Tell us about where you studied and some of your highlights and favourite lecturers
I studied at Pearl Academy’s Bangalore campus, and looking back, it was nothing short of transformative. I joined as a wide-eyed kid who loved art, design, and music but had no clue where to channel that energy. I just knew I wanted to do something meaningful, something that mattered. Pearl became that space for me.
But if I had to pick the true highlight of my time there, it wouldn’t be a particular project or achievement. It would be the people. My peers and mentors were the heart of the experience. Every day was a whirlwind of ideas and the occasional existential crisis over design choices. There were sleepless nights fueled by adrenaline, moments of pure creative chaos, and the sheer thrill of seeing an idea come to life. Somehow, along the way, I ticked off a bucket list I didn’t even know I had. I made a film, something I never imagined doing. I fell in love with design in a way that completely changed how I see the world. I learned to trust the process, embrace the unexpected, and push myself beyond what I thought I was capable of.
And of course, I owe so much to the incredible mentors who shaped my journey. Clifford Jeffrey, who saw potential in me even when I doubted myself, pushed me to experiment with color when I was terrified of it, and made me believe in my own voice as a designer. Yash Sheth, whose brutally honest feedback was exactly what I needed to grow. He introduced me to creative coding and showed me how design and technology could intertwine in the most beautiful ways. And Sutirtha De, who made me fall in love with typography, turning what seemed like just another design element into a world of its own.
What weird and wonderful things are you obsessed with right now that inspires your creative work?
I’m not sure if it’s weird, but I’ve developed this little obsession with collecting packaging boxes, especially ones from food and skincare brands that have something special about them. If I come across a box with a unique texture, a cool design, or sustainable materials, I can’t resist. There’s something about dissecting these designs, breaking them down to see how they’re built, that really gets my creative juices flowing. I love experimenting with different materials, styles, and approaches, always trying to push the envelope. And I’ll admit, I may have a mild hoarding problem when it comes to design materials, but who doesn’t, right?
On the flip side, though, it’s not really "things" I’m obsessed with, it’s people, culture, music, and films. That’s where I find the real magic. The best creative inspiration comes from digging into different perspectives and understanding how culture shapes design. I love researching how stories are told through visuals and sound, and how I can incorporate those elements into my work to make it more impactful. Oh, and I’ve definitely got a soft spot for design books, especially the ones with striking covers, even if they end up just sitting on my shelf unread!
Favourite travel destinations that inspire you?
If I had to choose three, Japan, Northern Italy, and Scotland without a doubt.
- Japan is a blueprint for design discipline. Everything is intentional, typography with precision, packaging with layers of storytelling, textures that balance form and function. The way tradition and innovation coexist is something I always take back into my own work.
- Northern Italy is effortless composition. From Milan’s fashion to the architectural details in old-town piazzas, everything feels curated yet natural. The color palettes, the symmetry, even the way food is plated, design thinking is baked into the culture. It’s proof that aesthetic and function can blend seamlessly.
- Scotland is straight-up world-building. The castles, the stone textures, the way light hits different in the highlands, everything feels cinematic. The history embedded in architecture and landscape is a masterclass in narrative design, making it impossible not to get inspired.
Tell us about your tools / what tech, programs, equipment and environment do you do your best work in?
I like to keep a balance between staying organized and letting creativity take its course when it comes to my workflow. Notion and ClickUp keep my projects from spiraling into chaos, but when it’s time to design, I dive into Illustrator, Photoshop, Figma, and InDesign, constantly jumping between them. I love experimenting with new tools as well. Figma and ProtoPie handle prototyping and wireframing, while Glyphs is my go-to for anything type-related. And for collaboration, Slack and Miro keep everything flowing.
As for my workspace, I love a quiet corner stacked with design materials, posters, and way too many plants, it’s basically controlled clutter at this point. And music is always on. My ears are pretty much plugged in at all times, and when I really need to focus, Hans Zimmer’s Cornfield Chase works like magic.
Which 3 creatives do you look up to and why?
The three creatives I look up to the most are Jessica Walsh, Cho Gi-Seok, and Khyati Trehan.
Jessica Walsh is an absolute powerhouse when it comes to bold, impactful design. Her work is always fearless, often surreal, and she has this genius way of turning big ideas into visually arresting statements. I’m constantly inspired by how she distills real-world problems into design that speaks volumes and really challenges the status quo, her projects are like visual manifestos.
Cho Gi-Seok, the photographer, is another major influence. What I love about his work is how he sees the connection between humans and nature, and how he plays with that dynamic in such a raw, thought-provoking way. He’s all about deconstructing and deforming beauty, and his photos invite you to appreciate the subtleties and nuances that might otherwise be overlooked. You can tell there’s a ton of thought, craft, and technique behind every shot, and that’s something I really resonate with, composition, lighting, color, and all those little details that tell a bigger story.
And then there’s Khyati Trehan, whose work is a sensory overload in the best way. She blends texture, motion, and conceptual depth like no one else. Her design practice isn’t just about visuals, it’s about crafting entire ecosystems where design, technology, and culture collide in a harmonious chaos. Her work feels like it exists on the edge of reality, where digital and physical worlds fuse to create something that’s both nostalgic and futuristic. I love how she manipulates form and medium, making abstract concepts tangible and turning them into an immersive experience. It’s not just design, it’s an entire cultural commentary, and the way she weaves narratives through all these layers always makes me rethink how I can push my own creative boundaries.
What are your biggest hopes and dreams for 2025, both for the world and your career?
For 2025, my biggest hope is to finally put my work out there without spiraling into perfectionism. I have a habit of pixel-pushing endlessly, convincing myself that everything needs to be flawless before it sees the light of day. But this year, I want to lean into iteration, embrace the raw, and actually let my work live beyond my screen.
I joined Condé Nast a couple of months ago, and I hope to dive into more meaningful projects that actually make a difference. Working across brands like Vogue, The New Yorker, Wired, Pitchfork, Architectural Digest, and others has been insane in the best way, I’m constantly surrounded by ridiculously talented people, and I just want to keep absorbing, learning, and evolving both as a designer and a human. What would be incredible? Getting to collaborate with people and brands that shake things up, experiment without fear, and blur the lines between design and tech. I also need to finally dive into 3D and motion, it’s been sitting in my one day pile for way too long.
Beyond that, I hope the design scene in India gets its due. There’s still this perception that design is just surface-level, when really, it’s systems-thinking, problem-solving, and storytelling all wrapped into one. I want to see more people recognizing the weight of good design, how it influences culture, behavior, and real-world change.
And for the world? Less noise, more light. Less chaos, more kindness. Just hoping for a little more room to breathe.
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