Furniture Design Technology Magazine 2024

Furniture Design India and the magazine Furniture Design & Technology (FDT Magazine) are from the trusted 22-year-old media house of Surfaces Reporter and Ply Reporter. FDT is a B2B monthly bilingual magazine from India that shares the pulse of the furniture business in India and connects manufacturers, OEMs, product designers, architects, showrooms, designers and dealers.

Taking Indian Design & Craftsmanship to the
Global Luxury market

In a conversation with Verticaa Dvivedi,
Editor-in-Chief, Furniture Design & Technology (FDT),
Parminder Pal Singh, Co-Founder, LOCO Design, shares insights into overcoming challenges, nurturing craftsmanship, and fostering a collective spirit.

How did you start your journey in the luxury surfaces business, which I believe spans over 27-28 years?

Yes, close to three decades. I graduated from NIFT in 1997 from the accessory design department, which is more like a product design department. Soon after, I formed my company and never worked for any other. I felt I could contribute more independently. I worked on amazing projects for the Ministry of Textiles and various exporters. During my time in the export industry, I realized there was a significant gap between design and craft, and I wanted to make a difference for the craftsmen and their craftsmanship.

That’s fascinating. Could you elaborate on how you transitioned into the craft segment and the inception of Surfaces?

Our country is known for brilliant crafts, but around that time, the crafts and craftsmen were undervalued with very little design intervention. The focus was on making things cheaper, which harmed the craftsman and the craftsmanship. This drove me to enter the craft segment. Surfaces came about as part of our business plan around 2011-12. We worked with various materials and craftsmen and decided to create something that speaks of fine craftsmanship. That’s how Pintark came about.

What kind of crafts and materials do you work with?

We work with traditional materials like wood and leather, as well as contemporary materials like carbon fiber and technical fabrics suitable for various purposes. It’s a blend of different materials coming together.

You have three primary brands: Madheke, Pintark, and Taamaa. How do these brands differ?

Pintark is an architectural solutions brand offering surfaces for walls, ceilings, and cabinets. We visualize them like wood veneers and create graphic installations and custom work. Madheke is a luxury furniture, accessories and accents brand. We’re about to launch it formally. We have been promoting it internationally and it is doing fairly well. The idea is to also showcase fine craftsmanship and international-standard design. Taamaa caters to younger apartment living, providing fine design at affordable prices by creating designs which can be produced efficiently without compromising quality.

You seem to be a constant creator. Do you have any new plans?

Yes, we are working on a brand called Caur. It’s driven by my passion for jewelry, which was my graduation project. We aim to utilize factory waste to create beautiful products, starting with jewelry. We began with metals and are now we are moving on to leather and wood. The idea is to show the potential of using waste creatively and connect with others who might want to do the same.

What kind of learnings you’ve had over the last three decades from the global market? What kind of demand is there in terms of luxury furniture?

When we started, we acted as a bridge between international clients and the Indian export industry, trying to align global design expectations with local production. There was a huge gap in design interpretation, which prompted us to step in. Over the years, we realized it wasn’t just about design intervention but also about improving product realization. The demand from the West for cheaper, faster production had severely impacted Indian craftsmanship.

When you realized there is low appreciation for Made in-India products, how did you address the gap?

We took it upon ourselves to celebrate Indian craftsmanship. Around 2011, we started Loco, but even before that, we worked with top global brands. We realized there was a low appreciation for ‘Made in India’ products and craftsmanship. We had to constantly upgrade expectations on both ends, challenging clients to raise their standards and pushing craftsmen to meet these demands. Over time, we’ve built a reputation for fine craftsmanship. Today, many companies we work with appreciate and value our work, and we often start from concept to realization, which was unheard of before.

That’s impressive . So, the perspective is changing?

Yes, it is. There’s a growing acceptance and appreciation for Indian designs. We hope more young designers will step in, showing that it’s possible to not only create but also design high-caliber products. Over the years, people inside and outside India lost confidence in Indian craftsmanship. We can’t blame the West entirely, as that’s what they’ve seen. It’s crucial to educate both sides about what’s possible and constantly prove it. Waiting for demand to create products puts us behind. At Loco, we focus on innovation in materials, techniques, products, and usability.

Speaking of the domestic market, many clients still look to Italy and other places for luxury furniture. Do you see a shift in this trend?

There’s a significant opportunity in India. Many Indian clients are convinced about the quality of Indian-made products. However, in terms of design, there’s still a tendency to look westward. Historically, India was a design leader, but now the situation is reversed. It’s time to change that, though it won’t happen overnight. We must believe that we can be as good, if not better, than the West. The current global supply chain disruptions offer a perfect opportunity. We should aim to be more than a production hub. We need to establish our identities through our brands, showcasing Indian craftsmanship with a global perspective. It’s about striking the right balance, avoiding the imposition of ‘Indian-ness’ on the world or ‘Westernness’ on ourselves. We are at a juncture where we can make a difference, and I hope more people seize this opportunity.

Do you think craft and technology can go together to create a more powerful version of what we can deliver?

Absolutely. It’s a necessity. There’s a common belief that mechanizing processes might detract from the craftsmanship, but as long as we use these tools to aid the craftsmanship, there’s no reason not to. For scaling up, especially with global aspirations, it’s impractical to train everyone in a particular craft manually. We need to aid their work with better tools. For example, cutting wood isn’t skill-intensive, but carving wood is. By mechanizing the less skillful processes, we can scale up production without losing the essence of craftsmanship. At Loco, that’s one of our main goals: ensuring craftsmanship takes precedence. In our brand, Madheke, the craftsmanship is often superior to many global brands.

What kind of infrastructure backup do you have?

We are a young company, having first showcased ourselves in 2013-14. In a short period, we’ve grown to about 60-70 people in our studio and around 1500-1600 in our factory, which spans three and a half lakh square feet and houses some of the best machines from around the world. Many of our team members have been with us from the beginning, showcasing our collective effort to create something fantastic.

Given your strong intent to make a mark for Indian craftsmen, how do you see yourself progressing towards that goal?

Loco started partly in response to how global brands were treating Indian craftsmanship. In the luxury market, it was rare to see a ‘Made in India’ label. The textile industry has done a great job of keeping traditions alive, but it’s very rare in the craft and furniture segments. In 2011, a major brand bluntly told me they didn’t want a ‘Made in India’ label because it wasn’t perceived as luxury. From that moment, we were determined to etch Made in India’ on every product under our brand. It’s taken patience and conviction, but now we’re globally accepted. Some of the best platforms in the UK want to sell our products. MOMA New York and MOMA Hong Kong picked up Taamaa, which was our ultimate target, affirming that we’re doing something right.

It sounds like you’re successfully changing perceptions.

Yes, indeed. People from around the world now see us not just as an option but as a vital part of their design process. When architects from London, UAE, or New York visit us, they leave refreshed and inspired, knowing they can add more value to their projects. That’s the biggest compliment we could receive.

When does real collaboration begin in the design process?

Real collaboration begins when it goes beyond quality - it’s also about design intent and how we can contribute to their design process. For instance, Pintark is now part of the toolbox for many international designers. They may create a product or a surface with it, using it partially or on a large scale, so it’s happening.

The business of design is different from other businesses , especially given the constant changes in the market and working on both national and global levels . With close to three decades of experience, you must have learned many lessons. Can you share some?

One of the biggest lessons I learned early on, probably in the institute, is the difference between art and design. One needs to decide which one to practice, although there are gray areas and crossovers. In design, you must have a different mindset. Initially, I wanted to be an artist, but the challenges in design are brilliant. You need to be a student of science, materials, mathematics, physics, and psychology. Simply being good at drawing or using software isn’t enough. You need to understand economics. The parameters you set when designing a product must be clear. I’m grateful to those who made this clear to me early on.

That’s very insightful. Many people are still trying to figure out whether they belong to art or design.

True, it’s a transition everyone must learn and find their ground. If your calling is in a crossover, that’s great, and there’s an audience for it. But you need to find the right audience and stay true to your subject. Wavering between being an artist and a functional artist or a pure product designer creates problems. When designing, you must know which segment it belongs to and be specific about why you’re creating it. Don’t expect everyone to appreciate it; it needs to resonate with the right audience.

It’s truly inspiring how you’ve turned a set back into a testament of resilience.
Can you share what you’ve learned from the fire incident in 2022?

It was indeed a challenging time, but the biggest takeaway was the strength of our relationships, especially with our team. Financial losses can fluctuate, but the dedication and character of our team were truly remarkable. My brother, who has been a pillar of support throughout my life, showed immense courage and respect in handling the situation. Our team’s willingness to confront the fire head-on, risking their safety for our shared vision, filled me with immense pride. Despite losing nearly everything, we decided to mourn for only two days and returned stronger, surpassing our targets for the year. It was a collective spirit that drove us forward.

Your journey reflects incredible leadership and vision. Do you have any messages or advice for publications Furniture Design & Technology (FDT) MAGAZINE?

I think you guys are doing a great job. From what I’ve learned about you, it’s truly tremendous. I believe it’s essential for someone to stand up and voice the possibilities, and media plays a crucial role in ensuring that what is happening around us is conveyed to the right audience, the right people, and in the right way. As much as we can try, unless there is someone taking our voice further, we might grow, but not at the pace we deserve. I really feel that Furniture Design & Technology (FDT) can help us achieve this, as these efforts need to be done collectively, as a united force.

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