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Indian Designer | Vaishali Shadangule | Global Indian
Global IndianstoryInspired by nature, driven by passion: The incredible journey of Vaishali Shadangule, the first Indian woman designer at Paris Couture Week
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Inspired by nature, driven by passion: The incredible journey of Vaishali Shadangule, the first Indian woman designer at Paris Couture Week

Written by: Vikram Sharma

(August 21, 2021) Vaishali Shadangule can best be described as a creative powerhouse. From working with weavers at the looms directly on the fabric composition, exploring and enhancing the quality of the textile to bringing design changes and experimenting with hand-woven textiles – as an Indian designer, she gives a personalized touch to each of her creations which makes her standout from the rest.

For fashion designer Shadangule, it is the honesty and authenticity of her designs which do the talking. Her creativity took her places but it was her debut at the Paris Haute Couture Week 2021 which marked one of the most exciting moments and took her to newer heights. After all, she is the first Indian woman designer to be invited to showcase her creations at the most prestigious event in the world of fashion.

“When it comes to my work, I never compromise,” declares Shadangule. In conversation with the Global Indian, the designer describes her no-compromise attitude as a tough decision that made her journey tougher. “But eventually, it kept me going and made me what I am today,” she says of her incredible journey. Vaishali S, an eponymous brand, was borne out of the designer’s affection and passion for the classic Indian weaves.

Indian Designer | Vaishali Shadangule | Global Indian

Vaishali Shadangule showcasing her collection at a fashion show

Born in the small town of Vidisha in Madhya Pradesh, Vaishali left home when she was 17. After taking up small jobs to complete her graduation, she headed to Gujarat for a job and finally reached Mumbai in the year 1999 where she worked as a fitness instructor. Thereafter, she enrolled in the Pearl Academy in New Delhi, one of the leading fashion and design colleges in the country, and completed the two-year degree course before opening her first boutique. “It was a huge struggle,” she recalls.

“I don’t think I am very different from when I started, for good and for bad. As a person, I am still extremely focused on the same values and behaviors that I grew up with. All my journeys across the globe broadened my horizons,” informs Shadangule, who is only the second Indian designer after Rahul Mishra to showcase her creations in Paris.

Her collection ‘Shwas’ (which means breath) was inspired by nature and desi weaves, tree branches and barks. “Nature has been a source of inspiration ever since I started off,” she says. For Shwas, she sourced weaves from different parts of the country including Karnataka and West Bengal. Luckily for her, the fashion week returned to the physical show after a year of virtual representation owing to the Covid-19 pandemic. Vaishali showcased her collection on the last day alongside some big names in the fashion world including Chanel and Dior among others.

“My journeys across villages in India made me appreciate all the intricacies and depth of our different weaves,” says Shadangule, who has been experimenting with hand-woven textiles and designs for almost two decades now. It was in the year 2011 that Vaishali S label was unveiled at Lakme Fashion Week, which was resplendent with handloom prints. She has been showcasing at New York Fashion Week since 2015. While she also runs a flagship store in Mumbai, her designs can be found in London and Milan boutiques.

For Shadangule, the USP behind her success has been to stay focused. “In any line of work, one needs to go deeper and deeper into the technical skills involved. Passion, commitment, and sound technical skills are the key to success.” Interestingly, Shadangule, who extends her work with textiles to art and design, draws inspiration from her ability to observe and listen, which shows in her designs.

She says her love for the culture and treasures (different weaves, fabrics) of the country is what makes her a complete desi. “My creations are my freedom of expression,” smiles Vaishali, who is a doting mother of a teenage daughter. Like many successful people, Shadangule too has faced many hurdles. “But I feel blessed to have met several people who helped me each time I faced a hurdle. I believe everything comes as a package and nothing is permanent.” Being myself, she says, is what helped her ride the ride. “The strength comes from the fact that I always did it my way and by myself.”

Indian Designer | Vaishali Shadangule | Global Indian

Vaishali Shadangule at her store in Mumbai

Ask her to name one Indian-ness that has remained with her throughout, the 43-year-old laughs as she replies, “My piping hot cup of chai (tea)” which she says keeps her going. With Vaishali S being a brand worldwide, the designer feels that brand India comes associated with culture and workmanship. “I think we just need to be able to up the game and make a more in-depth presentation of our skills overseas.”

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  • Desis
  • Global Indian
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  • Lakme Fashion Week
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  • Paris Haute Couture Week 2021
  • Vaishali Shadangule

Published on 21, Aug 2021

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Jayati Sinha’s ‘designs’ on empathetic housing for California’s homeless

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/" target="_blank" rel="noopener">Global Indian over a call from California. Her invention might be a stepping stone to solving the homelessness crisis in California, and Jayati believes that the prototype can be replicated anywhere in the world, including India.

[caption id="attachment_26124" align="aligncenter" width="427"]Designer | Jayati Sinha | Global Indian Jayati Sinha[/caption]

The evolution of a childhood dream 

When she was quite young, a fortune-teller prophesied that she would do something with scissors when she grows up. The only interpretation that her ecstatic mother could derive at that moment was that her daughter would become a doctor. She did pick up a pair of scissors as a youngster but that was to make Barbie dresses. "I must have been in second grade and was very much inspired by the protagonist of Disney show That's So Raven. I was fascinated by how she designed something from scratch," smiles Jayati whose interest later developed into product design. Her father, who is a scientist and professor at IIT-Kanpur, would get new gadgets and toys from his foreign trips which piqued her interest in technology. "My brother and I would take them apart and see what was inside of them. This desire to blend design and technology led the way to my interest in product design, which is ever-expanding," adds the responsible designer.

Designer | Jayati Sinha | Global Indian

The National Institute of Fashion Technology, Bhopal gave wings to her dreams wherein the Kanpur-born enrolled for a Bachelor of Design in lifestyle products. The four years played a perfect catalyst in helping shape her ideology as a product designer. Her perception changed when she was in college and happened to visit a crafts cluster at a nearby village, where artisans practiced metal crafts. "It was an opportunity for us to learn from them and vice versa. The visit had an impact on me as I saw how they were keeping the culture alive with their crafts. But at the same time, they weren't getting paid enough," explains Jayati who couldn't get past the paradox. "They were busy making beautiful things but their own life was nothing like it." This pushed the 26-year-old designer to become more empathetic and do things in the future that create an impact.

The project that changed it all    

This quest for purpose took her to the ArtCenter College of Design in California in 2017 for her Masters in Environmental Design. Two years into her degree, Eric Garcetti, the Mayor of Los Angeles, reached out to her college "looking for inspiration" to build budget houses for the homeless. The mandate was to build structures that were foldable, transportable, and something that gave them a "feeling of home". Soon she began ideating on Pop Hut along with her team that was led by Professor James Meraz. "It's temporary housing, like a transition house that homeless people can use when they have no place to go before they move to a permanent house once they get a job or something." While building on the concept, Jayati and her team were crystal clear about including "empathy" and a "feeling of home" to the Pop Hut. They did that by including a door, a house number, and a small porch. "It's not just a box but should give them a sense of home and belonging," adds Jayati who worked on Pop Hut for about a year. "The initial few months went into interviewing the homeless and understanding their psyche, gathering information and research and prototyping. We built the home in four months," reveals Jayati who was emotional about designing the house, adding, "We used translucent glass instead of transparent so residents feel less vulnerable. Having been on the streets for so long, they don't want people to look into their homes anymore. It gives them a sense of privacy."

[caption id="attachment_26123" align="aligncenter" width="526"]Designer | Global Indian | Jayati Sinha Pop Hut designed by Jayati and her team[/caption]

Made on a budget of $2000, the Pop Hut's journey from concept to reality had its share of challenges. If getting people to open up about their insecurities was a task, finding affordable material for the built was nothing short of a dare. "Making a connection where they feel safe enough to show their vulnerable side requires time. But this also made me understand how privileged I am to come from a family that supports me - emotionally as well as if need be, financially," says Jayati who gives a reality check on the stark difference in lifestyles between India and US. "Here, kids leave home at 16 or 18 years to support themselves. Many pay their fees with the money they earn at Starbucks or McDonald's. They don't get to explore the opportunities to grow or do something they are capable of. However, in India, teenagers get to focus on education without having to worry about how to fend for themselves," says the designer who in the process understood that everyone has a story and "they aren't homeless because they are lazy."

How an environmental designer became responsible 

With the prototype getting a nod from the mayor and on its way to becoming a reality, Jayati believes that Pop Hut can be replicated in India too, but not without a few tweaks. "We'll have to learn about the environment - where it will be placed and understand a little about the problem of homelessness in India to make it a product that caters to the need of the people. We might have to change a few materials too, but overall this can be replicated anywhere," says the designer keeping in mind the population of 1.77 billion homeless people in India.

[caption id="attachment_26126" align="aligncenter" width="530"]Designer | Jayati Sinha | Global Indian Jayati Sinha working on Pop Hut[/caption]

Jayati, who is currently working with Accenture in California, is steadily unfolding the concept of "responsible design." While environmental designers focus on projects that are eco-friendly and sustainable, responsible designers collectively focus on "environmental, social and economic factors." "It's embedded in the decision-making of why we are doing what we are doing. We don't mind saying no to big clients if what they are asking for isn't good for the users. That's where the collective consciousness is now moving to," reveals Jayati who loves to work with clients who think about "humans as humans and not as profit." Currently busy exploring the EV space in her new project at work, she is understanding "how and why EVs are important and even if they are good for the environment, and how we can make it better," says the girl who loves unwinding by spending time with her German Shepherd, growing plants at her home, and working out.

[caption id="attachment_26125" align="aligncenter" width="363"]Designer | Jayati Sinha | Global Indian Jayati loves hiking[/caption]

She believes that winds of change are causing shifts like never before. "A lot of people now are not simply doing jobs for the sake of it, but most are busy creating an impact. Things are shifting on a larger scale," signs off Jayati.

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age.globalindian.com//wp-content/uploads/2023/01/ahlu1.jpg" alt="Priya Ahluwalia | Global Indian | Designer " width="801" height="450" /> Priya Ahluwalia is a name to reckon with in fashion industry[/caption]

The designer, who made it to the 2021 Forbes 30 Under 30 list, is rising up the ladder with her craft that is hugely influenced by her Indian and Nigerian heritage. She is consciously working to save the planet with every design that she creates.

A trip to two countries set the course for her career

Born to an Indian mother and a Nigerian father in London in 1992, Ahluwalia was always fascinated by colours and fashion, thanks to her mother who herself was quite stylish. This love for clothing gave birth to her desire of becoming a fashion designer, and she soon enrolled in the University for the Creative Arts, Epsom for a course in fashion.

During her graduation, something peculiar happened which set the course of her career. It was on a trip to Nigeria to meet her father in 2017 that Ahluwalia noticed hawkers on the streets of Lagos wearing some obscure items of British clothing. An inquisitive Ahluwalia rolled down the window of her car to indulge in a chit-chat with them, asking about their clothes. That short rendezvous and some research on the internet led her to the the second-hand clothing market in the city, that has stocks coming in from unwanted donations to British charity shops and then sold by various traders for profit. The journey of these clothes left Priya fascinated and she was keen to explore more about the huge amounts of clothes that are discarded by Western countries each year.

 

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This led her to Panipat in India, a city that's often described as the garment recycling capital of the world. Seeing the colossal amount of waste clothing that was stacked into mountainous piles and sorted by colour, Priya was both disturbed as well as moved by the scale of the problem. Since she was studying the Menswear MA course at London's Westminster University at the time, this inspired her collection during her MA.

"All of this shocked me in a number of ways. Firstly, I couldn't believe that secondhand clothing was such a big business. I was also completely shocked at the sheer amount of clothes that are discarded, I had never really thought about it properly before. I suppose it is easy to ignore something that you don't really see. It also really made me cherish craft and tradition in textiles," she said in an interview.

The birth of her label

It was during her trips that Priya began documenting what she saw as photographs, and soon released a book titled Sweet Lassi that had the imagery of these places as well as the pictures from her MA collection which was made from repurposed fabrics. It was the success of the book and collection that brought the second-hand garment industry onto the fashion agenda. Her graduation collection was purchased by British retailer LN-CC and this eventually led to launch her label, Ahluwalia with sustainable principles.

 

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A post shared by Ahluwalia (@ahluwalia)

Her debut collection was proof of her conscious choices as she used second hand garment reworked as menswear to highlight the industry's problem with waste. It's not just her technique and material choice but also her production methods that set her apart as a designer. For her Summer Spring 2019 collection, the beading on her patchwork pants was done by Sewa Delhi, an organisation that specialises in getting rural Indian women into fairly paid work that fits around their family schedule. The collection was such a hit that it won her the H&M Global Design Award 2019. The same year, she collaborated with Adidas at Paris Fashion Week for Autumn/Winter 2019 and took over the ramp at London Fashion Week 2020 with her Spring/Summer 2021 collection.

Sustainable fashion is the key

All the pieces at Ahluwalia are made exclusively from recycled deadstock. She is one of those rare young designers who are openly addressing issues like climate crisis and sustainability. "I think the correlation between young designers talking about these issues is that more young designers are from BAME (Black, Asian, Minority Ethnic) backgrounds than ever before. This means that for the first time, designers from ethnic minorities are able to share their stories and work through their own voice," the designer said.

 

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A post shared by Ahluwalia (@ahluwalia)

Since the launch of her label, Priya has been drawing inspiration from her Indian and Nigerian roots for her collection, and that's what makes her work unique and intriguing at the same time. "I am always inspired by my heritage and upbringing. I am Nigerian and Indian, and I was brought up in London, they are all places with such a wealth of culture and inspiration. I love the vibrancy of Lagos style, the craftsmanship of Indian textiles and the typical mixed wardrobe of a London man. They fuse together to create collections that are serious and playful at the same time," she said.

Priya Ahluwalia | Global Indian

In just four years, Ahluwalia has become a rising star in fashion - someone who is making the world rethink about their sartorial choices and asking the fashion industry to make conscious choice to reduce the carbon footprint by opting for sustainable fashion.

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Cities by design: Cambridge’s Dr Ronita Bardhan brings sustainability into low-income housing

(May 8, 2022) Over a billion people across the world live in slums – nearly one in six. Orangi Town in Karachi, Pakistan is by far the world's largest, with some 2.4 million inhabitants. More than a million residents crowd together in Mumbai's Dharavi slum, where development of low-income housing is overseen by the Slum Rehabilitation Authority (SRA). Over the years, thousands of people were moved out of temporary dwellings into brick and mortar shelters. It’s a step up, one would think. It's not long before residents realise that their concrete tenements aren't all they're made out to be... “Poor design causes a multitude of problems with regard to health, well-being and socio-economic interaction,” says Cambridge University's assistant professor of sustainability in built environment - Dr Ronita Bardhan, in an interview with Global Indian. Sustainable, low-income housing is the architectural engineer's area of work - she has spent years studying rehabilitation projects at IIT-Bombay, Stanford University and Cambridge University. Her aim: Attempting to provide data and tech-driven, culturally rooted design solutions that work both at the individual and community levels. While cutting edge technology is the need of the hour, Ronita believes firmly that it should consider the socio-cultural context

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chnology is the need of the hour, Ronita believes firmly that it should consider the socio-cultural context within which it is being used.

However, faced with a problem of almost fantastic magnitude, authorities in slum rehabilitation projects around the world tend to rely on a purely quantitative approach. Working in isolation, without inputs from the health or energy ministries, the projects may fulfill the basic concern – shelter, but do little else.

Driven by data, transcending disciplines

Working out of the University of Cambridge, Ronita creates design solutions that marry engineering, AI and the social sciences. “Housing is not a noun, it's a verb,” says Ronita. “It decides the way a person lives, their health, and their economic outcomes. Housing policies don't cater to that, even though they should," she adds. She’s currently working towards four UN Sustainable Development Goals – 3 (good-health and well-being), 7 (affordable and clean energy), 11 (sustainable cities and communities) and 13 (climate action).

Ronita’s approach is a call for demand-led design. Her approach is data-driven, “it brings a hard-core engineering model together with the social sciences." Her work has taken her from India to projects in Indonesia, South Africa, Ethiopia and Brazil. She is the Director of Studies and Fellow in Architecture at Selwyn College. She also chairs the Equality Diversity Inclusivity Committee at the Department of Architecture and History of Arts.

Cry the beloved country

When she moved to Mumbai to join IIT-Bombay, she would often see sprawling apartment blocks whiz past her train window. She had no idea at the time why these buildings existed, apart from noting that they looked dense. These were the SRA's tenement housing projects set, where Ronita would begin her research work.

The houses contained a range of shortcomings; from poor ventilation that resulted in indoor air pollution, the absence of natural sunlight that led to greater energy consumption through artificial lighting and the absence of space for women and children to gather outdoors. In one study, Ronita found that indoor pollution levels in SRA homes were five times over the global standards.

Design solution to reduce indoor air pollution

A data-driven approach requires far more than merely handing out questionnaires. Instead, Ronita and her team work to collect several hours of data, gathered through a series of informal chats and unstructured interviews, while simultaneously monitoring the built environment using a range of environmental sensors. In an effort to examine the conditions of 120 households in Mumbai's chawls, “We stayed in the chawls, imitating the habits of the regular residents,” Ronita says. They placed sensors across the building to measure air quality, using the local mean age (LMA) of air as a parameter. They also considered the orientation and direction of the building, what surrounded it, area, thickness of the walls and the size of the windows.

"We want to develop strategies from these kinds of parameters," says Ronita. By taking into consideration the economic, physical, emotional and interpersonal aspects of the individual's life, the resulting design solution will help move away from the prevailing quantitative approach.

A rise in the incidents of tuberculosis in Mumbai’s rehabilitation projects led to further studies. They found the absence of sunlight allows the microbes to thrive, causing disease. It also led to increased energy consumption.

Gendered cities

In 2018, Ronita's study, published in Habitat International - a Science Direct journal, found gender asymmetries in slum rehabilitation projects in Mumbai. Participants are made to feel at ease through a series of unstructured interviews and it was found that women were now largely confined indoors. Where activities like childcare were once a shared responsibility, the new projects had done away with open, community spaces where women traditionally gathered.

The SRA has done much work to bring people out of slum dwellings. However, "designing houses based on the current policy has knock off effects on health and energy," Ronita explains. "There is no link between design and the actual lived experience. Houses are not just for shelter, they impact every part of our lives," she says.

[caption id="attachment_24294" align="aligncenter" width="567"] Data is gathered through a series of unstructured interviews and monitoring built environment through a range of sensors.[/caption]

Poverty of time

Confined to their homes and burdened entirely with domestic duties, fewer women were going out to find work. The vast socio-economic networks maintained in the old slum dwellings no longer existed without socialising spaces. The green spaces invariably become illegal parking spots, places for hawkers, or even dumping grounds.

"The women would once go out every day to visit neighbours who lived 15 houses away. Now, although that neighbour lives three storeys above, they don't meet for months. If women were spending 90 percent of their time indoors, they are now spending 99 percent," Ronita explains. It is a poverty of time that in turn, leads to fiscal poverty as well.

The quantitative approach

A quantitative approach can easily sideline individual and local needs. “In South Africa, the level of poverty is a lot lower but the problems are more to do with things like drug abuse. You don’t find that in India, especially among the women,” says Ronita. Instead, when she interviewed women in SRA housing in Mumbai, she found they were thrilled to have toilets inside their homes and private indoor spaces. However, there’s still a lot to contend with for authorities and urban planners alike. Ronita is among those calling for demand-driven engineering solutions, with built environments catering to the needs of the individual. It involves trans-disciplinary collaborations to arrive at practical solutions.

A holistic approach and tweaked building by-laws can make a world of difference. “It can be scaled,” Ronita agrees. “Builders should not be granted free land until they comply with the by-laws. These need revision based on contextual factors and should never mention minimum thresholds for set-backs. When compliance is based on a minimum threshold, only the minimum provided. Let's include elements like childcare facilities and socialising spaces within the legal framework,” she adds.

[caption id="attachment_24295" align="aligncenter" width="659"] Ronita with women residents of Mumbai's SRA housing[/caption]

Efficient utilisation of space and energy

When she first began her work in the field, Ronita says cooling units inside people’s homes were a rarity. Today, most have more than one energy-intensive cooling devices. Bills have shot up and with inadequately designed homes, they’re only likely to increase further. “We assume that this demographic doesn’t really consume energy. That is a fallacy,” she says.

For all this, the efficient utilisation of space is paramount. Ronita recalls doing her doctorate at the University of Tokyo, and the 25 sq foot apartment she called home. “The tenements in Mumbai are actually larger but they feel very cramped. Not once during my time in Tokyo did, I feel like I needed more space. It’s all about design. I would wonder if it could be replicated but then, all technology should consider the socio-cultural context within which it is being used."

  • Follow Ronita on Twitter and LinkedIn

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Saurabh Nimsarkar: The designer behind LA’s first Transportation Technology Innovation Zone

(December 22, 2023) It was in 2020 that the Mayor of LA, Eric Garcetti, announced the city's first official Transportation Technology Innovation Zone whose pilot project intended to be a zero emission, last-mile delivery service to aid in connecting residents confined to their homes with food from local businesses during the pandemic. Nagpur-born and California-based design strategist Saurabh Nimsarkar took it upon himself to structure LA's first Transportation Technology Innovation Zone. "The brief given to me was to reduce the car usage in LA and at the same time, improve the connectivity of the people living in LA," he tells Global Indian. Calling it a "work in progress", Saurabh underlines the impact that the transport technology zone created, especially in the middle of the pandemic. "We emphasised optimising last-mile delivery, specifically addressing the challenge of bringing groceries, food, and essential items directly to people's doorsteps. The solution came in the form of autonomous delivery bots, which played a crucial role in ensuring the delivery of food to underserved communities," says the transportation designer, who is currently working on autonomous air taxis. [caption id="attachment_47705" align="aligncenter" width="643"] Saurabh Nimsarkar[/caption] Curiosity led to creativity Having grown up at his grandmother's farm for the

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43"]Saurabh Nimsarkar | Global Indian Saurabh Nimsarkar[/caption]

Curiosity led to creativity

Having grown up at his grandmother's farm for the first six years of his life, Saurabh spent most of his time catching insects, making sand castles, and picking mangoes. "That made me a curious person as I didn't grow up in a traditional education setup where you attend school till 3 pm. Instead, I spent a lot of time playing around the villages. This curiosity translated into the person I have become," says the designer, who picked up sketching landscapes at a very young age. "I would pick up my sketchbook, and graphite pencils and move to the fields where I would sketch small insects and birds. That's when I started gravitating towards my artistic instincts. Slowly, the hobby translated into a passion and I started sketching portraits and became good at it with every drawing."

He had the skillset but didn't know what to do with it. So, like every 90s kid, he took up engineering and enrolled in Visvesvaraya National Institute of Technology for Metallurgy and Materials Engineering. "Those years at the engineering college established the groundwork for my journey as a designer." Dissatisfied with his course, which he believed was only relevant to a select group of scientists, he found solace in dedicating time to sketching. Despite initially taking on a role as a software developer at Wipro, this experience broadened his perspective on design. "Even during my tenure as a software developer, my passion for design persisted. I spent time in the company's library, immersing myself in design literature. This exposure fuelled my interest in pursuing design as a career. After thorough research, I decided to take the IIT-Bombay exam and successfully cracked it," he elaborates.

Saurabh Nimsarkar | Global Indian

Saurabh dedicated two years to pursuing his master's degree in mobility and vehicle design at IIT-Bombay, an experience which he says was nothing short of being in an army camp. "We went days without sleep to meet project deadlines. The program demands intense effort because you not only acquire new skills but also have to unlearn the logical thinking ingrained in engineers. As a creative individual, forging your path becomes essential," he explains, emphasising the invaluable lessons learnt at IIT-Bombay, not only in the professional field but also in understanding the cultural aspects of design from professors and experienced designers. "I still try and use that knowledge in my work."

The Global Indian journey

Armed with a new set of knowledge, he worked with Godrej for three years before flying to the US for his second master's. He joined ArtCentre College of Design in California where he specialised in Transportation design. "I initially believed that design education in the US was exceptional, and I expected designers here to be at an unparalleled level. However, my perception changed when I realised that designers in India produce superior work. The disparity lies in our approach to publicising and branding our work; as Indians, we tend to lag in that aspect. Nevertheless, when it comes to skill sets and education, we are on par with our counterparts in the US."

Moving to another country as a designer comes with its own set of parameters - one has to submerge in the culture and think about different social dynamics, before providing a solution. "I even had to learn the history of transportation and how it evolved in LA. The car culture is big in LA, each year they have car rallies. It's a big part of their culture something that I learnt after coming here. It has been a rich experience for me as a designer."

Saurabh Nimsarkar | Global Indian

The project that changed it all

However, it was Los Angeles's first transportation zone that put Saurabh Nimsarkar in the spotlight. He calls it serendipity as the Nagpur lad, who was then working with Honda R&D, found himself at a conference where a chance encounter with individuals from the Mayor's office led to a conversation that eventually resulted in a job offer. Seizing the opportunity, he joined as a design strategist for LA's pioneering transportation innovation zone.

Nimsarkar | Global Indian

"I formulated a design research workshop that brought together participants from LA, local government entities, and technology providers. Uniting them under one roof, I outlined a workshop strategy aimed at devising solutions with a focus on people. I gave them canvases to work on. It enabled the creation of nearly 200 ideas, culminating in the issuance of a Request for Information (RFI). The insights gathered from the RFI process ultimately paved the way for the establishment of LA's inaugural technology innovation zone, inaugurated by Eric Garcetti, the then Mayor of LA."

Shaping the future

Having lived in California for six years now, Saurabh saw the rising number of recreational vans (RVs) on the road, owing to the high rents in the state. This led to the concept of ModLiv, an autonomous RV that will change the way people live in the future. "The RV concept is huge in California as most people cannot afford the steep rents. In San Francisco, the average rent is around $5000 per month while the average salary of a software engineer is $7000. Second-hand RVs, on the other hand, cost $10,000 which is a one-time investment and also provides mobility. This led to the premise of ModLiv as how people will navigate the space with their changing lifestyles and work from home in the future." What sets it apart from other RVs is the novelty of being autonomous. "I plan to use it as a service through government initiatives and not a product, as homelessness is a huge problem in California."

[caption id="attachment_47706" align="aligncenter" width="743"]ModLiv ModLiv[/caption]

In these years in the US, Saurabh has become more open-minded and has learnt to have a beginner's mind in every approach. "Solving the right problem is important to me. Also, do not have a cursory glance at the solution but understand the background and context."

The designer is currently working for Wisk Aero, a company that's making a four-seater autonomous passenger aircraft. "The USP of this is that you can use the third dimension - air - to transport people from point A to B in an efficient way. It's like a passenger air taxi, and it's going to be autonomous and one can roughly travel 50 miles in 20 mins. Autonomous is very specific to our company and that's our USP." He adds that the system is designed to be safer, eliminating the possibility of human error. While not fully autonomous, it incorporates human supervision for added security. "We are working on it, it's a long way as it involves certain levels of regulation."

As a transportation designer, who is into psychogeography, he calls advanced air mobility the future of aviation. "As for transportation, the future should be carless. However, people should be provided with alternate modes of public transportation equitably, of course, economics and sustainability factors to it."

  • Follow Saurabh Nimsarkar on LinkedIn

Reading Time: 6 min

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Michelle Obama to Jennifer Lopez: Meet Bibhu Mohapatra, the designer for global icons

(June 26, 2024) It's a juxtaposition of opposites - modern and traditional, tailored and draped, masculine and feminine, earthy neutrals and vibrant palettes - that makes Bibhu Mohapatra's designs stand out. His impeccable and intricate craft which is a beautiful blend of Indian designs and modernity has made him a global name in the international fashion circle. His love for his roots and the textiles of Odisha have helped him carve a niche for himself in a crowd of international designers. His designs are an eclectic mix of contemporary and tradition that have caught the fancy of the likes of Michelle Obama, Gwyneth Paltrow and Jennifer Lopez, making the New York-based Indian designer a torchbearer of Indian fashion. It began with him crafting dresses for his sister, and years later, this Global Indian is making India proud on the international circuit. Inspired by a needle and thread Born in a humble family of four in Rourkela, Odisha, Bibhu had a typical small-town upbringing. Most of his childhood went into climbing trees and playing gilli-danda with his friends. With no access to television in his early days, it was his mom's love for sewing that caught his fancy. At 12, his

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needle and thread

Born in a humble family of four in Rourkela, Odisha, Bibhu had a typical small-town upbringing. Most of his childhood went into climbing trees and playing gilli-danda with his friends. With no access to television in his early days, it was his mom's love for sewing that caught his fancy. At 12, his love affair with the needle and thread began in earnest when he spent hours cutting and sewing up old saris and tablecloths to make dresses for his sister. "She never discouraged me, but would kindly ask, 'Is it okay if I wear these at home?' When I finally made a proper dress for her, she wore it to some function and got a lot of compliments. That kind of solidified something within me, it made me believe that I could perhaps, do this," he said in an interview.

Though Bibhu was good at his craft, he was looked down up in his hometown for picking up sewing as a boy. But his progressive parents let him follow his heart. After completing his studies at the Municipal College in Rourkela, he set his sights on fashion. Unfortunately, in the early 90s, India had no fashion design schools besides NIFT Delhi, thwarting his dream. Meanwhile, his brother, who was studying graphic design in the US, encouraged Bibhu to apply for a Master’s program at Utah State University. After securing a partial scholarship, he moved to the US in 1996.

 

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The American dream

It was here that one of his professors chanced upon his sketchbook and was so impressed by his work that she requested friends in the art department to let Bibhu attend live drawing classes. This enhanced his portfolio, and by the end of his Masters in Economics, he was certain that fashion designing was his calling. His father's advice ultimately sealed the deal for him. "He told me to close my eyes and picture myself 10 years down the line and see if I was happy with whatever I was doing at that time. That sealed the decision for me," he said.

He moved to the Big Apple and enrolled himself at Fashion Institute of Technology. But the expensive city was a different ball game for this aspiring designer - he had to act fast to get some work before running broke. Armed with a few printed copies of his resume, he walked to 7th Avenue and dropped them at top design houses like Tommy Hilfiger and DKNY. Luck was on his side as received an internship call from the house of Halston - a leading fashion house that boasts of clients like Jackie Kennedy. Mohapatra dived deep into his work and learnt every trick of the trade from making embroidery layouts to going to fittings. The exposure helped him pick a full-time job with J Mendel where he worked as the Design Director for a decade. During the tenure, he expanded his team to 20 people and established connections with some of the most prominent women in America.

 

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Beginning of a brand - Bibhu Mohapatra

In 2009, Bibhu decided to branch out and start his eponymous label. But before the big move, he took a few months off to travel to Europe, seeking inspiration which came in the form of British-Irish artist and producer Daphne Guinness. She became the muse for his first-ever individual collection. Under the Bibhu Mohapatra label, the designer crafted some of the most beautiful couture gowns and cocktail dresses for high-profile clients across Europe, US and India.

For many years, Bibhu kept drawing inspiration from women with incredible personalities for his creations. "They don't have to be fashionistas, or anyone famous. They can be flawed, everyone is flawed. But their journey, what they stand for as people, their work – that's what is important to me," he added.

Mohapatra's designs have found their way to the big stores like Bergdorf Goodman, Neiman Marcus and Lane Crawford. It's a perfect blend of craft and modernity that has made Mohapatra a favourite with Hollywood and Bollywood stars. His client boasts of creme de la creme like Gwyneth Paltrow, Glenn Close, Jennifer Lopez, Rita Ora, Priyanka Chopra, Sonam Kapoor and Lupita Nyong'o.

 

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But it was Michelle Obama's endorsement that catapulted Mohapatra's designs to the spotlight. It began in 2013 when Obama graced The Tonight Show with Jay Leno in a yellow printed dress from Mohapatra's resort collection, sparking a surge in popularity for the designer who has mastered the fine balance between sophistication and femme fatale. The clean lines, impeccable construction and a celebration of femininity is what makes his designs stand out. So when Michelle Obama exited Delta One on her maiden visit to India in a blue floral crepe dress by Mohapatra, no one could stop talking about the dress and in an instant this designer from Rourkela became a hit across the globe.

Coming back to roots

Bibhu has become a global name in the fashion circles, thanks to the heavy influence of Odisha's craft during the formative years of his life. "As a child, I was enamoured of colours. My mother’s jewellery, her saris, the pipli and ikat work from the region — all this stayed with me. I feel that my heritage gives me that edge in making my clothes more modern," he added. Over the years, he has used some of the textile traditions of his home state, particularly ikat, to create interesting juxtapositions and introduce the rich textiles of Odisha to the audience in the West. Back home, he collaborates with local weavers for various projects. One such was Make In Odisha Conclave in which he teamed up with state government to create a special collection as part of the Handloom Revival Project.

 

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"I challenged the artisans to create new shapes, new prints and then mix them with modern elements and interesting colour combinations. We blended textiles such as silk and cotton. The idea was to see how creative economies can help foster pride in our heritage and bring economic prosperity to the artisans," he said. The 52-year-old also plans to launch a new project where the narrative of the artisans will reach the customers. "They need to know the people who weave these beautiful textiles. I plan to offer two designs to each weaver household and their job is to work with them in interesting ways. On a sari’s pallu or the corner of the pieces of home furnishing, they will ikat weave their names so that they do not remain nameless, faceless artisans," he added.

Mohapatra, who started his journey by sewing clothes for his sister to starting his own brand to styling Michelle Obama, has come a long way in this sartorial journey. He is one of those rare Indian designers who has put Indian designs and textiles on the global stage with every new collection.

  • Follow Bhibu Mohapatra on Instagram

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About Global Indian

Global Indian – a Hero’s Journey is an online publication which showcases the journeys of Indians who went abroad and have had an impact on India. 

These journeys are meant to inspire and motivate the youth to aspire to go beyond where they were born in a spirit of adventure and discovery and return home with news ideas, capital or network that has an impact in some way for India.

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