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Collin Wright pg 30 | Photographed by Kurt Langer Ashish Kalpund 02 Cagri Cankaya 09 Mihir Bholey 10 Tanay Kumar 14 Divya & Navya Niranjan 24 Mandeep Nagi 44 Revati Gangal 52 Omkar Chitnis 58

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Collin Wright pg 30 | Photographed by Kurt Langer Ashish Kalpund 02 Cagri Cankaya 09 Mihir Bholey 10 Tanay Kumar 14 Divya & Navya Niranjan 24 Mandeep Nagi 44 Revati Gangal 52 Omkar Chitnis 58

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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.

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Education During my recent interactions with management executives and management students I realized something that has been bothering me for a while. All our education (not just for management but for other streams as well) is about learning things and processes and procedures that happened in the past. Case studies, analysis, facts, listings...students are taught about how to look at the past. They can find material, look for articles and celebrate people who have performed. What is missing (and in my view that’s a big thing) is how to look into the future. How to learn from the past and use that to create a future. They are missing the art of looking at trends, forecasting and predicting. I also find that most faculty does not understand this concept either. In my view this kind of education will only produce good followers and will not create leaders. Regular but simple classes and lectures on design thinking can bring about a sea change. Students need to learn to experiment, and accept that failure is an important part of learning. They need to be taught to be comfortable with fuzzy concepts. Unlike the past, the future is not one definite concept; it is open and free. We can make the future happen. I hope more and more colleges will try to integrate creativity and design thinking workshops into their courses.

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NO typeCASTING Graphic designer Ashish Kalpund believes the diversity and spontaneity of advertising helps hone his skills

How did you get interested in graphic design? AK: When I was a kid my mother never punished me for drawing and messing up the walls. In fact, she rectified my drawings and helped me draw better. She has preserved all my drawing books, sketches of stick figures, birds, animals and many imaginary things. My love for drawing later became my hobby and now it’s my profession. As I grew up I came across many fields related to drawing, one of them was graphic design. The subject was so interesting - its endless possibilities intrigued me. I ended up taking admission at Sir J.J. Institute of Applied Arts, Mumbai, from where I graduated in 2009 with a Typography major. Currently I am working with Taproot India Communications Pvt. Ltd. as an art director. It’s been four years since I joined Taproot. I consider myself very lucky to have got a chance to work under Santosh Padhi and Agnello Dias and at a very early stage in my advertising career. Whatever I am today is because of Taproot and my mentors Paddy and Aggie. At Taproot I have worked for clients like Pepsi, Times of India, Mountain Dew, Set Wet, NGC and Fox History Channel. What kind of graphics appeal to you? AK: We live in a country where everything is so colorful, vibrant and rich with graphic imagery. Graphic design has become part of our daily life; this inspires me at the every step, especially while walking on Mumbai’s streets. Raw, organic style graphics inspire me the most, such as movie posters, 2 POOL #39

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graphic design (L-R) 1. NIRMA Promo ‘BROWNISHORANGE’ 2. SET WET After hours - promotion

hand painted signboards outside shops, typography done on pull carts. While technically these might be wrong in terms of proportion and alignment, they are still the best references that any graphic designer could use. How do you go about conceptualizing a brief given by a client? AK: I believe advertising is very spontaneous - you might crack a Canneswinning idea in your dreams, while walking on crowded roads, or even while doing your morning rituals! That’s why I decide my work process after getting a brief since every client is so different from

the other; a pre-decided process might restrict my thinking. When I get a brief from a client I do my little research on the brand and its behavior in the market, what the brand is and how brand and audience perceive each other. Then I see what kind of work has been done before for the same brand. Who are the competitors? What are they doing with their brand? After all this basic background check on brands, we start brainstorming. Are you enjoying the advertising experience? AK: Yes, I am! Being in advertising I can say that my work style doesn’t get www.poolmagazine.in 5

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(L-R) 1. Earphone Font | 2. Kundankari Font

monotonous. Every day I learn something new. Every day I have something different on my plate to deal with, which matures my skills and abilities to deliver better every time. You have worked for some major brands. What were the challenges? AK: Every brand has a story to tell and every story teaches you something new every time. I enjoyed working for these clients and I’ve done many interesting projects for them. The only challenge for me was to follow brand guidelines - sometimes they take out all the liberty to try something new. Which has been your favorite project so far? AK: Working on the Pepsi ‘Change the Game’ World Cup campaign was the most memorable time of my life. I met many cricketers for the first time and interacting with them was a dream come true! This is the advantage of being in an ad agency you get to meet famous people as well as artists located in very small, remote places who are masters of their work. Do you think there is a certain amount of disconnect between designers and advertisers in India? AK: I think design and advertising are two sides of the same coin; there is a very thin line between them. People from both fields are aware of things that are www.poolmagazine.in 7

graphic design

Client : PEPSI PEPSI MY CAN DIWALI EDITION 2011 & CHANGE THE GAME - Promotion

happening in the market. The only thing that differentiates design and advertising is the application or the execution of the idea or solution for the given brief. What excites you about the future of design in India? AK: Technology has changed the face of today’s design. It provides you endless possibilities to explore. Design has become more of an innovation than just drawing logos, designing books and layouts. The Indian market and audience are still in the process of accepting the new features that 8 POOL #39

technology offers; Indian clients still like to go the traditional way and Indian designers don’t get to explore most of the technology. What excites me though is the amalgamation of our tradition, culture and technology. What’s next for this young designer? AK: I am currently working on a promo project for Set Wet. I’m also thinking of joining Royal Academy of Art, The Hague, Netherlands for a Master’s in Typeface Design. I hope to start my own design studio one day! kalpund.ashish@gmail.com

designer on the road

guatemala, Central america

Cagri Cankaya takes up cudgels for his colleagues on the last leg of the third route of his unique world tour www.designerontheroad.com

Guatemala City was the last stop on my third route. I had been away from home for six months and was feeling a bit tired physically and emotionally. However I was quite excited about visiting this exotic Central American country with its mystical Mayan culture, lots of traditions, and unique handicrafts. However, things got a bit complicated there. The agency was dealing with very short deadlines and people were doing everything the clients or their bosses wanted. Most of the people were unhappy but they couldn’t do anything to change things. I had seen similar situations in network agencies around the world but here it was a bit more hardcore. So I decided to be their voice and wrote an article on my blog about what was happening. The agency split into two parts: those who hated me and those who thought I rocked! I felt a little guilty because it was like biting the hand that fed me, but I wanted to do something to help the situation. Another disappointment for me was the general behavior of the people when it comes to promises. Most of the time people don’t do what they have told you they will. That was really hard to deal with it; my word has a value and if I say something, I do it. In Guatemala sometimes things don’t work like that. Perhaps they just can’t say ‘no’, so they say ‘yes’, and then disappear at the last minute or they find an excuse.

Over the time I made good friends and got more used to Guatemala. I shopped, traveled a lot, drank the best coffee in the world, made two presentations about my trip and design work, and saw some strip clubs. I visited the peaceful small town of Antiqua which was much more interesting than Guatemala City. Cafe Tacvba, a famous Mexican band, was having a concert, which I attended. They were awesome! I was totally amazed by their stage performance. I also climbed an active volcano called Pacaya, where I cooked marshmallows over the lava, and enjoyed the spectacular view! I met an accessories designer who created jewelry out of lava. I felt like I was on the top of the world! I think nature and natural beauties are the most wonderful part of Guatemala. It’s a small country but has 38 volcanoes! Its Lake Atitlan is one of the most beautiful lakes on the planet. I bought a giant handmade wooden cat from Antiqua and carried it all the way back to Turkey. Perhaps the bad karma I caused in Guatemala caused my money to be stolen on my way back to Turkey. It was a long journey via Costa Rica, Colombia, and Brazil, and my money was stolen in Colombia, Bogota. I felt terrible. I had started this trip with no money and after three routes, this would have been the first time I was going back home with some money. I started broke and I came back broke. But what happened on the road stayed on the road and I had to move on. Hope to see you here again next month because I will have some interesting things to relate... www.poolmagazine.in 9

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opinion

Mishaps may recur if the right lessons are not learnt from them. The recent MidDay Meal (MDM) mishap which saw 23 school children dead in Bihar is still fresh in our memory. Since it was not a natural calamity, it could have been avoided, provided the systems were properly designed. They were not, hence the disaster. But aren’t disasters good lessons for design as well, particularly when the application of design is meant to be more strategic than cosmetic? Perhaps design analysis

DELIVERING PUBLIC POLICY: A DESIGN CASE STUDY

Mihir Bholey makes a case for public policy and design to meet half way in order to be truly effective 10 POOL #39

opinion can help us understand why systems fail our policies so often and with such impunity. Disasters of such nature happen because the execution of policies often lacks a fool proof mechanism and preparedness to meet exigencies. To mitigate probable future disasters, can public policy and design find a rendezvous mid-way and innovate effective service design models?

enhance the efficiency of public services is being argued in many countries. The UK Design Council report on ‘Design for Public Good’ emphasizes that ‘Given design thinking’s potential to make policymaking more agile and reduce the risk of new policy implementation, it is vital that these approaches continue to be tried. The good news is, this can itself be done with little risk, at low cost on a limited scale’.

A welfare state assumes the responsibility of delivering wide ranging services to the people - from MDM to healthcare, primary education to the public distribution system, and so on. Consequently, the touch points of public service also multiply. However, to maintain a high level of service delivery is a major challenge in the absence of an efficient service design model.

Policymakers may find acquiring design skills useful to reshape and modify the services they are responsible for. Design may offer a fresh approach to rethink policy and reformulate the unwieldy service delivery mechanisms. As such, design intervention in implementing the MDM program would have been far more efficient and safer. Not only would it have maintained the logistics and supply chain management and designed cost effective, safe and hygienic kitchens, but it would have also considered the risk factors and their remedies. At no stage design is intervention supposed to supplant the role of policymakers; rather it is meant to strengthen it. The role of design in the policy domain could be one of identifying discrete problems, building the capability to handle them, and developing mechanisms to deliver services even as enormous as the MDM program.

Service design, which applies design’s holistic creative approach of problem solving from planning to execution with innovative use of infrastructure, organization, products and systems, may be a new concept in the policy domain. Nevertheless, it can be of great help in streamlining the process of policy implementation, particularly those which are likely to create havoc with inept handling as in the recent MDM mishap in Bihar. Policymakers in many developed and developing nations are busy finding new and more effective methods of delivering public service. Designers on the other hand are trying to address development needs by looking at problems rather than solutions. Both have something in common – the commitment to deliver services in an efficient and risk reducing manner. Therefore, the need for public policy and design coming together to

The sheer enormity of scale makes MDM the world’s largest school feeding program. In the year 2012-13 the scheme received a central budgetary allocation of Rs. 10,867.90 crore to feed 12 crore children in approximately 12.65 lakh schools through the country. This policy of ‘social altruism’ reaffirms our commitment towards the Millennium Development Goal of universal primary www.poolmagazine.in 11

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opinion education for children. But in developing nations, which also suffer from instances of abject poverty, affording the cost of education is often a deterrent. Mexico, South Africa, and Bangladesh among others also have policies like MDM which relate food and nutrition to education. In Mexico this is called PROGRESA (Programa de Educación, Salud y Alimentación); initiated in 1997, it provides cash incentives to rural households on the condition of satisfactory school attendance of their children. The outcome was heartening both in terms of encouraging poor children to attend school, and in the significant impact on their food consumption. PROGRESA beneficiaries reported higher calorie consumption and a diverse platter which ensured more intake of fruits, vegetables and meat. Bangladesh’s Food-for-Education program has also positively impacted children’s participation in school; it has led to 17.3% increase in attendance rate for boys and 16% increase for girls on an average. Obliged to under its constitution, South Africa initiated its National School Nutrition Program (NSNP) in 1994, which provides access to quality food and basic nutrition besides good basic education as stipulated in its National Educational Policy. It covered 20,815 primary and secondary schools in 2011 and fed 8,281,927 students for 182 days as per the NSNP annual report. The impact has been phenomenal. The rationale and efficacy of MDM is unquestionable. However, despite exhaustive operating guidelines, why does it seem so vulnerable? The MDM statistics look awesome. Under the National Program For Nutrition Support

to Primary Education, 577,000 kitchens were set up all over the country, with 24 lakh cooks to feed 12 crore children. The Planning Commission’s Approach Paper for 12th Plan period (2012-17) summarizes that children in rural areas in the age group of 6 to 14 years not enrolled in school dropped from 6.6% in 2005 to 3.5% in 2010. The proportion of girls in the age group of 11 to 14 years not attending schools also declined from 11.2% in 2005 to 5.9% in 2010; all these are largely due to the MDM program. The challenge for design intervention in this policy implementation arises from analyzing its systems level requirements and then innovating a service design model which discovers, defines, develops and delivers. In other words, it discovers the problems, defines the nature of the problems, develops appropriate methods to deal with them at different levels, and finally delivers what is intended. Roberts Peters rightly states, “Design is the application of intent – the opposite of happenstance, and an antidote to accident.” It’s time for public policy and design to find a rendezvous half way. However, for this design itself will have to be refashioned as a social process meant to deliver larger social good rather than esoteric esthetic delight. Policymakers on their part will have to infuse design’s DNA at various stages of policy process and leverage its creative prowess to deliver larger social good. (Mihir Bholey is a Senior Faculty of Interdisciplinary Design Studies at National Institute of Design, Ahmedabad) bholey.mihir@gmail.com www.poolmagazine.in 13

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case study

USER FRIENDLY

Design entrepreneur Tanay Kumar, Creative Director and Partner at Fractal Ink Design Studio, talks about the relevance of Interaction Design, and takes us through the recent rebranding of Hindi news channel IBN7

What inspired the move from architecture to digital media? TK: I think shifting to digital media happened a bit later; the first shift happened during the final year of my graduation (B. Arch from BIT Mesra) when I realized that graphic design is something that excites me more than space design. After graduating I worked in a couple of architecture firms where I kept being drawn to animation and visualization more than blueprints and PoP models. This led me to consider higher education in this direction to be able to pursue this option more seriously. I was accepted into the M.Des program at IDC, IIT Bombay where this direction to move towards HCI (Human Computer Interaction) got cemented further. What excites you most about UI (user interface) design? TK: The most exciting moments are when you see your design being realized in the real world and with real people. When you see your design affecting lives and solving problems of the world is when you feel useful. During the design process, designers rely on their intuition and knowledge of the world to build a hypothesis and create solutions based on that. You get most satisfaction when you see people responding to that and taking it to a level which you never thought of. The unique mix of working with cutting edge technology and design also makes UI design a very exciting field to work in. What is the scope of the UI design industry in India? TK: India has the second largest mobile market in the world with a total of 906.6 m users and 699 m active users at the 14â&#x20AC;&#x192; POOLâ&#x20AC;&#x201A;#39

case study moment. In the last decade we have seen a tremendous change in the way people interact with technology. Today, access to cutting edge technology and devices is no longer limited to only the privileged class. India is a unique example where the mobile market penetration has created B-school case studies and global board rooms quiver with the market potential of this 1.2 billion country. Whatâ&#x20AC;&#x2122;s even more exciting is that it has penetrated all walks of life and through all strata of society. Technology has such a huge impact on our lives that it has gone beyond being just science. Mobile solutions and applications are used across various traditionally human driven functions from health care to education. As technology becomes indispensable to the way we interact with and enable each other to arrive at solutions to all these problems, the need to ensure that form, function and esthetic resident in good design becomes a part of every technology+service-based product we develop for the market. Today technology with uni-directional

www.poolmagazine.inâ&#x20AC;&#x192; 15

interaction with them has reinforced our belief that corporate India is hungry to harness technology to reach out to its customers and interact with them in a way that they have not been able to before. They wish to innovate in the way people can now interact with technology; for instance, touch and gesture based models. UI designers help bring these innovations to people by effectively marrying interaction models to behavioral patterns, and present solutions in a more human context where they are able to connect them with their lives and not just be awed

design without taking into account people’s behavior, culture and social contexts limits people’s ability to access the best out of what the technology service offers. The crucial link between the best technology and the common man’s ability to access that technology is then function-led design by expert designers who use design and UX as a problem solving tool. These experts are able to effectively marry technology with contextual needs to evolve solutions, which can change the lives of people. User Interface/Interaction Design forms this important bridge to close this circle effectively. Today we have access to the biggest names in technology in the country. Our 16 POOL #39

case study

by them. The scope for interaction designers is very huge considering India is on a strong growth path and the need for such experts is much more than before. Is interaction the next game changer in the design industry? TK: As I mentioned earlier, access to technology across all strata of society is the real game changer across the world today. With bandwidths getting better and cheaper, we will come to a day soon where real time video communication between people will become commonplace. Content will be customized to the individual, and the customerâ&#x20AC;&#x2122;s preferences will be pandered to. The customer is already king, but soon the customer will get even more demanding as more and more choices are available to him at the click of a button or a tap on his phone. When all things are equal, design is the differentiator. The way a customerâ&#x20AC;&#x2122;s needs are addressed, and the comfort with which he can find what he wants will drive his decisions. The

entire experience between digital communication and the customer is defined by interaction design. Consequently, providing good user experience has become one of the most important factors in deciding the fate of any product (digital or offline) right from the start. In contemporary times, if not planned carefully it has the ability to break any good business plan. We as design professionals have a strong belief that it is not only important to innovate, but equally or probably more important to have a connect with the people and culture to be able to win their hearts. This is where interaction design as a discipline has an ability to change the way we perceive products or solutions. Moreover, if you step away from the obvious benefits that the product company gets in enabling the consumer to interact with it effectively, one will appreciate that good UX and design serve a higher purpose of allowing the consumer to imagine possibilities, navigate through solutions, and arrive www.poolmagazine.inâ&#x20AC;&#x192; 17

case study

at better decision making. Beyond the convenience factor and the brand loyalty that it builds, it also ultimately allows the consumer to have a broader worldview of the product’s place in the context of his/ her needs and the possibility of getting more than what he/ she is actually expecting.

and Interaction Design is just the start of a big journey through which a product goes. In recent times we have seen big names such as Google, Microsoft, Facebook, etc. giving User Experience design and Interaction Design its right due; they have big teams dedicated to this discipline.

What is your advice to young designers interested in interaction design as a career option? TK: Interaction design as a profession has great opportunities in today’s times. With technology innovation at its peak, we are witnessing a lot of companies investing in attracting good talent in this domain so that they can effectively reach their target audience.

Working with clients like Microsoft, Samsung, Disney, ICICI Prudential and ICICI Direct has given us an insight into the efforts that large corporations like these put into reaching out to their audiences. They want the best possible teams working on their communication and applications, and this need is only growing.

Unlike other disciplines of design, interaction designers have to work with many other disciplines to be able to effectively see their vision being realized. User Experience (UX) design 18 POOL #39

Interaction designers can start their own studios or get connected with digital agencies like ours, which provide similar services in the industry and offer huge opportunities to work on various kinds of challenging products and platforms.

THE IBN7 STORY About IBN7 IBN7 (Indian Broadcast Network) is a very well known Hindi News Channel, part of the Network 18 Ltd. It was launched on August 15, 2006 as a joint venture between Channel7 and CNN with a tagline of ‘Khabar, Har Keemat Par’. Challenge The challenge was not to just create a fresh new look, but to re-imagine it in a way that helps to reposition IBN7 in this arena with a distinct identity. One of the key challenges was the speed at which these companies have to operate due to the nature of business. The internal design team, which has a responsibility to keep churning out layouts at lightning speed, claimed not to have enough time to produce quality graphics. The challenge then was to solve the day to day functioning in an innovative manner which allows designers to overcome the problem of time. The company also had the challenge to establish their new tagline ‘Babaak. Bekhauf’ (bold and fearless) through this exercise. Strategy Fractal Ink was tasked with coming up with a unique identity which establishes new standards in the Hindi news arena. CEO Dilip Venkatraman was the main driver for this redesign exercise. Research The redesign exercise started in January 2013. We spent close to two months at

the IBN7 premises in Noida (Delhi) to be able to effectively absorb its culture and its modus operandi. We interviewed people from journalist to designers to technicians who are involved in the day to day functioning of the channel. The research also involved capturing the current issues and problems that people faced at each level and tried to articulate them as problem statements for us. We studied what other channels are doing and what is the perception of people outside this community. This helped us pinpoint problems not only from inside but also understand expectations from an audience perspective. Exploration The problem statement was broken into hard action oriented tasks so that we could address them more effectively. Among others, these included designing a new logo; redesigning the font; coming up with a new look for the channel; designing and executing simple, effective and world class animations; and integrating advertising and sponsorships with content. We deconstructed the whole interface, which was currently on air to understand how journalists and designers are interpreting it to deliver news. We tried to understand why all news channels end up looking immensely cluttered on the screen and fail to communicate effectively to the final audience. We also studied limitations of technology www.poolmagazine.in 19

case study

and technicians so that whatever we designed shouldn’t just remain goodlooking Photoshop documents. Concept IBN7’s new logo is a reflection of its brand new positioning that has been planned to help reiterate its brand vision and philosophy. As a news channel it needed to project itself as fearless, bold and unbiased in its reporting. In its current avatar the communication was getting lost due its flat hierarchy formed by the placement of its elements. The new logo is woven around these thoughts and concepts and brings out a fresh look which not only establishes IBN7 as more bold but also helps position it in a contemporary light. During the redesign exercise we were challenged to come up with one unique 20 POOL #39

element, which would bind and flow around the whole channel to produce a unique identity. We chose a ribbon as that element which by its nature is fluid yet with a dimension and a definitive direction. Its ability to mould itself around other elements conveys fluidity and adaptability. We interpreted this element uniquely to form the number ‘7’ which now by its placement and use comes across as strong, bold and contemporary. We were also able to run this new element across the whole packaging which helped us bind the whole channel into one unique look. This fresh new look of IBN7 is intended to help brand recall. The visual boldness of 7 reiterates that there is nothing shy or hesitant about how the channel approaches news and reporting. The styling of the logo is very contemporary in its clean lines while the colors are from the Network18 palette which binds it back to the mother ship. Result A new font called IBN7 Kohinoor was specially designed and tweaked for transmission. For powering animations we worked with the internal team and Grasshopper Media to create some out of the box storyboards and animations for the channel. The result was a fully integrated new look for IBN7, which had definition and identity and was unique in many different ways.

Tanay with CNN-IBN’s Rajdeep Sardesai

Reactions from IBN7 representatives “The defining value of IBN7 which projects fearlessness, boldness and an unbiased approach will now reflect in the channel’s everyday reporting. India’s Channel of Impact, with its refined positioning, will continue to stand out from the rest.” - Network18 Media CEO Sanjay Dua “The channel has been fearless in its reporting. The new slogan has a

Fractal Ink team

sharper focus which is clear in stating what it wants to offer to its viewers. The logo has been designed keeping in mind different screens with the rise of convergence of media. The new font, which has been designed especially for IBN7 will be used across the channel and is also designed to appear outstanding on the digital platform.” - IBN7 CEO Dilip Venkatraman tanay.kumar@fractalink.com

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fashion

Fashion designers Divya and Navya Niranjan have drawn up an eye catching sartorial plan!

What is your blueprint for fashion? D&N: We believe style and functionality go hand in hand. A style statement is not only about a headturner outfit, it’s also about how well the person wearing it carries it off. If the person wearing it is uncomfortable, it shows. Hence, we believe in stylish but functional silhouettes. What inspired you to pursue fashion as a career? D&N: I have always been interested in fabrics and the way they are transformed via design into clothes. I have never had formal training in fashion designing – in fact, I have a Bachelor of Corporate Secretaryship degree. I was offered the role of production manager with a leading designer in Chennai and that is where I really came into my own and discovered what I wanted to be. After a couple of years of gaining the requisite experience I decided to launch my own label in partnership with my sister, Navya, who has a M.A in Mass Communication and is now based in Santa Clara in California. Why did you call your label ‘Blueprint’? D&N: Every design requires a sketch, which is also called a ‘blueprint’ and that became the name of our label. Our label offers a high-quality, high 24 POOL #39

fashion (L-R) Autumn/Winter 2013 collection ‘The Mad Hatter’ 1. ‘FLAMINGO’ Peplum style knee length dress with thread work embroidery and metal sequin work on the bodice 2. ‘ROCKIN’ HORSE’ A close neck with one side collar flap wrap around dress with elbow length sleeves

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(From top L-R) 1. A close neck madras kaapi digitally printed dress with separate belt 2. Veshti inspired skirt teamed with a top with an asymmetric detailing 3. Band gala shrug teamed with digitally printed madras print georgette pants 4. Zari detailing on a checks top attached to a digitally printed madras print silk ruches skirt (Left) Sketches

26â&#x20AC;&#x192; POOLâ&#x20AC;&#x201A;#39

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(Top-Bottom) Mad Hatter Collection 1. ‘WHITE RABBIT’ | 2. ‘CRAZY TEA POT’

style shopping experience that caters to both women and men. Blueprint is a fashion house that defines cosmopolitan glamour - a blend of classic sophistication and urban luxury. What attitude do your designs convey? D&N: There is an elegance in simplicity and we at Blueprint strive to achieve that. We have a flair for putting together

and pulling off the most sleek and basic styles, denoting a penchant for functionality, simplicity and class. Blueprint is a cocktail of traditionalmeets-contemporary-stylishsilhouettes. We take inspiration from both the traditional and the new trends. We also love bold color and prints. www.poolmagazine.in 27

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design mark fashion

Mad Hatter Collection, ‘BUTTERFLY’ Band gala dress with pin tucks on the bodice and an ‘A’ line attached skirt

What are your favorite colors and fabrics to work with? D&N: There is no one color to love colors change according to season. We used a lot of neons in our Spring/ Summer ’13 collection and a lot of earthy tones for our Autumn/Winter ’13 collection. We love working with printed cottons and silks - garments made from these fabrics have a beautiful fall. Can you briefly describe your creative process? D&N: For us its always love at first sight! Beautiful fabrics bring out the creativity in us; we then create designs around these fabrics. There is no better inspiration than colors and prints. The theme is set based on the tone of the fabrics. Where can we find Blueprint creations? D&N: We are currently retailing from SohKoh Clothing Inc, Chandigarh;

Nautanky, Ahmedabad; and Tadpolestore.com . Online marketing has played a huge role in promoting our label. We have a facebook page, and a blog that gets a decent number of hits everyday. We’ve run contests online offering makeovers; giveaways also get us visibility. Where is ‘Blueprint’ heading? D&N: We believe that you must find the thing you’re most passionate about and then go get it. Remember to always follow your heart and pursue your dreams. Believe that great things will follow. For now we would love to take part in a fashion week, and are working really hard towards that. We hope to keep growing, and hopefully, inspiring! navya@blueprintcoleccion.com divya@blueprintcoleccion.com www.poolmagazine.in 29

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cover story

30 POOL #39

cover story

Colin Wright is a minimalist with a simple life plan – he travels the world and makes a living out of writing blogs! Moving to a new country every four months based on the votes of his blog readers, he spends his time on the road designing, writing, learning, and pursuing as many new experiences as possible. Here he shares with Lidia Dancu his India experience and how he stays true to his own philosophy… Through a number of fortunate strokes of serendipity, I met Colin Wright in Romania in the summer of 2012, not long after he had returned from living in Kolkata. The person who introduced us over the internet referred to him as a ‘complete gentleman’ and I was more than a little curious to find out how a young American designer who made a living out of writing blogs and traveling the world could fit that description. I was lucky enough to spend many hours speaking to Colin on various subjects ranging from his love of travel and science to gay rights and the raw food movement and somewhere in between, we discussed design and writing and life philosophies and the time he spent in India. So who is Colin Wright? Entrepreneur, designer, writer, publisher, thinker, teacher, intrepid traveler, trend-setter and innovator in life-design are just some www.poolmagazine.in 31

cover story

Book by Colin Wright

of the labels that would apply to him. What strikes the most is his humility juxtaposed to his intelligence, knowledge and life experience, especially for one so young. A courageous young man of 28, Colin has the gumption to live his philosophy, his ‘lífspeki’. This Icelandic word, one that Colin picked up along his travels, translates roughly as ‘the practical philosophy by which one lives their life’, the walk that’s walked as opposed to the talk that’s talked. That set of values we all claim to own, but in an actionable form. And Colin is, above all, a walker of walks if there ever was one. Originally from San Francisco, he was raised in Columbia, Missouri where he studied graphic design and illustration. In his teens, he started his first business - a magazine, at the age of 19. On graduating, he used that experience to 32 POOL #39

look for jobs and finally chose one that offered him greater challenges and gave him the opportunity to move to LA. A year later, he started his own design studio where he focused on sustainable design practices and methods and which he eventually converted into a branding studio. “That studio did incredibly well, incredibly quickly and had me working 120 hours a week before I scaled it down so that I could run it from my laptop and from anywhere in the world, in 2009. That was the same year I started traveling full time,” he recalls. At the relatively tender age of 23 Colin knew what his priorities were and how to make practical use of that knowledge. He began by redesigning his lifestyle to become a ‘minimalist’. He reorganized his working life, he stripped things down to the bare minimum, almost yogi-like

cover story

“Today is the day you make the rest of your life happen.”

(work, home, relationships) and finally sold and gave away possessions in order to arrive at a ‘free’ space which would allow him to live life in a more meaningful way. He created a blog and asked his readers to vote on destinations. He lived and worked and played all over the world and then wrote extensively about it. And the ranks of his followers swelled. How does minimalism fit in this picture? “Design has always been a part of my life; the minimalism came later,” he says. “And the way I design my life definitely stems from being trained as and working as a designer. Once you think in systems - in pulling apart concepts to figure out how to best communicate them to someone else you don’t stop doing it just because you’re not at work. I started going through the same process for my life, and minimalism (though I didn’t know that’s what it was called at first) was the natural result. And the style ‘minimalism’ is really the

same as the philosophy - you remove the unnecessary and leave only what’s vital to achieving what you hope to achieve.” Can minimalism be viewed as a drastic approach to both design and life? “Buddhism has been a major influence on me - the idea of finding that balance and making it a focus. The middle path, for example, is much easier to achieve when you know what the extremes are. It’s also much simpler to find balance when you’re able to remove the excess; the unimportant,” says Colin. “To me, ‘minimalism’ is a way www.poolmagazine.in 33

cover story

to make sure I’m spending my time, resources, and energy on the things that really matter. When you don’t own much, or have a bunch of extraneous relationships in your life, the stuff and people you have left are of vital importance. They’re the ones that really make you happy, and which you get the most out of having in your life. Balance is really important to me, and minimalism has helped me achieve balance of a sort I’d never experienced before. Like anything else, you have to be careful that you don’t go crazy with minimalism in the same way you probably shouldn’t go crazy with consumerism; neither one is 34 POOL #39

inherently bad - but the extremes of both become questionable.” Looking at design as a metaphor for life, minimalism appears to be a twoway process, one of deconstructing and reconstructing, of minimizing the (outer) clutter in order to maximize the (inner) experience. But is this some sort of rebellion? “Honestly, I never really saw myself as a minimalist until other people started calling me that. Part of that is because it’s a reductionary term: if you own fewer things, you’re a minimalist. That’s not strictly true, of course, but it happened to be in my

cover story

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cover story

case, since I was applying that practice not just to my stuff, but to every aspect of my life. Interestingly, minimalism is usually more of a byproduct than a main focus for people who really make use of it - you’re looking to align yourself with your philosophies and goals, and in doing so, you tend to ignore a lot of the distractions life throws your way. It’s definitely not a form of rebellion; I frankly couldn’t care less if anyone else does what I do, and the only reason I write about it at all is because so many people ask me about it, and how they can achieve that same kind of focus! That being said, I’m always open to new philosophies, if they make sense. Interestingly, though, you don’t need to shed minimalism in order to incorporate others; the only thing it’s not really compatible with is rampant consumerism, and that’s more of lack of philosophy than philosophy.”

being the exact antithesis of minimalism - here, more IS more and value is most often to be found in accumulation and abundance.

After having lived in Argentina, New Zealand, Thailand and Finland, India was the next destination Colin was destined for. One that would make for an interesting experience for a minimalist, with the vernacular design experience

In conversation, we touch on India’s religious and philosophical influence on its designers. “India’s design is definitely influenced by its background as a nation of many religions and that, to me, was a beautiful novelty of the kind you can’t

36 POOL #39

“I was thrilled when India was voted as the next country I would live in for four months! I had been meaning to visit the country for some time, and I knew there was a lot going on locally, and on an international scale, for the country and its people. I knew a lot of very talented Indians that I’d met on my travels, as well, so I wanted to see what kind of culture spawned that kind of talent. I ended up choosing to live in Kolkata because it seemed to be a large city that was still fairly undeveloped, at least compared to Mumbai and Delhi. I got the impression it hadn’t yet been westernized to the point that other major cities had been, and that’s what I wanted to see.”

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Logo

really find in many Western countries,” he remarks. “I’m not a religious person, but there’s something very distinctive about modern designs that make use of traditional ideas and characters to convey messages. Not all of them were obvious in meaning to me, but I could tell the locals understood the inside jokes and references being used liberally throughout the design and artwork in the area.”

Poster

He continues, “In terms of design, in India it felt like how things must have felt back in the ’50s and ’60s in the US, where we were just coming out of a victory in World War II, and our factories were operating at full efficiency. The markets were flooded with stuff people didn’t need, and marketing had become a real force, convincing www.poolmagazine.in 37

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Logo

people to buy all the stuff those factories were producing. The obsession with consumption and the need to buy whatever knick-knack one can get one’s hands on in Kolkata was overwhelming to me. I understand where that drive comes from, but the impact that obsession is having on the environment is immense, and the culture is suffering as a result, as well. I just hope India is smarter than the United States was and moves past that trend quickly!” However, Colin views his experience not without a certain humility and awareness of the superficiality of his experience given the length of his stay. “The unfortunate thing about travel to another country for any duration is that no matter how you try, and no matter how you might want to truly understand 38 POOL #39

everything going on around you, it’s not really possible. What I hope for when I move to a new country is some kind of insight into what makes the place tick. Sometimes that insight is fairly well fleshed out and sometimes all I can do is scratch the surface.” Such was the case with India. “I walked away feeling like I’d learned a whole lot, but also fully aware that I hadn’t even seen a fraction of a fraction of a percentage of what there was to discover,” he admits. “It’s such an immense country with so many swirling influences and cultures and languages and subtleties, and the result is that I would love to spend more time there and see it from a slightly different angle next time. Although I did enjoy my time there and feel like I got to see the world from a

cover story

different angle for a while, I’m also very aware of just how much more I have to learn about the place and its people!” Colin says he is a better, more rounded person for having lived in India. “I learned a lot about my priorities, in particular what I needed to survive and what I didn’t. I learned how good food could taste, and how amazingly welcoming and friendly people can be, even if they have far less than you do. I learned that cultural tradition is a rich source of inspiration, and I’m fortunate to be able to travel the way I do, and dip my toes into those infinitely-deep pools of inspiration when I land in a new country and stay for a while.” Among the artists and designers he admires in India are Rini Seal, a fashion

designer from Kolkata, Kaustav Saikia, a photographer, Abhishek Singh, an illustrator, and artist Shreya Shetty. “A lot of my inspiration from the area actually came from the nameless artists that built idols for the pujas, and created the craftwork on display around town. Even simple things like handmade signs were quite interesting and inspirational to me, because the way they were made is so different from the way a similar piece would be made in the Western world.” After leaving India, Colin travelled across the United States getting to know his own country and people better before he moved to his next destination, Romania. Shortly after his return to the States, he published his next book, Iceland, India, Interstate, an autobiographical travel book which is as full of the usual funny www.poolmagazine.in 39

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Colin Wright in Kolkata, India

and bizarre tales from the road as it is peppered with life lessons and philosophical gems. “The India chapter of the book was actually very difficult to write, partially because I couldn’t decide which stories to include, and partially because I mentioned so many people that I was dealing with on a day-to-day basis, and wasn’t sure how they would respond to being in my book! I was fortunate to meet so many interesting people, and to have so many varied experiences while there, some of them entirely unforgettable.”

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cover story Colin also spent some of his time at home setting up an indie publishing house, Asymetrical Press, with Joshua Fields Millburn and Ryan Nicodemus. With his philosophy book Act Accordingly having been recently published and one more book of short stories awaiting publication, Colin is still not resting on his laurels. He does a lot of design work, though mostly for his publishing efforts; he continues to write for his blogs, Exile Lifestyles, Exiles and a new project (a kind of news analysis newsletter) called Let’s Know Things; he also teaches an online class called ‘Intro to Design for Publishing’. Look closely at this young man’s work and it appears that he carefully orchestrates freedom, builds the means by which that is attainable and sustainable, and then points to the way for others to follow. Like a true teacher, Colin Wright lives with intention, extracting everything he can from each situation, then sharing his learning with those that follow him.

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Lidia Dancu is a freelance writer and entrepreneur with a keen interest in design, the arts and music. She spent ten years in Pune, India but currently lives in Edinburgh, Scotland. lidiadancu@gmail.com

“I’m going to keep writing, designing, and teaching, and continue seeking out new and interesting people, places, ideas, and opportunities! I live my life the way I do because it allows me almost absolute freedom to pursue whatever interests me. As a result, I’m never certain what I’ll be doing a year from now, or even several months, but I know it’ll be something enjoyable and educational.” Through it all, the talented Mr. Wright, recipient of many labels, remains faithful to his ‘Lífspeki’, his design for life, maintaining his humility and integrity and continuing to act accordingly. colingwright@gmail.com www.poolmagazine.in 41

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textile

A science graduate, Mandeep Nagi opted instead to pursue a career experimenting with textiles

What inspired you to engage in textiles? MN: My passion for textiles has come from my mother; she not only had beautiful hand woven saris but also stitched all my clothes from birth till I was 20. By the time I was 18-19 years old I knew it was one of the professions I could pursue effortlessly. Tell us a little about ‘Shades of India’. MN: ‘Shades of India’ is a 20-year-old collaboration between contemporary designers, and traditional artisans exploring color, texture and contrast. It is led by me (Creative Director), and David Housego, a former journalist from the UK, now settled in India. We create home fashion, clothes and accessories in a distinctive international style which celebrates both India’s heritage and its growing influence worldwide on design and trends in fashion. We sell to major department stores across the world including Harrods, Selfridges, House of Fraser and Debenhams in the UK; ABC Home, Gumps, and Soft Surroundings in the US: and Yves Delorme in France. We are represented in Australia by Jasmine Hall. In India, we sell through Good Earth, and are soon opening a standalone store in New Delhi. 44 POOL #39

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textile

Can you give us a little insight into your creative process? MN: We do two main collections a year. Every year I pick a theme that I would like to follow; this can be inspired by an architectural marvel that I might see during my travels, or traditional textiles and cultures, or even cities like Venice on which the last collection was based. The colors and textures of the walls in the old town in Venice are absolutely stunning! We translate the textures on fabrics by various techniques of fabric manipulations, printing, weaving, pleating, etc. Often the uniqueness is achieved by mixing or superimposing the techniques. We use natural fabrics like 46 POOL #39

cottons, silks, linens and blends of these. Even though the theme of the collection may be in a way pre-planned, the textures created are intuitive. We never know what will finally work or not work. How would you define your style? MN: Our work involves a lot of thought and passion behind something that is extremely elegant and understated. Our work is recognized by its unique textures and combination of colors. When I say unique color combinations, I mean colors that normally people don’t expect to see together and yet they work so beautifully. Our clothes collections share the same philosophy

textile

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or style; there is a lot of effort in making them simple yet elegant. Small detailing makes them different from the rest - the little details that often bind us very closely to the wearers of these clothes. What are your inspirations? MN: I can be inspired by a city I’ve visited, its history and architecture; an artist whose work has left an impact, like Mark Rothko recently; ancient textiles like chintz, or textiles from Central Asia, Japan, etc. What’s in the pipeline? MN: The colors of Mark Rothko! We are trying to create a similar sense of drama

and exuberance through textiles in the form of bedcovers, cushions and other home textiles - mixing textures and colors in many different ways. Where do you see textile design in India heading? MN: The future for textiles can be stupendous if we get it right. No other country, continent or culture has such a wide bandwidth of textiles as we do, and the rest of the world recognizes that. We have an amazing opportunity to create the best textile designers in the world, and they must try to create their own signature or identity. mandeep@shadesofindia.com www.poolmagazine.in 49

ISSUE 32 february 2013

ISSUE 31 JANUARY 2013

ISSUE 33 MARCH 2013

ISSue 32 FEBRUARY 2013

ISSUE 31 JANUARY 2013

Kunal Khadse

Sheetal Sudhir

Photographed by Nikita Khadse

Photographed by Abheet Gidwani

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bodw 02 / rajat 06 / Guru ratikanth Mohapatra 08 / shruti 16 / joshua 24 / sourabh 42 / srinath 50 / anand 56 / CaGri 63

INDIA HOUSE ART GALLERY 04 / ANAb 08 / AmITAbH 16 / SAURAbH 24 / SANcHITA 42 / NImISH 50 / KRSNA 58 / cAGRI 63

Chandrashekhar Bheda Photographed by Shobhana Bheda

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HrridaysH 04/ prasoon 06/ UnBo anUpam 22/ rUpali 44/ rosHan 52

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POOL 37 ISSUE 33 march 2013

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iSSUE 34 april 2013

oX 08/ Zegnart 12/ andreas 16/ 2/ simrat 58/ Cagri 63

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Chandrashekhar Badve Photographed by Sudhir Sharma

Giridher Katta

Photographed by Hubert Tassin

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inDiafrica poster 04/ archohm 08/ atul 12/ utpal 20/ prashant 26/ alok 44/anusha 52/ noorani 58/ caGri 63

Christoph 04/ abhijit 08/ bernd 12/ rathna 18/ stephan 24/ markus & daniela 28/ uttam 44/ smriti 50/ vaibhavi 56/ rohan & supriya 61

Suresh Sethi pg 30 | Photographed by Sumit Singh pg28

India Design Mark 2013 02 Tanya Khanna 08 Ishan Khosla 12 Meera Sethi 18 Geetanjali Kasliwal 24 Bent by design 44 Anavila Misra 50 Priya Kuriyan 56 Cagri Cankaya 63

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Singh

Meera Sethi 18 Ishan Khosla 12 a Khanna 08 u Misra 52 2013 02 Tany 44 Anavila Sindh India Design Mark Yusuf & Kuldeep wal 24 Hidish, Kasli i anjal Geet 63 Cagri Cankaya 58 an Kuriy Priya

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etion e discr ranc e Insu e sole nz Lif ce at th Allia an Bajaj rips I Fin ainst sc en ag proved ns giv g ap I *Loa Lendin ply serv s ap ition Bajaj Fin cond st s and en again Term ns giv **Loa

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art

PATTERNS OF LIFE 52 POOL #39

art

Bangalore-based Revati Gangal hopes to evolve into an artist of global sensitivity What does art mean to you? RG: Art is a form of expression that brings me immense joy and liberation, virtually defining my existence, freedom and identity. In my childhood I realized that I loved to express my mind and heart only through one medium - painting. Ever since then I have channeled my journey so that I could become a professional in it. Comfort in the Womb Size - 30 inch x 22 inch Medium - Acrylic on Paper Description - An imaginative painting about the beauty of existence of a fetus inside the womb

How would you describe your art? RG: My paintings are based on my daily experiences. They are a blend of www.poolmagazine.inâ&#x20AC;&#x192; 53

art

(Left to Right) 1. Tranquility

Size - 30 inch x 22 inch Medium - Acrylic on Paper Description - Depicts the peaceful state of mind where it rests and doesn’t want to think about routine life and its demands or difficulties. 2. Garden of Eden

Size - 30 inch x 22 inch Medium - Acrylic on Paper Description - The couple here have discovered themselves in the ‘Garden of Eden’ and are now experiencing the beauty of paradise

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the figurative and conceptual style - with visual patterns expressing the thoughts and emotions of the subject. The use of various patterns in my paintings aims to engage the viewer’s mind and soul in an activity of repetition, giving them a sense of trance-like meditation. The fish is a recurring motif in my creations, depicting my state of mind as well as representing me at times. I think the motifs lend a sense of stability and peace to my paintings. I am inspired by the rhythm, flexibility and shape of the fish. It is a universally popular symbol of fertility, eternity, creativity, femininity, good luck, happiness, knowledge and transformation. Which of your work do you think really defines you? RG: My best is yet to come. I want to blend my current style of painting with subjects from Indian mythology along with patterns similar to Indian textile block printing. I am currently studying Indian mythology. I want to connect with my roots and bring out its vastness and depth in my paintings. Since my

art style of painting has a dominant play of visual patterns in it, I plan to give it an identity by using the Indian textile block printing patterns. In this way, the figures and patterns together will form a picture of my mind that will depict its version of Indian-ness. Can you tell us a little about your creative process? RG: My creative process is a form of meditation through which I release all the fatigue, frustration and clutter in my mind and heart. It brings a lot of joy, peace and feeling of accomplishment on its execution. Research into the relation between a human figure and the patterns existing

around it started from the days when I was doing my Master’s Fine Art at Sir J.J. School of Art, Mumbai. I am exploring the various possibilities of their corelation till date. The introduction of the ‘fish’ motif gradually emerged at some stage and still continues to be an important part of my paintings. What techniques and mediums do you experiment with? RG: Currently I am working with acrylics on canvas. This medium gives various effects, both in watercolors as well as oils. It is easy for maintenance and has a longer life compared to other mediums. I intend to experiment with various wash techniques with different objects from day-to-day life.

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art What keeps your curious creative spirit alive? RG: An artist can be happy with her creation, but not satisfied. The dissatisfaction or incompleteness of the current painting induces new compositions and themes in mind – or gives a new direction to make its sequel or take it to a new level with addition to another thought. Hence the hunger to create never dies.

Motherhood

Size - 22 inch x 30 inch Medium - Acrylic on Paper

Description Motherhood, a divine feeling where a person cares for someone, unconditionally. The formation and growth of the baby seems like a bud gradually growing into a creeper and spreading across one’s entire being. A depiction of motherhood in its purest form flourishing in nature. 56 POOL #39

I love the execution of Tyeb Mehta, the rhythmic lines of Jogen Chowdhury, the patterns of (Gustav) Klimt, the figures of (Henri de) Toulouse-Lautrec and the expressions of (Vincent) Van Gogh, Edward Munch and Sudhir Patwardhan. From more recent times, I like the work of Shivlal Saroha – it evokes memories of the artists I love and who inspire me. What are the challenges involved in your work? RG: The current motherhood phase leaves me with very little dedicated time for conceptualizing and painting. As far as exhibiting is concerned, most of the art world runs through private art galleries in the current scenario. Such galleries provide very little scope for an upcoming artist whose style of working is very different from other artists and prevailing trends. Unless an artist gets a good opportunity to showcase her work in front of discerning audiences, she cannot prove her talent. revatigangal@gmail.com

art

you on my mind

Size - 22 inch x 30 inch Medium - Acrylic on Paper Description - In this painting the woman is thinking about the person she loves - the one who is always there on her mind.

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photographer

PLAYING WITH LIGHT Contrast is the definitive element of fashion and advertising photographer Omkar Chitnis’ pictures

What role does photography play in your life? OC: Photography is a commercial art for me. It is an amalgamation of art and science. It is esthetic plus technique; while art and esthetic appeal to your heart, science and technique appeal to your mind. Photography has taught me to be receptive, impulsive and appreciative; it has also brought out a sense of analysis and rationality in everything I do in life. It has made me result-oriented. What drew you to this medium? OC: I don’t really remember when I decided to be a photographer. I had this connection with the camera since I was a kid - I had a toy camera, which kept me busy for hours. Once I got into J.J. School of Applied Art in Mumbai to do a BFA (Applied Art), I got the opportunity to know photography better. In my third year I chose photography over other elective subjects because I knew it was what I was best at. And that’s how it started. 58 POOL #39

photographer

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photographer

How have you evolved as a photographer over the years? OC: Initially I started assisting ace photographer Prasad Naik, and learnt lighting and techniques from him. That phase helped develop my primary sense. When I started on my own (Omkar Chitnis Photography, Mumbai), I shot for different brands; at the same time I was seeing good work of other photographers too. I believe progress results when inspiration and reflection go hand-in-hand. Do you have a distinctive style of photography? OC: I am experimenting. I am yet to find my style but I would say contrast is one element that you’ll find in my pictures. What is your favorite lens? OC: There are two: 50mm 1.2f and 85mm 1.2f. 60 POOL #39

photographer

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Have you been influenced by any other photographers? OC: Prasad Naik has always been an inspiration; I was lucky to assist him. He became my mentor in the true sense. Whatever I am right now is majorly due to what I learnt from him. Prabuddha Dasgupta and Patrick Demarchelier’s work fascinates me a lot - I can keep looking at their work for hours. What has been your most memorable assignment? OC: I shot for clothing brand Vinegar in April 2012. They were launching the brand in India and it was their first campaign in the Indian market. I think that assignment has been truly the best one for me so far. It was purely a fashion campaign and every team member excelled at what he was assigned to do. The art direction, styling, makeup, hair, copywriting, everything was perfect. The images really reflected the best of our capacity. What is most challenging about being a photographer? OC: To understand light - it’s the soul of photography. info@omkarchitnis.com www.poolmagazine.in 63

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Singh

Meera Sethi 18 Ishan Khosla 12 a Khanna 08 u Misra 52 2013 02 Tany 44 Anavila Sindh India Design Mark Yusuf & Kuldeep wal 24 Hidish, Kasli i anjal Geet 63 Cagri Cankaya 58 an Kuriy Priya

l n Pau Tuhi

etion e discr ranc e Insu e sole nz Lif ce at th Allia an Bajaj rips I Fin ainst sc en ag proved ns giv g ap I *Loa Lendin ply serv s ap ition Bajaj Fin cond st s and en again Term ns giv **Loa

by Sumit | Photographed

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