POOL 36 - June 2013

ISSUE 36 june 2013

Achyut Palav

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Mihir 04/ Jayesh 08/ Sonia 12/ Abhijit 20/ Ruchika 38/ Sameer 46/ Nida 51/ Tanvi & Pratiti 58/ Cagri 63

Editor in Chief | sudhir@indidesign.in

June 2013 | # 36

Sudhir with Mike Kuhlmann and Christoph Harrach of Karma Konsum at a conference in Frankfurt ISSUE 36 june 2013

India Outside

ISSue 36 june 2013

I am amazed by the reach of this small magazine from India.

Recently, I found an article about POOL in a German magazine in Frankfurt! I am also fascinated by the diverse ways Indian culture reaches remote corners of the world...yoga, ayurveda, meditation, kitsch visuals, mythology, food, colors, fashion. It is hard to believe that most of this reach is organic and absolutely without any design or intent to spread the culture. Most of it makes good economic sense.

Achyut Palav

Photographed by Pooja Salunkhe

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Mihir 04/ Jayesh 08/ sonia 12/ abhiJit 20/ ruchika 38/ saMeer 46/ nida 51/ tanvi & Pratiti 58/ cagri 63

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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.

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

I see a great opportunity for Indian designers - start traveling, make connections, and redesign the Indian cultural reach by designing for other cultures. I imagine this as a super project for some organization like ‘India Design Council’ or one that is focused on other countries with concentration and understanding of what we have.

Any bookstore in Europe now features a large area for Indian things, such as bags, candles, scarves, notebooks, books, Buddha idols...and most of them are not even Indian! Little wonder that my lecture in Frankfurt on demystifying Indian graphics of mythology was such a hit.

Let’s look forward to this spreading further; let’s take India to the world in a good form.

Are you up to the challenge??

Sudhir Endorsed by

Supported by

opinion

PUBLIC POLICY AND DESIGN THRESHOLD For effective socio-economic transformation public policy in India needs to became more open to design innovations, suggests Mihir Bholey

Broadly speaking, post-liberalization economic development in India has enabled its designled creative industry achieve a new threshold.

Consequently, it’s in the process of shifting orbit and acquiring a more strategic position in business and industry. Global experiences tell us that design-led innovations have created market leaders like Apple, Samsung, Nintendo, Alessi, Whole Foods Market, and many more. In India, we have our own homegrown brands led by design innovation, such as Titan, Mahindra, and Bajaj among others. Innovation has enabled them to achieve an invincible and sustainable competitive advantage. However, what’s interesting is that these innovations have not come from the market but have instead created new markets!

bholey.mihir@gmail.com 4 POOL #36

Global experience also indicates that the creative industry world over has shown better performance following the policy initiative. Our South-Asian neighbors like South Korea, Japan, Singapore, and Taiwan are cases in point. All of them have design specific and design-inclusive

opinion public policies. Till the 1960s South Korea ranked amongst the poorest countries in the world. Its products survived less on innovation and more on copying international designs. South Korea joined WTO in 1995 and soon its policymakers realized the role of design for global competitiveness; the country announced its design policy in 1999. Today, it boasts some of the most competitive global brands like Samsung, LG, and Hyundai; all these are led by design innovation. Samsung arguably is the most innovative brand in digital innovation. Taiwan implemented its design policy in 1988 to strengthen the sustainable development of Taiwanese industry. It aimed at fostering independent design and development capabilities in Taiwanese industry and shifting its production model from OEM (original equipment manufacturer) to ODM (original design manufacturer).

Public policy initiatives in relevant areas have also helped South Korea constantly improve its rank on the global competitiveness index. The World Economic Forum (WEF) ranked Singapore second, Japan 10th, South Korea 19th and India at a distant 59th position in the global competitiveness index during 2012-13. On the innovation factor WEF ranked Japan second, Singapore 11th, South Korea 17th and India at 43rd position in the same year.

The scope for the intervention of designled innovation in different sectors of the Indian economy is enormous. Design policy must be factored into other public policies rather than being left out as a standalone endeavor.

Can the Indian creative industry remain oblivious of global experiences?

Innovations directly appeal to people while markets follow suit. Ernesto

Gismondi, Chairman of Artemide rightly quips, “Market? What market! We do not look at market needs. We make proposals to people…” In other words, innovation is the direct proposal to people. Thus, design innovation makes a strong case for inclusion in different public policies in India to facilitate socio-economic transformation.

Nevertheless, there is a hiatus between design and public policy in India. While the policy makers have expertise in schematic aspects of providing solutions, designers look at problems with a ‘user-centric approach’ which is often amiss in the macro policy framework. But, design has its limitation too when it comes to policy research. The United Nations Institute for Disarmament Research (UNIDR) 2010 Report observes: ‘The objective of research is generally to understand the world, whereby the objective of design is to create something new in the world— this makes for a powerful combination, and partly explains why research has trouble moving from observation to action.’ This report thus indicates the missing links between design and research in policy formulation. Though design aspires to do deeper research it is often inadequately prepared.

Public policy on the other hand also needs to learn to navigate between the imperatives of political representation and community-led innovation.

The needs of a nation of 121 billion are enormous. India is envisaged to become a $2-trillion economy by the end of 2013 and expected to grow at 6.2 - 6.7% in 2013-14. There is obvious scope for concurrent growth in the creative industry too if our public policies in the diverse sectors of healthcare, transportation, urban development, www.poolmagazine.in 5

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opinion environment and the rest become design inclusive; this may help ensure good governance too.

which makes the concept feasible, business which makes the intervention viable, and human values which make design usable, desirable and eventually Design today is being served by a sustainable. Design has the capability of large chunk of designers hired by assimilating all these and making good various industries, design studios and business sense out of a host of social independent designers. As per a recent concerns which are covered by various CII report, of the 170 design studios public policies. There are several surveyed across the country the highest opportunities for public policy and 29% designers were found engaged in design interaction. The National Urban Human Computer Interaction, 22.3% Housing and Habitat Policy articulates in Industrial, Automotive and Retail the need for sustainable development Design, 18.09% in Graphic and affordable housing and Design, 9.75% in Fashion includes in its action plan and Accessories, issues of infrastructure, Some of the major and so on. The technology support, average annual slum development, contemporary concerns turnover of the etc. The National related to environment, design studios Urban Transport varies from Policy on the other global warming and Rs. 2.5 crore hand indicates sustainable development to Rs. 25 crore. that while the are now attracting design However, population in despite their India’s six metros intervention in many demonstrated increased about 1.9 countries. capability to cater times during 1981to the needs of the 2001, the number of industrial sector, the vast vehicles went up by 7.75 times social sector still remains largely in the same period. The policy thus out of the purview of seeks to encourage the use of public design intervention. transport, ensure intelligent traffic management, and provide more space Some of the major contemporary on the road for people than vehicles. concerns related to environment, The National Environment Policy 2006 global warming and sustainable articulates the right to development development are now attracting design and equity along with environmental intervention in many countries. At a standard setting and a precautionary strategic level design innovations are approach. These are opportunities being experimented with to find ways in waiting for design intervention at to reduce carbon footprints and ensure several levels. It’s time public policy and sustainable development. Can public design start working in tandem to fetch policies in India in the concerned areas greater design dividend. ignore this for long?

(Mihir Bholey is a Senior Faculty Design innovation does not occur in member at National Institute of isolation. It’s influenced by technology Design, Ahmedabad) www.poolmagazine.in 7

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INDIA HOUSE ART GALLERY 04 / ANAb 08 SANcHITA 42 / AmITAbH 16 / NImISH 50 / / SAURAbH 24 KRSNA 58 / cAG / RI 63 s 16/ andrea

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bright future of indian design

FUTURE OF THE DESIGN INDUSTRY IN INDIA Jayesh Sachdev Co-founder & Partner, Quirk Box www.quirkboxed.com 8 POOL #36

bright future of indian design

As an artist and a designer, you invariably end up doing shop talk.

Contemporaries will always speak art or design. There has been a fascinating shift in the context and the content of these conversations over half a decade.

I hear conversations about design and the arts no less than I do about politics or cricket. Clearly you know then, that Indian Design is finally pushing its way through forward, almost sneaking into your face and shouting out a big happy ‘Hello’ while you with equal zest and vigor wave happily back just to know you are in good company.

Until only a few years ago, fellow designers discussed Paul Rand, David Carson, Toki Doki and other exciting design labels and individuals who have heavily contributed to the face of modern graphic design. Pondering about the similar lack of identity in a local context, it appeared that our design industry revolved around tribal art, handicrafts or lesser known artists.

While fashion and textile did dominate the Indian Design scene, I understand it may have belonged to a different industry, which overlapped. In the urban contemporary context however, my observation of design has changed quite a bit since.

While graduating from art school, having lived and studied in South East Asia, the influx and influence of Japanese graphics and arts was obviously very heavy. Chinese artists and graphic designers from Hong Kong and Japan were the emperors of design in that region. Everything you saw, smelt or touched, was designed.

You practically lived in a ‘pseudo designer’ space. I’m not complaining; it was inspiring. It was innovative,

it was thought through and like any good design, purposeful. Every good esthetic had a purpose. You just wished you could bring this all back home, or go back home (India) and develop an indigenous design industry we could boast of, that a billion people could proudly claim and accept as their own.

While the term ‘design’ appears rather broad, if I have to narrow this down to the graphic arts alone, something I studied, I am well aware that we still need to make big strides. Before I moved back and while still a student, I made it a point to spend time loitering in design malls, and book shops, only to overwhelm myself with all things design. In all these spaces I found fascinating stationery, eclectic wall art, prints, limited edition toys, apparel and products I knew I didn’t need but wanted, only because it was so well designed.

Soon after I had moved back to India I was brimming with exuberance to get started on a label of my own, inspired by local popular culture, that was kitsch, quirky; something that reflected happiness, but essentially original, fresh and ‘Made in India’.

I soon found myself immersed in art and painting and it was four years before I got started on this project that I had long had a vision for. In 2011, Quirk Box which I co-founded, launched in Mumbai with a collection of fashion, lifestyle and accessories.

Our ‘Minions’ soon became a rage. By then contemporaries such as Play Clan, Chumbak and Happily Unmarried had already begun to make their presence felt. Play Clan, with their astounding www.poolmagazine.in 9

bright future of indian design

renditions of Hindu Mythology; Chumbak with a more common daily language to their illustrations; and Happily Unmarried with their quirky and fun products had penetrated into a market that didn’t really have much access to this. I had all intentions of getting my own ideas translated into happy merchandise. I consciously or subconsciously began noticing the several other such labels that had begun to decorate Indian shelves and many that had started finding shores further east and west of the sub-continent.

Indian design in the context of products and graphic design was making headway, finally defining itself in a space of its own.

being welcomed by society and parents alike. The ‘industry’ was perhaps gaining in respect.

International councils were recognizing Indian Design and awarding funding and opportunities in the form of program exchanges with a more developed design culture westward.

Design magazines and bookshelves were lining up with multiple home bred issues. Without a doubt the extent of opportunities as a designer had opened up.

E-commerce and social media made it easier to create a brand engagement and fellow lifestyle labels were springing up on my wall each day. Swamped with emails from students for internships and jobs, I was clearly witnessing a paradigm shift. These labels were not necessarily from individuals from urban India, but also Tier II and III cities, the smaller towns. The applicants that sought to join my studios as designers were no longer from the metropolitan hubs; Mumbai and Delhi were soon replaced by Kanpur and Calicut. Pune and Bangalore were soon making way for Nasik and Udaipur.

Clearly something had changed, and while I was caught up in building Quirk Box, this country had exposed itself to a strong artistic influence; artists had become entrepreneurs and design was no more an esthetic outlet but a functional rendering.

At this juncture however, as a young designer, what excites me is a society that recognizes design, a country that after 60 years of independence designed itself a symbol for its currency, design schools shuffling through files of design student applicants and my Facebook wall painted with posts of Indian designers. This is a stimulating space and time to be engaged with design in our region and sub-continent.

The big question that remains for me is quality vs. quantity. While there is definitely a populated ‘designers wanted’ column in the classifieds, what concerns me is the quality of such designers. The students and recent graduates whose portfolios I see seem to have garnered the skills of digital design software, but it appears the essence of principle of design is lacking.

A Photoshop filter is an excuse for design and every designer has made a mug with Madhubala’s face plastered over it with a crimson background.

There is a lack of novelty. The need for creating a personal sense of design and identity, a signature style, is lacking.

Evidently there was a change; there were more design schools opening, the concept of studying art/design was

Has Indian Design arrived? It sure has made its presence felt. Are we there yet?

My guess is as good as yours! www.poolmagazine.in 11

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Sheetal Sudh

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communication design

DREAMING

BIG

Creating new meaning and value through design is what Sonia Manchanda believes in. As Principal Designer and Co-founder of Bangalore-based Idiom Design and Consulting, she leads a team that consistently works on game changing ideas.

www.idiom.co.in www.dreamin.in 12 POOL #36

When and how were you introduced to design?

SM: I was academically inclined, and believed that medicine would be the path I would pursue. My father wanted me to study, to focus on being highly qualified and not on a career till very late in my life. Having moved to India from Pakistan and the family losing its fortunes, he had to start working early and abandon his dreams of studying. Along with my academics however, I was doing many things that were creative, playful and some even leadership oriented, such as running a school magazine and writing for Times of India.

A friend who wrote the NID entrance test felt that NID was the right place for my profile. Without a specific agenda, I filled the form and when I reached there for the day-long written and practical test, I was completely hooked and felt I would die if I didn’t get through! My parents were perplexed but very open, though my granny said, “If you didn’t want to become a doctor, you could have at least chosen to be a lawyer!” I have a sneaky feeling that even today, most grannies would say the same thing. We need to change that in our lifetime! So I went on to study Visual Communication at NID, Ahmedabad.

And you set up Idiom Design and Consulting in Bangalore...

SM: If Delhi is the power capital and Mumbai is the financial capital, then Bangalore is the knowledge capital of India…a place where there is a great degree of openness and a collaborative spirit, where new knowledge is created and new ideas flourish.

I wanted to explore the boundaries of design, beyond form into thought; at the time I was discovering my own professional philosophy this was not at all commonplace.

I felt that Bangalore would have the openness for fresh ideas, which it has.

What is Idiom’s philosophy?

SM: Idiom’s philosophy is to transform business and life through design. We do this by developing game changing ideas and taking them from mind to market with skill, speed and imagination. Our insights are Indian; the overarching goal is to develop unique ideas that are inclusive and for this we invest a great deal of effort in implementation. We believe that design is a potent social and business tool to leapfrog several stages of development, to prototype fresh ideas and to create new markets.

Idiom is a learning organization which we, the founders, have developed to be much larger than ourselves. We develop young talent who respond well to challenges, have the capacity to turn problems into opportunities, and the tenacity to work www.poolmagazine.in 13

independently and collaboratively. It isn’t easy to be holistic, and at the same time to care deeply about your craft; but then, if the next generation of design from India has to make a difference to the nation and the world, do we really have a choice? Idiom was conceived to find and define the Indian idiom of design and share it with the world.

And we are happy that we are finding acceptance of this philosophy in the world and being celebrated as a global design firm, born, brought up and created for India.

Tell us something about the Spread and Nodes initiatives.

SM: Spread was an idea to spread design as a way of thinking and doing things, an opportunity to share our learnings from practice with students of design and business, expose professionals to the power of design, and open the minds of children. The power of design to transform needs to be demonstrated and is an idea worth spreading. Our 14 POOL #36

deep-rooted culture has design codes in everything, from food and clothing to our way of life. However, our design education is not equally indigenous.

How then should our projects for public good be designed in a way that includes society, policy and enterprise? What is a starting point for creating enterprise?

We found the answers to some of these questions and found it important to share them as ‘Students in Residence’ programs at Idiom; these were design leadership workshops and workshops for school children. I found an ally in Carlos Teixeira - Faculty, School of Design Strategies, Parsons, The New School of Design - to expand the idea.

And together, we created an informal group – NODES or Network Of Design Thinkers globally – of people who want to create new knowledge and share it across geographical boundaries.

What is the DREAM:IN project?

SM: You would think that design starts from human needs. You might also

communication design think that designers are best equipped to find out what people need. DREAM:IN is a humble argument that design can start from the dreams and aspirations of people.

A very different set of possibilities emerge, with a shift in focus from topdown to inside-out; from understanding to envisioning; from working for people to empowering them.

DREAM:IN is a method - at a massive scale – to create new value and meaning by empowering people, by creating meaningful engagement with them and merging purpose and profit to result in real impact. DREAM:IN had its beginnings as an open innovation project to create inclusive growth in emerging markets. DREAM:IN 1.0 was launched in 2011.With a Journey and a Conclave, it was implemented across two months, bringing together students, practitioners, policy-makers and enterprise leaders in a carefully choreographed exercise.

For the Journey, 101 students were selected nationally and went through two days of intensive theoretical and practical training at the DREAM:IN Center in Bangalore through a method that included elements of psychology, sociology, ethnography, design research and film making.

Trainers included sociologists, anthropologists, ethnographers and professional filmmakers.

The Dream Catchers traveled across India by rail and road, through cities, towns and villages, into the homes and lives of India, to learn about and capture the dreams of Indians. Over an eight-day journey by students from 19 different institutions traveling in teams of 10 on 11 different routes, 25,000+ kilometers across the length and breadth of India were captured on camera - India’s very real dreams!

The Conclave brought together diverse skill sets, age groups and even nationalities. It was designed for the audience to share and absorb dreams, to take away insights and catalyze new value and meaning by co-creating new enterprise and social models.

The Big Dreamers shared their personal vision and their dream for India.

Design thinkers channeled solutions and investment experts brought in the reality check - the financial perspective and validation. Entrepreneurs lent their mercurial ability to take ideas forward.

Corporate leaders helped plan the ideas better, and creative thinkers helped express and fructify the best ideas.

As India is set to grow big and fast, there lies an opportunity to create sustainable growth and avoid the negative consequences of development. This can be done by creating inclusive prosperity, sustainable lifestyles and equitable distribution of basic health, education and living standards. Therefore, there is a need for social innovation, social action and a new social design. A large task, you would think. What it requires is a dynamic and dense open innovation system involving diverse talent sets and actions, to shape a better and balanced future.

www.poolmagazine.in  15

communication design Has DREAM:IN been well received?

SM: DREAM:IN has since been replicated in Brazil, through the efforts of Carlos and six universities in Brazil; with a major Conclave in Sao Paulo anchored

by Vivarta. And recently in China as well! It has been presented at various international forums, including the Conference of the most innovative cities in Curitiba, the Dutch Design Festival, Designing for Billions, Parsons New York, etc. And it has been shared with corporate leaders of some of the biggest global organizations. DREAM:IN has at the beginning of this year been recognized/awarded as one of six game changers globally in the design and innovation space, by Metropolis, a leading design magazine from America.

It is also nestled cozily as an entire chapter in Bruce Nussbaum’s new book Creative Intelligence. And so, it found its believers and supporters and became a positive, young movement with some great people involved much before it grew into a formal organization. And I guess it’s a matter of pride that it was created right here in India.

What are the challenges of working with big brands and corporates?

SM: Understanding the specific challenges and opportunities in a new space - in various industries - to create breakthrough solutions is the most significant challenge. There are also industry specific challenges, nuances in every business, and of course there’s the ‘end consumer’. People are what make companies, countries and brands.

It’s a simple truth but a difficult journey from their minds to the hearts of those creating the goods and services for them.

The overall experience is a learning journey. Thus design is a valuable 16 POOL #36

profession where you get the opportunity to understand what people want, to give it to them and to watch their reactions…over and over again.

What has been your favorite project till date?

SM: Any project that has resulted in great results has been a favorite. The quality of thinking, effort and craft have always been the same, but when it does something for someone is when it has true meaning and becomes special. Great/favorite projects for me are ones that grow into brands, into relationships, into new ventures. It’s like when you plant a seed or a sapling and see it grow into a tree, then fruits… and then it grows into your heart and becomes a favorite. Design is nothing on its own, design is what design does! And if it can respond to big challenges and demonstrate results, then it becomes exciting. Of course, you cannot do this on your own, it only happens with great collaborations. Collaborations, convergence and cultures as design themes are my favorite, in any scenario.

Our relationship with Future Group and Manipal and the many breakthrough ideas we have helped launch are especially important to me personally.

How has design thinking made an impact in the emerging market scenario?

SM: Design thinking is an idea that in the context of the developed world, in version 1 of its acceptance, became a set of tools and methods. In its expanded avatar, the understanding that creative approaches and mindsets need to be fostered, that collaborative interventions may be required and that creativity needs to be nurtured in the center rather than on the fringes of cultures and organizations is just about dawning. In

the emerging market scenarios, it may not have the theory clearly articulated yet, but the practice is certainly thriving.

The scope for India is very wide, given its demographic edge – we are the youngest nation in the world, and therefore best placed to explore imaginative new approaches.

Which industry verticals are the most design-friendly? And which industries, in your opinion, are resistant to design solutions?

SM: Industries like Hospitality and Retail, where there is a direct transaction with the end consumer, realize the need to be sharp, smart and innovative.

In an emerging market scenario, if various seemingly unrelated verticals like finance and technology, HR and Innovation, products and services, infrastructure and education were to come together to catalyze, shape and drive innovative/ cross disciplinary solutions, the impact both to society and to the growth of nations would be tremendous. The idea here is to learn from each other, grow with each other.

In this scenario design/ design thinking works as a platform for collaboration www.poolmagazine.in  17

communication design

and can at best play the role of a catalyst that synthesizes, shapes, articulates.

will naturally invest our energies into creating sustainable growth.

According to you, what is the potential of the Indian Design Industry?

SM: We have not even touched the tip of the iceberg yet. How many innovative Indian systems, solutions, products and technologies have made a global impact? We have been learning and absorbing but it’s the next generation that we need to go all out in investing in to demonstrate the soft power of an ancient civilization and a young country.

Uniqlo, Facebook and Apple will need to move over for great new ideas that empower people and create equal futures while celebrating our culture. We have seen the consequences elsewhere of creating unsustainable ideas and we

What are your future plans?

SM: Consistently in my career, along with my colleagues, I have worked to demonstrate that we can create new meaning and value through design. Over time, opportunities have expanded and multiplied and this trend should continue. Future plans include establishing the credentials of Indian design thinking and design craft globally; especially the role of design as a powerful strategic tool, and most significantly in an emerging New World context. Also, scaling up the impact that design can have nationally by proactively creating systems and institutions to do so. www.poolmagazine.in  19

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sustainability

INWASTE FOR A GREENER TOMORROW Abhijit Bansod of Bangalore-based Studio ABD suggests an innovative way to make the most of waste!

‘Smart thinking and simple living’ is the buzz phrase these days, but digging deeper, do we really have time for simple things in life? Let’s say one such thing being disposing our daily waste for proper recycling. Ours is the oldest culture to have kabadiwalas. While the world has woken up to the importance of recycling to preserve our natural resources only a few decades back, in India we have been recycling our waste for centuries. The kabadiwalas remain our modern day recyclers.

Going down memory lane, do you remember the man who came to the doorstep to collect our household waste, in return for which he would pay us money or utensils? There was always a certain uncertainty about whether he was paying us enough as there was no valuation system other than his set standards. Later he would categorize his daily collection and sell the items separately after segregation.

www.studioabd.in 20 POOL #36

With moving times and uber paced lifestyles, our practices have changed drastically. Who has the time to hook up with the kabadiwala and separate newspapers from cardboards and tins? All we can do is to stack the daily waste in the neighborhood garbage container. From here the local junk

sustainability

www.poolmagazine.in  21

sustainability

22 POOL #36

sustainability

1

Clean and segregate your dry garbage. Drop it in correct bag and see value of your material in Rupees in real time.

pickers come into play, collecting all the useful stuff for further selling. They often have a hard time picking out the useful scrap and not much material recovery happens in this manner.

The two key loopholes here are the lack of a system for effective waste segregation and disposal, and the missing incentive for people to participate in creating an impact for a better planet.

This drew us to the innovation of INWASTE. INWASTE is a systematic approach that allows convenient segregation of the waste at the source and selling it in return for real time money. With a minimalistic bent to design, it’s a compact, foldable wall mounted unit which occupies only a small part of the wall in your home, office, garage, etc. It is integrated with a value display unit that flashes the money earned for specific type of waste; this is calibrated according to the industry standards.

2 Authorised person will come and collect the material and handover receipt and money.

Interestingly, kids can be major contributors here in an effort to fill their piggy banks!

How it Works • Install this wall mounted foldable unit in your utility room.

• Dump your waste smartly in pre-determined collector bags.

• Observe in rupees the value which you earn and redeem the same from the authorized person.

• Don’t forget to take your copy of the receipt!

While it’s easy to get overwhelmed, it’s even simpler to incorporate INWASTE to make a positive impact in our pursuit of a greener tomorrow.

It’s time to change not just the way we do things but the way we think.

Why throw and waste, when you can earn INWASTE. www.poolmagazine.in 23

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cover story

A SCRIPT FOR SUCCESS

Calligrapher Achyut Palav finds infinite beauty in letters and is determined to showcase their inherent power through his varied and striking work

www.achyutpalav.com | www.apsc.net.in 24 POOL #36

cover story the divine collection According to this Gita verse, we are all connected in this cosmos. This is the whole and that is the whole.

If you take the whole from the world yet the whole remains.

Size: 121.5cm X 69cm Medium: Ink on Canvas

What does calligraphy mean to you?

AP: Calligraphy is beyond art, hobby or a job. To me it is my mission. Completing a composition as my mind imagined it gives me the contentment and spiritual attainment one derives from meditation.

Apart from being my profession, calligraphy has helped me connect with my peers and budding artists from India and abroad.

How were you introduced to the art of calligraphy? Why did you choose to major in the subject?

AP: While in school, I was given the task of writing the daily ‘Suvichar’ or ‘Thought for the Day’ on the blackboard.

There I fell into the habit of trying to understand the meaning of what I was writing before I actually replicated the saying on the blackboard. Back then, www.poolmagazine.in 25

cover story

to the path of gold Gold here resembles the energy within or the ultimate goal of recognition of the god within us.

Size: 149.5cm X 68.5cm Medium: Ink & Acrylic on canvas

I did not realize that this was one of the most important processes of calligraphy! I now believe it started me on the path to calligraphy.

I was always inclined towards the field of art so majoring in Typography and Calligraphy was an obvious choice for me.

The idea of expressing through letters and symbols excited me and therefore calligraphy was my art of choice.

I obtained a G.D Art from Sir J.J. Institute of Applied Art in Mumbai.

What is responsible for your deep love for the Devnagri script?

AP: I love all Indian scripts! I have learnt the Devnagri script since childhood, what with my mother tongue being Marathi and Hindi my national language. I have experimented with all Indian scripts but Devnagri comes naturally.

My work is extensively in this script. For my research project as well I chose Modi, a familiar script in Maharashtra.

26  POOL #36

slug right

evolution Scripts have evolved a long way. From pictorial to crude letters to the letters of today that are full of finesse and charm.

Yet the alluring esthetic beauty of the old is not all lost. Calligraphy has thus progressed in form and also from just black and white to use of colors.

Size : 53” X 53” Medium : Black Ink & Acrylic on Canvas

What was your early career path like? When did you start Resonance Designs?

AP: I started my career doing research and writing a thesis in the Modi language. Then I worked as a professor at my alma mater.

It was truly a rewarding experience. I published an informative book on the Devnagri script. Starting a design studio was a dream.

I started Resonance Designs with my wife in 1993 in Mumbai.

We are currently located in C.B.D. Belapur - Navi Mumbai.

Do you experiment with different tools and mediums in your work?

AP: Yes, I love to! I believe that each new tool gives a different dimension to a composition. I have made use of conventional www.poolmagazine.in 27

cover story

Om & Allah Series

tools like pens, nibs, brushes, foams, and Boru but at the same time I have used shaving brushes, Coke cans, ball bearings, threads, etc. I have painted bodies, fabrics, walls, ceramics, and umbrellas too. Wacky tools or not, calligraphy is always beautiful.

You use calligraphy on a diverse range of applications. What is the response to the different products you create?

AP: Calligraphy has a wide range of commercial applications. I have created many products and used calligraphy in items related to weddings, corporate field, fashion, architecture, etc. People have been very receptive of the creations – the t-shirts, ceramic and glass items and paintings have been popular. People are opening up to art and have a broader mind set today.

What are your views on the commercial and artistic growth of the use of calligraphy in India?

AP: Calligraphy has a high commercial quotient. It’s used in diverse fields like corporate branding and promotions, literature and religious texts, art, fashion, body art, weddings, personal stationery, invites, architecture and many more. With the advent of computer technology, calligraphy has evolved and the time required to go from drawing board to the final product stage has reduced considerably. As awareness about calligraphy grows in people, the future gets brighter every day.

What is the inspiration for your innovative and bold demonstrations?

AP: I love demos because they help me connect with people. I get to see their reaction up close and personal. Demos help me tune into how people perceive art. I wanted to prove that calligraphy is the art of the common man; I wanted to take it to people around India and demos were a brilliant way to do that. People now understand that calligraphy is not just random strokes. At the same time they 28 POOL #36

cover story

Bindu The Dot - the center of all creation and the end of everything. It is the potrayal of the position of a man in this gigantic universe.

Size: 149cm X 68cm Medium: Acrylic on Canvas

realize it is not as tough as other art forms. Most demos are combined with workshops which are highly interactive.

What is the peculiarity of Indian calligraphy?

AP: Indian calligraphy is rich but it is not as exploited as the foreign scripts. Calligraphy in other countries has immense support from the government, and profit and non-profit organizations. Efforts are taken to preserve texts and manuscripts and support is extended to making adequate platforms available to calligraphers.

Indian scripts are among the most beautiful and phonetically rich. They are meticulously and scientifically developed.

We have many spoken languages and scripts throughout India, each www.poolmagazine.in  29

cover story with its own unique features and style. Their forms are exquisite, robust, straight, curvaceous or sensual. We are lucky to have such range.

All we have to do now is to take Indian calligraphy to the world and make people sit up and take notice of such a beautiful and remarkable variety.

Please tell us something about ‘Urja’, the calligraphic movement you initiated.

AP: Urja, a movement of calligraphy, was started a decade ago in Pune by my team and me. Since then our movement has received tremendous response and the support of students, masters, national and international artists, and art patrons. It was formed to create awareness and popularize this beautiful art form and make it easily available to the masses, artists and non artists alike.

Urja helps people broaden their minds and yearn to see beyond the certain rigidity of letters. Our team members teach calligraphy in a scientific and methodical manner. Urja’s initiatives include workshops, seminars, demos, exhibitions and sessions with experts.

Why did you start the ‘Achyut Palav School of Calligraphy’?

AP: As an artist I have visited many countries and been a part of international art, design and calligraphy 30 POOL #36

cover story

Om & Allah Series

events. I realized that the youth in other countries were aware of their art and calligraphy heritage. There were institutes in their community that worked actively on many levels through art programs. But, in India such initiatives did not reach the layman.

APSC was started to promote Indian calligraphy. It is based in Vashi in Navi Mumbai and we teach basic courses in Devnagri and Roman scripts. With my work, I wish to bring the new generation, which is under the immense influence of the English language, closer to the lost art of Indian calligraphy and the phonetically rich Indian scripts. Calligraphy imparts discipline, focus and dedication in its learner. It also releases www.poolmagazine.in  31

Read Between The Lines Each form, each letter, each stroke has multiple meanings. Each new experience leaves your beliefs altered. Yet there is a great joy and a supreme revelation in perceiving… detecting an unexpressed meaning.

Size : 53” X 53” Medium : Black Ink & Acrylic on Canvas

Harmony An attempt to recognize the harmony in the chaos around us. The seemingly contrary forces are interconnected and interdependent in the natural world, and they give rise to each other in turn. The eternal tussle between the white and black in calligraphy is also portrayed.

Name : Brahmand Size : 53” X 53” Medium : Acrylic on Canvas 32 POOL #36

cover story

Om & Allah Series

locked creativity and out-of-theblock thinking.

Many students of APSC have benefited in their personal and professional lives after learning calligraphy. I am sure that the students of APSC will bring the beauty of Indian scripts into the limelight.

What would be your advice to young calligraphers?

AP: Calligraphy comes from within.

It’s a way to look beyond mundane forms and break rusted barriers.

Look at each letter, form, word and phrase with an open eye and they will tell you a story. Let inspiration come from all aspects of your life. Grow as a human and as an artist.

What’s in the pipeline for you?

AP: Many things, including the launch of my book The World of Calligraphy.

It’s a compilation of www.poolmagazine.in 33

cover story

Kundalini The dormant potential force in the human being. It is often described as the natural energy within the self. It brings with it the supreme and pure knowledge.

Size: 148cm X 69.5cm Medium: Ink & Acrylic on Canvas

present day calligraphy by budding artists.

The book is an earnest attempt to bring forth the work of amateur artists and calligraphy students. I am sure that their sincere efforts and dedication towards learning this rare art will earn the appreciation of accomplished artists and art patrons.

There is also an exhibition at the Jehangir Art Gallery in Mumbai towards the end of the year. The theme is a dedication to our great lord Surya.

All my creations will glorify the various forms of Surya, his power and the role of ‘The Giver of Life’. www.poolmagazine.in 35

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Connecting worlds Indi-Berlin connects diverse cultures and Industries to provide brand related services from the inside.

If you have business interests in India and Europe, let’s talk.

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architecture

SET IN STONE www.odysseystone.com

38 POOL #36

architecture

For Ruchika Grover, Director, Business and Design Development, Odyssey: Stone Architecture and Design, the journey so far has been quite memorable!

How did you get interested in design?

RG: Export of granite/marble blocks was a family business and I had traveled extensively with my father to many stone quarries and processing units all over the world. After completing my MSc in Entrepreneurship from the University of Nottingham in England, I explored several options that were available as a value addition to stone in India.

In 2006 we set up Odyssey: Stone Architecture and Design in New Delhi, as a stone value addition unit to the parent company, NATCO Exports. Our vision was to be able to deliver something innovative to the stone industry, and maximize the utility of stone beyond its conventional applications.

My sister, Shruti, joined me soon after and together we experimented in carving sculptures, creating murals and exploring different surfaces. Of course, there were challenges and we even failed miserably a couple of times, but eventually, we were lucky enough to bag a few large projects such as the Hyatt Regency in Pune and the Ritz Carlton in Bangalore.

Shruti left the company last year for her further studies and is now pursuing a Masters in Innovation, Design and Engineering at the Royal College of Arts, London. www.poolmagazine.in  39

How has the journey been so far?

RG: The name is symbolic of the journey we have embarked upon. Five years back, we could never have imagined doing what we are doing today, but we wanted to create stuff which excites us, and people around us, and inspires us to continue on this journey.

It has been very interesting so far, with many ups and downs, but we have evolved with innovation. My father’s experience of 20 years in the stone industry has helped Odyssey emerge as a stone specialist and as the ideal partner for many large residential, hospitality and commercial projects developed in collaboration with architects and designers from all over the world.

Our team is constantly trying out new materials, techniques and their application. This R&D over the last six years has helped us explore the versatility of stone and enabled us to offer innovative solutions in stone for external and internal application. We have been able to develop our own collections of vertical and breathing surfaces (jaalis) for projects. These 40  POOL #36

are first-of-their-kind stone cladding solutions, easily accessible to the retail customer and available in modular formats.

Tell us more about what you do at Odyssey.

RG: Typically, people think of stone work as only being in the form of traditional patterns and floral inlays.

Odyssey embraces the potential of natural stone as an architectural and design element and innovates on its application and versatility as a material.

The audience is not informed about the adaptability of stone, and that is what we want to change. Through our collections, we want to bring stone as a versatile, contemporary material to everyone, including designers and architects. Bringing the tactility of stone as a material together with innovation in design, Odyssey provides unique solutions for facades, bathrooms, walls and floors, hardscape and artwork to complement both residential and commercial spaces. We offer services such as exterior and interior stone flooring installation, exterior dry cladding and stone restoration services, and made-to-order products

architecture

in gemstones and solid stone. We have a production facility in NOIDA, which is equipped with state-of-the-art machinery, including 3-axis and 5-axis interpolated CNC, water jet machines, operated by skilled artisans and an enthusiastic design and development team.

reach out to larger audiences. We guide the customer in choosing the right material, texture and applications, and depending on the clients’ requirements and price points, we use a combination of machines and handcrafting to create customized work. The intent is always to inspire and not to impress.

How do you approach a project?

RG: With hundreds of varieties of stone available in India and abroad to work with, every day is an experiment at our production facility. We believe in constant Research & Development, have invested in the latest technologies and consistently train our artisans/ craftsmen to enable us to become leaders in this domain. We recognize the beauty and talent in Indian craftsmanship that continues to inspire us and motivates us to dream of the endless possibilities, when combined with cutting-edge technologies.

We work with architects, interior designers and landscape consultants to understand their design intent and then propose appropriate solutions to the client in collaboration with the designer. Our collections, which have been designed in-house, are meant to

What are the expectations from your team?

RG: Each project is conceived with an idea, which is then further developed and actualized. We want our work to not get dated, and hence, consistently strive for novel ways of working with stone. We strive towards designing the best for each and every project. For us, it is crucial to not let the process be repetitive, and hence, we are constantly working on something new.

How challenging is it to deal with stone?

RG: With time, the attitude towards stone has changed and people ask for more than just Italian marble.

Slowly and steadily, people are getting informed about Indian stones as well.

India has such abundant reserves of stone, but somehow Indian material www.poolmagazine.in  41

architecture

Bio Diversity Park, Hyderabad

is not given its due credit. We have introduced a lot of Indian stones and we attempt to reinvent traditional stonework. The challenges are multifold; there is exiting variation in the stone lots, the way stone responds to techniques, etc. A lot of decisions need to be made on the factory floor based on how the stone is responding to the design techniques.

What role does innovation play in Stone Architecture?

RG: It is imperative for us to innovate and not become redundant and repetitive. The model we are steering towards amalgamates both design and business. Besides the traditional hospitality and residential projects that we undertake, we have launched a new range called ‘Collections’ which have been designed and developed in-house.

The intent is to take innovation in stone design to the next level, and optimize the versatility of stone as a material.

The collections are designed keeping in mind natural stone, its versatility and technique, and elements of design, 42 POOL #36

resulting in a dynamic and pioneering approach to the utility of stone.

Tell us more about the Collections.

RG: Some of the Collections we are working on include wall/floor surfaces and sculptures using light, water and stone together to create art for internal and external spaces, gemstone chandeliers, etc. These are for the retail clientele and can be customized for specific applications.

For example, Crosta (Italian, derived from Latin ‘Crusta’, meaning crust) is designed keeping in mind the dynamic play of shadows on stone and helps in bringing out the beauty of the stone dimensionality. It primarily uses Indian sandstone and granite, and is manufactured with the help of CNC milling and water-jet techniques.

The Kinetic Collection is very exciting for architects/interior designers and even some ‘hands-on’ customers as it offers them the opportunity to truly customize the vertical surfaces of their

architecture project. Developed with the help of generative and parametric software, each wall is truly unique and appears to be moving. It was launched at the beginning of this year and has already received a fabulous response.

Breathing Surfaces is a step away from the typical, commonly-used jaalis. Inspired by designs from nature Parametric Design, Nervous System of Leaves, Natural Fossils, and Architectural Forms - these panels can be modified with multiple options of inlay/overlay with shellstone/ gemstones and semi-precious metals. These surfaces can be used as architectural partitions, façade coverings, and exterior/ interior screens, and can be customized to suit specific requirements.

What has been your most memorable project?

RG: Our most memorable project would be the Bio Diversity Park Pylon in Hyderabad. We completed this project in just 40 days - from manufacturing in New Delhi to installation in Hyderabad.

We processed over 160 tons of stone in 25 days and at one point our team did not sleep for four nights in a row!

What projects are you currently working on?

RG: We are currently working on Kempinski, Shahdra (New Delhi) and Ritz Carlton, Bangalore. We have launched www.poolmagazine.in  43

Simple and crisp guide for you to discover the best of what Pune City has to offer !

Now available at www.tadpolestore.com www.puneandbeyond.com

architecture

Breathing Surfaces Collection (L-R) 1. CERCO with Black MOP inlay 2. DAIRAA with White MOP inlay 3. XYLEM

a collection of dimensional stone surfaces and lattice panels for the retail clientele and are experimenting with the designs of many more Collections. We have partnered with other companies in South India, Singapore, Australia and Perth for our retail collections and projects. With various other collections in the pipeline, like water cascades and floor fountains, planters, and gemstone chandeliers, we would like to be reckoned as an Indian brand when it comes to stone architecture and design.

How do you see this Odyssey continuing?

RG: Odyssey has set its sights on expanding to newer markets, both within India and internationally, and is striving consistently in this direction. www.poolmagazine.in  45

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photography

AN IDEA THAT CLICKED Upcoming freelance photographer Sameer Prabhu believes that wordless images tell the true story of life www.sameerprabhu.com

46 POOL #36

photography Did you always want to be a photographer?

SP: I always wanted to do something related to art and creativity, so I pursued a Bachelor in Fine Arts degree at Rachana Sansad College of Applied Arts and Crafts, Mumbai.

I majored in photography. I used to bunk college and assist a professional photographer called C. Radhakrishnan, from whom I developed an understanding of the commercial aspect of photography. I have been in this industry for the past 6-7 years now.

The more you shoot the more you get an eye for photography.

Every outing and every shoot is a learning experience. Some people like your work, some don’t – this is where your PR skills and marketing capabilities come in. I used to think I should only concentrate on photography and learn more about it, but to survive and get clients you must have good communication skills as well. You need to market yourself and position yourself at a certain level.

Tell us about your venture ‘Speaking Images’.

SP: During my college days I had started freelancing and taking up small shoots. However, it’s a different ball game when it comes

www.poolmagazine.in 47

to starting your own set-up after you pass out. You need to be very patient in the initial days when there is no work. I started solo in 2006 and set up Speaking Images in 2009. The main challenge was to face my parents - they would see my other friends doing jobs and earning a good amount of money, which I definitely wasn’t doing at the start. But they believed in me and invested money in whatever I wanted. They bought me an expensive professional camera and a very good kit. My friends supported me as well and gave me the opportunity to work with their agencies and firms. This boosted my confidence and I could then experiment and take up difficult jobs.

Initially if you work without keeping money as a criterion, you get to learn a lot of things, which will help you in the long run. My clients today range from publications to wineries and telecom companies. Under Speaking Images 48 POOL #36

we have branched out into another company called photopia, under which we organize photography workshops, nature trails and wild life expeditions.

What is your personal choice of subject?

SP: I prefer shooting models in studios and outdoor locations, and when I am traveling I like to shoot landscapes. I personally like high contrast images.

Before I click a snap I actually look for some light and shade on the subject.

Do you have a favorite walk around lens?

SP: My Canon 17-40 mm lens! I use it to shoot landscapes and it has to be in my kit on every outing. I believe to get the best results you need to have the right equipment. Every subject and every shoot is different so you need to have a perfect balance of equipment in you kit.

photography Are you influenced by the work of any photographers?

SP: I’m not influenced by any one in particular but I do follow some international sites and blogs to upgrade myself and learn new tricks of the trade.

Do you recall any truly memorable shoot?

SP: Shooting outdoors in Mumbai sometimes is difficult.

I was once shooting at the dhobi ghat at Mahalaxmi and soon cops surrounded me, asking me to surrender my camera and leave. I had just passed out from college and didn’t know what to do! It all got sorted out eventually but unfortunately all my pictures were deleted.

What is most challenging about being a photographer?

SP: People don’t understand what exactly we do and why we charge a handsome amount of money for it! Sometimes it’s as difficult to convince a client of the creative aspect behind the shot as the financial aspect!

How has this field helped you evolve as a human being?

SP: I have learnt that no work is small or big; you need to respect each and everyone who is involved in a shoot. During my internship we used to make coffee for the client, take orders and serve food, and clean the floor among other things. In the beginning I used to wonder if I was there to learn photography or do all this! Later however, I realized that all this was a part of my job and then I started www.poolmagazine.in 49

photography

enjoying it without any complaints. So now when I am shooting I do all sorts of work and feel comfortable doing it.

I also help my assistants and spot boys when required. I have learnt to respect all sorts of people and their work. This experience has helped me evolve into a better human.

How do you stay motivated?

SP: Every shoot is a new challenge. It seems very easy but actually it isn’t.

Doing something new every time 50 POOL #36

and meeting the client’s expectations motivates me. Photography is a team effort; single handedly you can’t achieve good results, so as a team we need to motivate each other for better success.

What do you hope to achieve with your photography?

SP: I actually want to create a different space for my work. People should see the picture and be able to tell that it has been clicked by me. I think that would be the achievement I am looking forward to.

fashion

STREET ART TRANSLATED New Delhi based fashion designer Nida Mahmood’s New India Bioscope Co. celebrates and salutes the art and popular culture of street India through bright and colorful apparel, accessories, etc. www.nidamahmood.com

www.poolmagazine.in 51

fashion What is the essence of New India Bioscope Co.? What stories do you convey through your brand?

NM: My partner Raul Chandra and I incorporated the company in the summer of 2009. As a company we at New India Bioscope Co. believe in rejoicing and celebrating what is truly Indian. The idea was to be able to make art available to anyone who appreciated it. For us art is drenched in various aspects of Indian culture. We wanted our brand to stand for India Cool.

Anyone who wanted to own a piece of cool India would be able to afford it.

We get a great mix of age groups. It is interesting to note how this art captures all sorts of hearts.

What inspired you to be a fashion designer?

NM: I was always interested in everything that had to do with art.

Studying to be a doctor, I realized I was going against my basic grain. I was more inspired by color and form than a white lab coat and stethoscope and hence took a turn well in time. I opted to do a Fashion Design Diploma from NIFT and now I dabble in everything that has to do with the creative element. Be it fashion, art, writing on fashion and art, new age media of art like video art, costume design, art direction, installation art and so much more. I also enjoy films, and reading…my interests are very in sync with the work I do, so work actually becomes play!

52 POOL #36

We came up with two lines - the Collectors line and the Affordable Arts line. The Collectors line, which was priced at a premium, was for those who understood the deeper nuances of art and wanted to cherish an exquisite piece of work. A large part of the revenue generated from this was put back in the corpus to be able to feed the art at the base. We create furniture, and other products under this category. The Affordable Arts line, priced at as little as Rs. 450, comprised reprints of poster art that we created with these artists. Products like coasters, notebooks, wall clocks, and match boxes are part of this line.

One of your collections features Bollywood posters. What led to your engaging the original poster artists?

NM: When we started the company, I was doing a series of mixed media art inspired from film posters, which is when we realized the film poster artists had completely disappeared. We started our hunt for them and gradually found a few. Wanting to use this beautiful art form in mainstream fashion I decided

fashion

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fashion

to do a collection inspired from the same. At the same time we realized we could not let such a beautiful art die such an easy death and so we set up a corpus which took on poster artists and paid them encouragingly well for every product we created. This is our way of doing something to save such a wonderful legacy of art.

Initially when we tried to talk to the poster artists they were very reluctant and did not have faith in our word. The artists had very bitter memories of the time when they were rendered jobless due to the sudden influx of digitalization. They did not want to associate with the art form again. Their sons were also not in the trade, though ironically enough, some of them were in the business of printing film posters. It struck us as really sad that while the father had spent time in the space of art, filling color into different moods of posters, their sons were mechanically printing out film posters without that emotion or passion for the real art behind this wonderful art.

54 POOL #36

‘Zeenat’ chair

fashion Must fashion always be about style or are substance and functionality equally important?

NM: Fashion, perceived to be a superficial space, is actually not. A lot of thought and research goes into creating seasonal trends. Actually, we all live within the realm of fashion, whether we know it or otherwise. Everything we wear is connected to that larger meaning of fashion that one sees on the runways. A set of designers may showcase a particular color predominantly in a season as forecast. You may not be a complete follower of fashion but you may like that particular color in a particular silhouette found in a small retail store round the corner. This has actually trickled down from the runway look into a simpler look.

So when you pick it up you are consuming fashion!

Having said this, fashion does not need to be over the top. It can also be about simplicity and the understated. So yes, fashion is also a lot about functionality.

As far as substance is concerned, I feel there is always substance in any stream of fashion. One cannot be shooting off the cuff all the time. There is always a reason for trends to circulate and evolve through time.

Where does New India Bioscope go from here?

NM: There are many interesting projects on the anvil‌theater, film, fashion, art. Who knows?

Let us cross our bridges when we get to them! www.poolmagazine.in  55

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accessory design

A SACKFUL OF SURPRISES Co-founders of ‘The Purple Sack’, designers Tanvi Gupta and Pratiti Bansal believe the sky is the limit when it comes to creating accessory and lifestyle products

How did you two meet and decide to team up?

T&P: We met at the National Institute of Fashion Technology (NIFT) in Delhi, where we were studying Accessory Design.

While we were still studying, we began to wonder what our future would look like. We definitely did not want to stick to a stereotypical job or wait for college to finish and then start something. With a rush of enthusiasm and zest running through our veins we could hardly wait to start laying down the foundation for our dream future. We had no plans, no fixed targets but went with our belief in each other and support from our families and friends.

What drew you to Accessory Design?

T&P: After 10+2, all we knew was we wanted to pursue design. With not much exposure, we did not know there were specializations for disciplines other than fashion. But, when it actually came down to choosing our specialization we knew that Accessory Design would widen our horizons and give us loads of further categories to choose from. We realized that with Accessory Design, the sky is the limit and we have a whole array of products, techniques and materials to play around with and explore.

www.thepurplesack.com 58 POOL #36

Tell us a little bit about your initial journey.

T&P: From classmates to friends, and then business partners, this journey really began with a trip from Delhi to Patiala where we were sent for a Craft Cluster to design juttis and come up with newer products using the same material, techniques and embroidery. As a team we decided to do a few matching

accessory design

bags to go with the Indo-Western footwear line that we had come up with.

The bags had to be manufactured in Delhi, since there wasn’t enough time in Patiala before the Cluster ended. While exploring every tiny ‘galli’ of Delhi, we realized if a college project could make us run on our toes, we definitely could stand on them for a career! We decided, as a hobby, to create a line of bags for ourselves, our friends and relatives and take a small step towards selling them at the flea market which had just started during those days. Every fashion freak wanted to shop there and we had a phenomenal response. We decided to do a few more exhibits. Slowly and gradually, we continued doing bags and ventured into different fashion accessories while college went on at the side. After graduating, we knew which path we had to walk on. A hobby that started by investing our pocket money starting shaping up into a career with a bright future.

How did ‘The Purple Sack’ come about?

T&P: About three years ago we renamed our venture ‘The Purple Sack’ – a

magical sack that you can fill with everything you need and satisfy all your accessory fetishes! We designed for Fashion Week designers, sold initial designs through the then-not-sopopular Facebook page concept, and since then there has been no stopping.

There was a gap in the market we wanted to fill with fashionable, trendy accessories and products at affordable prices. We wanted to create a brand for the young and individualistic; for people with a passion to look different and feel good. We saw a niche market for fun bags and accessories which are pocket friendly and unique. Our first collections had about 200 bags, each with a unique color and style. We initially started with clutches and now we have more than 20 product lines and more than 100 styles of bags…so we can now be called accessory and lifestyle product designers.

Do you have a design philosophy?

T&P: We believe in varied styles of art incorporated in design, keeping in mind each person’s taste. Our aim is not to miss a single trend, color or style in www.poolmagazine.in 59

accessory design

fashion, and design products that will keep people, their homes and wardrobes up-to-date.

We decided to start with customized bags and accessories for people with varied tastes. We then decided to put our individualistic styles to work and produce different collections of bags for individuals of every age.

What’s the story behind your designs?

T&P: While our prints have a story behind them, our collections of bags strictly follow the trends. We do not miss out on any trend, whether in terms of silhouette, utility or a color. For our graphics, we have a theme which we think people of our age can relate to. The Paris in Pink print has all the components of Paris and everything that one can remember from the movies, their trip to Paris or their desire to see in Paris. It’s pink, with poodles and pretty things. Our Sailor in Sea print has all the elements of the sea –shades of blue with pirates, ships, sea boards and waves.

Our Mardi Gras print, inspired from the Mardi Gras festival of Spain, has 60 POOL #36

masks and elements from a masquerade carnival. It’s happy, multicolored and totally refreshing. A visual delight, this is by far our best product! The cartoon quirky graphic has more than 50 faces with different expressions and moods and signifies a crowd where each person looks so distinct.

What kind of statements do your accessories make?

T&P: All types of people like the Naqsh collection. The word ‘Naqsh’ is derived from ‘Naqashi’, which means inscription. We all need that exclusive ‘it-bag’ for special occasions – and each bag from the Naqsh collection oozes oomph and utilizes hand-done techniques inscribed with the correct blend of color and pattern. Everyone who loves color owns a piece from our Printomania collection or at least plans to! The hand done, theme based and multicolored graphics are the USP of this collection. It’s not just an accessory, made from regular material or solid colors but a unique print which makes one feel exclusive. This collection has got us maximum popularity globally and people are always inquisitive about it.

What materials do you experiment with?

T&P: We have experimented with leather, leatherite, fabric, felt, jute, wood, metal, acrylic, sunboard, POP, yarn, paper, and cardboard.

What is the process of creation?

The first thought that comes to our mind is that our innovation should be par excellence. Our creation depends on how driven we are to have that product out in the market vis-à-vis the complexity of the creation. A thought is converted into a workable design that is both commercial and fashionable. We then study the trends and do market research. We decide which material the product needs to be crafted in, and with what surface technique. Then for each product we strategize the order of things that we need to do - sourcing of materials, trimmings, getting the surfaces done (printing or embroidery), getting the bags crafted with utmost importance to lining, chains and last finishes, packing each bag separately and stocking it at the warehouse, and lastly, the photo shoot.

How do you retail your creations?

T&P: We retail through various stores – Kimaya in Juhu, Mumbai for our Naqsh collection; our Print collection is available at Rio Grande and Mizansen in Delhi, and Bliss in Mumbai. We also sell online through our Facebook page and various online portals such as Shopo, Shopinonit, Fabity, Bagthetag, buynbrag, and Indiebazaar. Our website is under construction.

What do you love most about your work?

T&P: We both work on impulse. People take it as a negative trait but we feel the first thought is the one which has the most potential. So our impulsive thoughts drive www.poolmagazine.in 61

accessory design

us and without losing time, we are on the run to explore a new place or try out a different product or start working out the details for a concept. The suddenness of things keeps the thrill going.

What does the future hold for you?

T&P: We aim to be a brand with a chain of boutique stores catering to every individual’s fashion and lifestyle need.

We hope to successfully brand ourselves with innovative business ideas against old school fashion techniques. We plan to venture into more product lines and other arenas of design such as space, interiors, furniture, and wall accessories.

We also plan to have our own studio cum workshop where we can do all the experimentation while attending to clients and meetings. We plan to have a team of designers, with no hierarchy 62 POOL #36

in the set-up, where each one’s ideas are considered and each designer takes the ownership of the work and works to the best of his/her abilities. We want to create a fun environment, where everyone has the freedom to ideate, experiment and produce prototypes. We want to create a workshop where anyone can work on the first idea that comes to their head, with no restrictions on materials and resources.

We’d love to put our ideation into making more utilitarian, esthetic and visually appealing products for men. We also have a dream of having our own cafe called ‘The Purple Shack’ – it will serve out-of-the-world delicacies! One line that inspires us all the time and keeps us marching forward with a bigger vision and a higher dream each day is ‘The sky is the limit!’

designer on the road

Designer on the Road, Cagri Cankaya dares to experience bull fighting in a country where ‘everything is alright’! www.designerontheroad.com

Costa Rica was to be my first stop in Central America but I missed the flight from Colombia because I had lost the yellow fever certificate!

I wasn’t allowed to get on the plane, and since it was holiday time in Colombia it took three days to get a new certificate. I eventually arrived in Costa Rica and met with Ricardo and Neftali who are partners of Quazar, the rapidly growing boutique digital advertising company where I was to work. Things went well after that. Neftali moved into his parents’ house and gave me his own house to live in.

They have a motto in Costa Rica – ‘Pura Vida’, which means ‘everything is alright’. You can hear these words hundreds of times in a single day.

In the beginning I liked it. I thought it would be very easy and nice to live there since they don’t take things so seriously. But Pura Vida affects everything here…including weekend plans and relationships. Sometimes it can make you mad! The people are much more relaxed and chilled out than almost anywhere else.

Basically Costa Rica is a small country with lots of green, untouched nature, and friendly people. The climate is nice, and the air quality is among the best in the world. Around 25% of the country’s land area is in protected national parks; the country has the highest percentage of protected areas in the world. It has some amazing beaches and a lot of adventure activities. Rafting in the famous Pacuare river is one of the fun things I did there. I discovered an amazing activity in Costa Rica that is not recommended highly enough in any of the guide books Costa Rican bullfighting, commonly called ‘Toros a la Tica’. To call it bullfighting is actually a misnomer because there is no fighting, just a lot of running around and looking like an idiot! The rules are simple: you can’t hurt the bull, but the bull can hurt you. When I said I wanted to try it, everybody in the agency was shocked! None of them had ever done it and I understood why when I was in the arena. I looked like a sissy, a mommy’s boy compared to all the other people with gansta haircuts, and tattoos and scars all over their bodies. It was basically a place for people who wanted to die! I was lucky to survive.

In my three weeks in Costa Rica I worked on an application called Perminova to track and manage patients and doctors of a hospital.

Any hospital can buy and use this application to improve their services.

It was interesting to study and understand the needs of the hospitals and doctors.

Costa Rica is the most ‘easy living’ Central American country, but now it is time to move on to Honduras. Let’s see what happens there! Till next month – cheers! www.poolmagazine.in 63

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