentations showing case histories. There are business journals and newspapers many of them read that would love to have a series of short articles from you with good photos.

In essence, don't wait for them to figure this out for themselves. They have no vested interest in it at this point, you do. ‘You’ meaning designers. Another message is how can you afford not to use designers? It wasn't that long ago that industry didn't understand why marketing people were important, as consultants or to have on staff. A small group of interested designers must make it their business to turn the situation into a positive one.”

RITASUE SIEGEL

“The Indian Administrative Services, the Judiciary, the Indian Police Services, and the primary schooling system must make it a policy to train officers to be aware of the design profession and its contributions to improve society. Our roads and cities would then have a greater sense of safety and security. Streets would be worth using. Today many metro streets shamelessly stink and are oozing with filth.

Maybe because of all these messes, we become a corrupt nation at large!”

SRINIVASARAO PATTUR

RNI-No. MAHENG12606/13/1/2010-TC