I often find myself being attracted to Bauhaus primary color pairings as they’re sensual and playful simultaneously. Oh, I can have periodic phases however my love for indigo is a constant. In your own work - how do you treat these elements? What draws your attention? We as a brand work deeply in print and colour. It tells the story of our people and our communities.īRÖNDEN copyright © Inter IKEA Systems B.V. I respect and genuinely value the deep old traditions of the diverse crafts we are home to. Yet everything co-exists and complements each other in complete harmony. What I find fascinating with Indian textiles, is that it’s so vivid and eccentric in its colours and patterns (and in its entirety).
What about Indian textiles intrigues you? We ourselves try and work with common textiles in India and try to showcase its beauty/versatility. Your work now delves quite deeply into textiles too. And we dipped it in shades of blue, deep to light to convey the transition from darker times to bright blue skies.įörändring the rice straw collection. We then later decided to keep the same shape and turn it upside down. The lampshade from the collection that was developed using rice straws - Förändring, was initially thought out to be a bowl. Tell us a story about one thing in your collection. Tactility, the essence of a material and the emotion it evokes in a person is what I particularly pay attention to. Sounds cliche but attention to detail always counts. You have to understand the cost and the heritage of a craft, the standardised quality a product needs and pricing the products so it can be affordable to the many. The design process is demanding, yet fun. What are the challenges you face as a designer? What do you pay the most attention to?Ī challenge that I recently faced during one of my projects is to design a well made, handcrafted product available to many and not just to a certain section of people. You always have to keep the bigger picture in mind. Any product at any given time has to harmoniously co-exist with the existing range at all times. Designing in IKEA has a lot to do with coordination. The process is always dynamic with each project depending on the context and the message you seek to put across. Having said that, some projects can solely be exploratory.
The objective and intent of an initiative are important. What did you think about when designing? What was the process like? Do you start with one piece and design around that or is it add-as-you-go? I also recently gave a talk session as a part of Democratic Design Days in Basel, hosted by IKEA Switzerland. I’ve been working on a collection that involves collaborating with local designers and craftsmen from Middle-east Asia, India, and South-east Asia. Not just with regards to IKEA but also your personal projects. Tell us a bit about what you are working on right now. Here we dig deeper into what’s stewing at her end. She embodies a JODI woman.īorn and brought up in New Delhi, India - Akanksha was the first Indian designer to be handpicked by IKEA and also their youngest. So choosing her as one of the women we focus on was no surprise. Almost like we could be back in our school corridors, chatting away. What I adore about her is that even now, after all these years Akanksha has the same abandon. She always spoke so passionately about how she viewed the world and its various details.
She’d take time out and explain them to me. While passing each other in corridors I would always see Akanksha hurrying past, spilling over with knit explorations. I’ve been lucky to see and know Akanksha before IKEA happened to her or before JODI happened to me.
Akanksha Sharma, designer at IKEA is one such person. You see them and just know that they’re brain is working differently. Some people are born bursting with creative abundance.
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