Surat-based designer Sakina Poonawala is the founder of Madns, a creative studio rooted in experimentation and storytelling. Trained in psychology and fine arts, she blends observation, culture, and curiosity to create work that feels intentional and human. Deeply inspired by her Dawoodi Bohra heritage and her city’s colour and craft, Sakina champions access, visibility, and emotional connection in design.
Can you tell us a little about your first few steps in your career. Was there a moment or experience when you realised this was what you'd do as a career?
Even as a kid, I was always sketching and painting in my notebooks little patterns, objects, or just things that caught my eye. That curiosity stayed with me as I grew up, and eventually I took a minor in fine arts alongside my psychology studies at Auro University in Surat. Deep down, I think even my institution could see that my energy naturally leaned toward creating and visual storytelling.
While I liked psychology, it didn’t make me feel alive the way noticing and making visuals did. The turning point came one evening in 2020 when I was helping a friend with a small poster design. I remember feeling completely absorbed, like I had stepped into a world that made sense for me. The thrill of seeing an idea take shape visually, and the joy of experimenting with color and form, made me know this is what I want to do. Soon after, I started Madns, an independent design studio, its name derived from the initials of my old art account, myartdoesnotsak, where I shared my personal artworks before starting my design journey. It also nods to the idea of “madness”. This helped me explore my ideas and build a space for creative experimentation.
It was uncomfortable at first, but that mix of fear and excitement confirmed I was finally on the path that felt truly mine.
What lessons from your career have most shaped your style and approach?
Tell us about the core values or philosophies that guide your creative practice.
For me, design is about observation, honesty, and balance. I try to create work that feels real and relatable, whether it’s through emotion, Illustrations, or storytelling. I also believe in learning by doing experimenting, making mistakes, and iterating is just as important as inspiration. Another guiding principle is that creativity should come from a place of curiosity, not pressure when I slow down and notice the world around me, whether it’s a street pattern or a fleeting moment, ideas naturally emerge.
At the heart of it all, I want my work to feel intentional, personal, and connected both to myself and the people who experience it.
What needs to change, so emerging and under-represented creative professionals have more opportunity, are seen and heard?
The biggest change that needs to happen is visibility and access. There’s so much talent outside the big cities or established networks, but without the right opportunities or platforms, it’s easy to go unnoticed. Emerging and under-represented creatives need spaces where they can experiment, showcase their work, and be mentored, without having to fight just to be seen. I
’ve started building BriefArchive for this reason to create a community where designers can grow, practice, and collaborate, no matter where they’re from. Beyond infrastructure, I think the creative world needs to value diverse perspectives and celebrate work that reflects different cultures, backgrounds, and lived experiences.
How important is it that creative professionals find their unique voice?
Finding your unique voice is something that really comes through experimentation. For me, that moment happened through working on my risograph-inspired print series, Khaali but Kaafi, which means “empty but enough.” One of the prints, One Takes One, features a person holding a single matchstick a simple, everyday object but layered with meaning about small choices and moments. I loved exploring how ordinary, relatable things could carry emotion and narrative, while blending subtle Indian cultural hints with Western design influences.
Even though the work is digital, I designed it to feel layered and tactile, like a real risograph print, experimenting with color overlaps, gradients, and composition. Working on this piece helped me realize how I could combine storytelling, cultural references, and technical experimentation to create work that felt distinctly mine.