Nestled beneath Nilgiri trees in Bangalore’s Industrial area, Bommasandra, an innovative design studio is reshaping how Indians think about metal in living spaces. DesignMint, founded in 2015 by Alifia Shabbir, stands at the intersection of craftsmanship and contemporary design innovation.
DesignMint studio interior design innovations
The studio produces a diverse portfolio of sculptural lighting installations, bespoke art pieces, functional decor including mirrors, partitions and shelving. Alifia, besides being the creative force behind Designmint, is also interestingly the author of “Soul Spaces,” a book born from conversations with over 100 architects and designers across four major Indian cities, which serves as both a practical guide and a source of inspiration for those embarking on their home-building journey.
Alifia Shabbir interviews on design philosophy
Today, in a candid conversation as part of DTalks, Alifia shares her insights into the evolving world of Indian design, the story behind DesignMint, and what drives her creative philosophy.
Q. How would you describe your signature design aesthetic, and how has it evolved while working in India?
Alifia Shabbir: The signature design aesthetic of DesignMint is deeply rooted in our passion for blending craftsmanship with modern design sensibilities. Our designs are very versatile, right from the minimalist to maximalist. We enjoy working across a variety of styles with an emphasis on good proportions, design and functionality.
Working in India has been instrumental in shaping our design aesthetic. Our country’s rich cultural heritage, diverse craftsmanship traditions, and vibrant colors have all influenced our design language.
Over time, our aesthetics have evolved to become more refined and nuanced. We’ve experimented with new materials, techniques, and technologies, which has allowed us to push our boundaries. At the same time, we’ve remained committed to our core values of sustainability, quality, and craftsmanship.
Q. What influences and inspires your current work? Could you share some movements, designers, or elements of Indian culture that have shaped your practice?
Alifia Shabbir: I’ve always been fascinated by intricate patterns, vibrant colors, and ornate details that are characteristic of Indian art and architecture. The intricate carvings of the temples in Agra, the majestic architecture of the Mughal Empire, to our trips to our hometown Siddhpur -where good design was in abundance in the Vohrawads made in the Neoclassical style.
In terms of design movements, I love the Art Deco movement that celebrates ornate style with modern luxury. I believe that good design should be simple, yet powerful, and that it should always serve a purpose.
Indian culture, of course, plays a huge role in shaping what we do. I’m fascinated by the concept of “jugaad,” the art of finding creative solutions to complex problems. This mindset is deeply ingrained in Indian culture, and it’s something that I try to incorporate into my design process whenever possible.
Q. Could you walk us through your creative process? How do you move from initial concept to final execution?
Alifia Shabbir: The creative process – it’s a beautiful mess! At DesignMint, we don’t believe in rigid formulas or one-size-fits-all approaches. Instead, we follow a fluid, iterative process that’s guided by curiosity, experimentation, and a willingness to take risks.
It usually starts with a spark – a conversation, or inspiration from the surrounding spaces or the design style of the space itself. After collating many options, materials, forms and overall design intent, we share those with the client and have a discussion on it. Once we get a go-ahead on a design, we move into the design development phase. This is where we start to refine our ideas, experimenting with different materials, textures, and colors. We create prototypes, test them, and refine them further.
Finally, we’re ready for production. We work closely with our artisans to ensure that every piece is made as per design. We generally share progress pictures with our clients to make sure we are on the same page along the journey.
Throughout the process, we’re constantly asking ourselves questions: Is this true to our vision? Can we push the boundaries further? The truth is, our creative process is never really done. We’re always iterating, always refining, and always looking for ways to innovate and improve.
Q. Your work often involves collaborations with artisans and other creatives. What draws you to these partnerships, and how do these collaborations enrich your design practice?
Alifia Shabbir: When we team up with architects and interior designers, the creative energy is palpable. Our collaborations typically begin with a theme or an idea, a reference, or a shared passion project. From there, we start building on it, layer by layer, until a cohesive design vision emerges.
We love working with architects and interior designers because they bring a unique perspective to the table. They’re masters of spatial reasoning and they help us think about our designs in a more holistic way. Together, we explore how our pieces can enhance the overall aesthetic and experience of a space.
The collaborative process is always dynamic and iterative. We share references, sketches, and ideas, and then we start to refine. We might experiment with different materials, textures, or colors, or we might push the boundaries of scale, form, or function. Through this back-and-forth, we distill our ideas down to their essence, creating designs that are both beautiful and functional.
One of the joys of collaborating with architects and interior designers is that every project is unique. Each project presents its own set of challenges and opportunities, and we thrive on the variety and unpredictability of it all.
Q. Looking back at your portfolio, which project represents a significant turning point in your career, and among your recent works, what project are you most proud of and why?
Alifia Shabbir: The Panchatattva, a multilayered, softly lit piece made in brass and copper marked a turning point in our portfolio! Crafted from brass and copper, this stunning piece embodies the essence of Indian philosophy and culture.
This project was when we pushed the envelope further. The brief we received was pretty simple. To create the 5 elements – fire, water, ether, earth and wind as an artwork. Instead of creating 5 small pieces reflecting that we combined and created a single beautiful art piece with it all together. This was done in collaboration with Ar. Deepak Barthlome for a lovely nature-inspired home he had made.
Panchatattva marked a turning point in our portfolio because it solidified our design language. It showed us that our unique blend of traditional Indian craftsmanship and modern design sensibilities could result in something truly remarkable.
Our handmade coconut flowers bouquet holds a special place in my heart. I’m incredibly proud of how it turned out, and I think it’s because it represents a perfect blend of our design philosophy and the beauty of nature.
It is a series of three intricate, handcrafted metal sculptures that resemble the delicate flowers, sheath and fronds of the coconut tree. We created these pieces using a combination of metalworking techniques and they are delicately lit with glass orbs.
What makes Coconut Flowers special is the way it celebrates the beauty of everyday Indian life. Coconut trees are ubiquitous in India, and their flowers are often overlooked as a symbol of beauty. By elevating these humble flowers into intricate works of art, we’re highlighting the beauty in the mundane and the importance of appreciating the little things in life.
Q. What unique challenges and opportunities have you encountered as an emerging designer in the Indian design industry, and how are you working to overcome these obstacles?
Alifia Shabbir: India’s design landscape is transforming, driven by visionary architects and designers. The pandemic has sparked a renewed appreciation for local talent, fostering a thriving ecosystem that celebrates indigenous artistry and design excellence. This has turned into an opportunity for home-grown designers.
India is a country that is deeply rooted in its traditions, yet is also rapidly modernizing. This dichotomy creates a fascinating tension that can lead to innovative and unexpected design solutions.
As far as challenges go – skilled labour is something that we’ve always found challenging. The way we have overcome it is by training and trying to maintain processes so that the learnings get compounded over time.
That said, working here provides a unique opportunity to make a positive impact on the community. By working with local artisans, promoting sustainable practices, and creating designs that are relevant to Indian audiences, we can contribute to the preservation of craftsmanship and the empowerment of local communities.
Q. How do you approach sustainability and eco-friendly practices in your designs, particularly considering India’s traditional wisdom and contemporary environmental challenges?
Alifia Shabbir: When it comes to our designs, we approach sustainability in several ways. Firstly, we work with metal which is inherently infinitely recyclable. Also, when we began back in 2015, our entire product range was made from metal scrap. Now we still try to combine as much scrap as we can, project allowing.
We are also mindful about reusing packaging and minimizing plastic waste. We continuously recycle as an organization. We’re constantly exploring new ways to reduce waste and minimize our environmental footprint.
Of course, sustainability is not just about the materials and processes we use; it’s also about the impact our designs have on the people and communities who use them. We believe in creating long lasting and beautiful products that can be used for a long time to come.
Q. What’s your most exciting recent design or art discovery that’s influencing your current thinking?
Alifia Shabbir: I’ve been really excited about combining technology in our works to create a sense of awe and wonder and add to it being a truly immersive experience, be it in lighting or sound along with our metal art. In fact, for our recent installation at RAW collaborative, our Indian bazaar came alive with birds chirping and the visitors wondering where the sound is coming from. We love adding that element of play and look to incorporate it in different ways in our work.
Q. How do you build visibility and reach out to potential clients – what platforms and strategies have worked best for you?
Alifia Shabbir: The best thing for us has been word of mouth. Now we are a decade old and have put out a considerable body of work. The thing that speaks for itself is good work, and that is more long lasting than online platforms.
Q. From your experience, what are the crucial dos and don’ts for young designers trying to establish themselves in India, and what professional forums or communities would you recommend they join?
Alifia Shabbir: I would recommend designers to experiment heavily, fail, learn a lot and be patient. There are several forums that designers can be a part of to learn and grow. Most are geared towards interior designers, but products are also a part of it. Organisations like IIID, forums like Rasa Samvada, Curious Connect, are all good places to start.
Q. As you look ahead, what kind of projects or directions would you like to explore?
Alifia Shabbir: I’d love to delve deeper into sustainable design, experimenting with eco-friendly materials, and exploring ways to reduce waste and minimize environmental impact.
One direction I’m eager to explore is the intersection of technology and craftsmanship. I’m also passionate about promoting Indian craftsmanship and design on a global platform. I’d love to collaborate with international designers, artists, and brands to create limited-edition collections that celebrate metal art and craftsmanship.
I’m excited to explore the concept of “slow design” in the Indian context. In an era of fast-paced consumerism, I believe there’s a growing need for designs that prioritize craftsmanship, quality, and timelessness over speed and disposability.
Q. For aspiring designers looking to make their mark in India’s design landscape, what wisdom would you share from your journey?
Alifia Shabbir: We have rich cultural heritage, and our design landscape is unique because of it. Draw inspiration from our traditional crafts, textiles, and art forms. They’re a treasure trove of creativity waiting to be reimagined and reinterpreted.
India is a country that’s full of contrasts and contradictions. As a designer, you’ll encounter a wide range of perspectives, opinions, and feedback. Keeping an open mind and staying true to your vision goes a long way. Good design is not just about creating something beautiful; it’s about creating something that resonates with people, that tells a story, and that leaves a lasting impact.
Image Courtesy: Alifia Shabbir
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