CRAFTING TIMELESSNESS: By Pinakin Patel

FDT Bureau

Insights from the maestro on merging tradition with the contemporary, self-awareness, and navigating the design world amidst globalization.



IN AN INTERVIEW, YOU HAVE SAID YOU ARE NOT AT ALL NOSTALGIC OR ROMANTIC, AND YOU LIVE IN THE MOMENT. DOES THIS STATEMENT ALSO SERVE AS A DESIGN STRATEGY FOR CREATING TIMELESS PIECES?
Design assignments allowed me to straddle different cycle of designs right from art deco to minimalism. Even today depending on the engagement the assignment offers, I do a thorough research to arrive at the desired results. Once the job is done and I have internalized the process myself, it stays on as a distinct memory to be retrieved anytime in life. In the present, as a designer, I have moved on to other spaces where my talent and skill sets can create some magic. Strange as it may sound, even at 70 this thought process has kept me relevant to the times.

TO INCORPORATE THE ‘SPUR OF THE MOMENT’ PHILOSOPHY, WHAT CONSIDERATIONS MUST BE KEPT IN MIND?
As far as creating is concerned, its best left to god and women, as designers our best option is to invent; like know the dots and reinterpret them. We connect them differently each time to produce unique patterns. In today’s era of information explosion, designers face the challenge of navigating a vast array of material choices while staying mindful of economic constraints. Keeping abreast of the latest trends in finishes and their associated costs is paramount, as it enables designers to optimize their designs within the framework of economy of scale. Gone are the days of excessiveness, where budgets excesses did not matter. Instead, a lean and budgeted approach is required, necessitating cost-effective solutions in every aspect of design.

HAVING SAID THAT EVERY OBJECT HAS A STORY TO TELL, AND STORIES HAVE A TIMELINE OVERLAP. SO WHAT IS YOUR TAKE ON THIS?
Every object does have a story to tell, it all about how much importance you attach to the story and remain attached to it. In design a functional need is primal; it is driven by a thought process and logic. So that itself is a part of the story. In my work these are important elements as they shape the final expression of the form. I must add that these elements are a complex result of different factors, so the story is not that simple. Having said that, the beauty of this process is each form of expression attracts its own audience. As a result, overtime, people become connected to you through your unique expression and the way you articulate your work.




WHEN YOU CHOSE THE PATH OF DESIGN, WOULD YOU SAY IT CONSUMED YOU OR ENTICE YOU?
It enticed me, it never consumed me, and I wouldn’t allow anything to consume me. Design enticed me, intrigued me, it interested me and hence I went close to it. I spent time understanding it, researching it, respecting it very much. It’s turned out to be a beautiful journey, where each step was guided by a series of emotions leading me to new insights and creative possibilities.

YOU HAD MR. DASHRATH PATEL AS A MENTOR IN YOUR DESIGN JOURNEY, HOW IMPORTANT IS IT FOR YOUNG DESIGNERS TO FIND A MENTOR?
It’s crucial and only the fortunate ones find mentors. A good mentor can serve as the perfect bridge between education and real-world experience.

DID YOU FIND SUPPORT IN YOUR FAMILY WHEN YOU TOOK THAT CALL THAT I WANT TO BE A DESIGNER?
Yes, I was amongst those lucky ones who found support, back in the late 70s career options were limited. There was commerce, science and arts, however architecture and interior design courses, practitioners were few and far between. So there was no successful benchmark or role model to emulate. To even express it to your own self was a task, then to be able to explain it to your family and colleagues is even more difficult, but there was no resistance from anywhere. And that’s where I consider it like a blessing. However I must add that even though the technical knowledge I gained as a chemistry graduate was wasted in the process, the education was not, it led me to become a designer something which I truly love doing.




AFTER GETTING MARRIED TO DESIGN, WHEN DID THE FIRST MOMENT OF JOY AND GRATIFICATION COME THROUGH?
Back in those days, there were very few patrons of design or clients for design or buyers for design. So you had to create your own market by educating them side by side as to what you were doing, involving them in the process of growing with them. So the first affirmation was, when my store became a curiosity place. People of all age groups, and all backgrounds would come and say ‘Kuch toh Hai’, there is something interesting about this place. They were also far richer in time, so they had enough time to discuss what I was doing, find out about it. The clients’ and viewers’ response to the objects I designed was very encouraging to me. Each one of them responded in their own way, their responses actually shaped the rest of my career. So from then onwards, I’ve only been responding to people’s reactions.

FROM THE PRO SOCIALIST ERA TO THE GLOBALIZED ERA, WHEN IT COMES TO LUXURY, WHAT DIFFERENCES HAVE YOU NOTED?
Luxury is beyond functional or technical descriptions. It awakens your sense of wonder, taking you into spaces you haven’t experienced before. You find yourself saying, ‘Oh, wow, what is this?’ intrigued by its allure. It is an aesthetic evolution and awareness of things concerning good taste, earlier it was treated as second nature now post globalization a lot of sensationalism is attached to it. Earlier even Maharajas knew how to buy jewels and build palaces; likewise religious leaders knew how to design churches and temples. There were the chief patrons who created the right eco-system for designers to channelize their creative energies and allowed them to flourish. Prior to globalization Indian designers had a chance to develop their own aesthetic. We were colonized numerous times; therefore Indian design as such did not have a window for self expression until we were independent. The results were remarkable too but with the onset of globalization this freedom of expression has been lost. With globalization every week you have newer goods arriving from overseas with varied pricing. Though it made Indian designers astute in terms of creativity, the patrons of Indian creativity turned into consumers and luxury became a brand.

DESIGN IS EXPECTED TO BE EITHER INCLUSIVE OR EXCLUSIVE, AS A DESIGNER, HOW DO YOU ADDRESS IT?
Inclusive and exclusive are not as different as the language makes it out to be; even the so called exclusive pieces are ultimately labeled exclusive more by the viewer. As a designer when we design solo or in a team, the term ‘exclusive’ does not invade our consciousness, else the design becomes contrived. Simple things make design inclusive; it entails inclusivity by involving your team, clients, and vendors, treating them respectfully, and taking the time to explain your perspective to clients. The more this happens even without any conscious effort, the end result starts developing its own exclusivity.



YOU ONCE SAID DESIGNERS SHOULD COME TOGETHER AND FIND RESOLUTION, WHAT EXACTLY DID YOU MEAN BY THAT?
From a broader perspective, what I’m getting at is not about coming together to design, but rather to share experiences. Often, we work in isolated pockets. Yet, there’s a common feeling – like when a client doesn’t listen or delays payments. If designers had regular interactions, they could share experiences and help each other grow.

IT IS VERY DIFFICULT TO MENTION PINAKIN AND NOT MENTION ALIBAUGH, WHAT IS IT ABOUT ALIBAUGH THAT FASCINATED YOU?
A city, in general, becomes so obsessed with its own existence that most people are running around helter-skelter. I mean you could drive past Juhu or Worli in Bombay (now Mumbai) and not even bother to admire the sunset or the beach. The frame of mind in the city isolates you, making you think more about existential issues rather than ideological ones. For a creative individual, the development of ideology holds significant importance compared to existential matters. This environment was what I sought, and I couldn’t find it anywhere else in the city besides Alibaug. Alibaugh is not merely a beach; it encompasses paddy fields, rice cultivation, mango orchards, and waadis, offering abundant greenery inland. The peaceful isolation from urban chaos in Alibaugh allowed me to focus on life’s nuances, delve into philosophy, indulge in music, and refine other aspects that would ultimately enrich my creativity.

YOU ALSO VENTURED INTO FASHION DESIGN, HOW DID THAT HAPPEN?
When I turned 60, I found a very big job and a very satisfying set of clients to work with in Calcutta, the Emami group. It was headed by Mr. RS Agarwal, who is a patron of the arts in his own way. He brought out so many brilliant aspects of my own potential that it led me to contemplate retirement from routine work. I had reached a zenith; how many times could I repeat myself? Although content, I began to consider reinvention. Reflecting on my work in architecture and interiors, I realized I hadn’t explored the time factor. Projects often spanned years, with interactions extending over long periods. I thought, ‘Let me find something which works more on the ‘spur of the moment’—more like a fleeting thought. You do it today, and it sells tomorrow, and it’s out of vogue in the next season, so you reinvent.’ That’s the time I got interested in fashion.

GIVEN A CHANCE WOULD YOU STILL LIKE TO JUGGLE BETWEEN INTERIORS, ARCHITECTURE AND FURNITURE DESIGN?
’ve retired from commissioned work. So I stopped taking architectural and interior assignments, I’m only focusing now on furniture design. I find it much easier to focus on producing these pieces and putting them up in the store. Rather than working on long drawn engagements with people. Furniture design, that way is halfway between interiors and fashion in its speed. So that suits me more. And yes, that is my current go to.

BEING A SELF TAUGHT DESIGNER YOURSELF WHAT ADVICE DO YOU HAVE FOR INDIVIDUALS WHO WISH TO FOLLOW THAT PATH?
Well, I think self-learning is going to remain more of a personal quest, a search for growth at the back of your mind, rather than a physical need. Now there are enough universities, both national and international, along with online courses and skill development classes. There is so much now being offered that one will not have to garner knowledge in isolation. Having said that, selfteaching or self-awareness is very important for a creative person, only when that person is aware of how much he knows and what else he wants to know, can he figure out how and where to learn it. So, that self-search has to continue to grow; it can’t stop

HOW DOES THIS SELF AWARENESS ALSO IMPACT THE OTHER FACULTIES OF ONE’S LIFE?
The only thing that differentiates us from other species on this planet is the subtle intellect that we have, which manifests itself as awareness, but it’s actually the ability to make finer judgments than mere existence. It’s not that there is no intelligence in those species. Animals and birds are sometimes found to be more intelligent than human beings; they can fly across from Siberia to India without a GPS. We need to realize our potential as human beings and acknowledge that we are blessed with the ability to evolve into something totally different. A lion’s cub, once it’s born, has no other choice but to grow up to be a lion, whereas I could start off in chemistry and venture into architecture, design, philosophy, music, and so many other hobbies. As long as a person remains aware of his/her potential and sees it as a privilege to be born as a human being; I think that awareness will play an important role for him/her. It will keep offering him opportunities at a very basic level to remain relevant and at an evolved level to climb up the evolutionary ladder.





AS INDIAN DESIGN TRENDS GLOBALIZE, HOW DO YOU MERGE TRADITIONAL AND CONTEMPORARY ELEMENTS AS A DESIGNER?
At the surface the terms traditional and contemporary seem to be contrasting words, but they are sort of dependent on each other. Even though linguistically they are antonyms you can’t have one without the other. if we take a good look at our past, like a traditional painting of a god was very descriptive. Likewise, Indian culture also made way for yantras or tantric art, where everything was also expressed through subtle symbolism. So it’s not like abstraction or contemporary forms did not exist in India; they always existed. It’s just that we kind of prefer to associate with a particular genre. If one is deeply immersed in one’s own culture, I don’t see that as a significant contradiction.




WHAT IS YOUR ADVICE FOR YOUNG DESIGNERS WHO ARE STARTING THEIR JOURNEY?
For young people, I would advise keeping your options wide open during your formative years. Don’t rush to establish your career, individuality, or self-expression. Instead, keep an open mind and leave room for growth. When entering a new market, identify the people you admire or want to follow. Don’t rely solely on Instagram for daily inspiration; even magazines can provide trends. Delve deeper into the people who inspire you and your work. Read more about them, learn about their background, and if possible, seek a shortterm internship or job with them before venturing out on your own. Today, with the explosion of digital media, so much is conveniently available to us. If you use digital tools like Pinterest or Instagram compulsively, you can’t escape them. While they are helpful in forming popular opinions, they can become limiting if you only use these sources for inspiration. If you just compile images and ideas from these sources, your work will be popular because buyers and market forces are looking at similar images and trends. They will connect well with your brand, thinking you know the latest trends. However, if this becomes a habit, it can limit your creativity. Slowly, your freedom to create will take a backseat, and you may become too comfortable with these options. The idea is to watch out for that and keep adding your individuality into your work in the right proportion, so that your conscious contributions become your brand name and speak for themselves. Basically, your branding should not invade your creativity