Adamik: QLOCKTWO is more than just a design object. It is something which has a strong connection to the people around the world, because we are not displaying only time, but the human concept of time. When we say the ‘human concept of time’, we mean language, because without language, there’s no communication. This is why we display the time in more than 24 languages, because this brings the human connection to these pieces. In 2023, we launched the QLOCKTWO MOON here in this region, keeping in mind the region’s strong spiritual and cultural connections to the moon. And in the next couple of years, we will have launched the next object, QLOCKTWO SUN. This will then tie in the triptych of the human concept of time – the earth, the moon and the sun.

Founded by artists Marco Biegert and Andreas Funk, QLOCKTWO unites the discipline of German engineering with the emotion of modern design. The result is not a clock, but a work of art that redefines how we perceive time – crafted with the devotion and mastery found in the great traditions of horology yet created to celebrate stillness and presence.

What was the ticking point for QLOCKTWO for its expansion to the US, Switzerland and Dubai? What is it about it that resonates with a wide audience?

Adamik: We believe that all the different parts of the world have different needs from the point of experience, but all the different markets have something to bring to us as a brand. For example, in the United States, design moves very quickly and so do tastes. Whereas in Switzerland, the watchmaking traditions are very close to us. In addition to that, cities like Zurich are like melting pots that resonate with our work. Dubai is like coming home for us as this is the region where the concept of time was discovered which inspires us. We believe the people here in this region has a very strong and unique connection to time and to our objects, and they appreciate the kind of telling time, and especially in a city which moves faster every day.

What is the feedback you have received locally for the QLOCKTWO MOON?

Skhir: Launching the QLOCKTWO MOON here was extremely strategic for the brand. We are deeply rooted and connected to the moon in our regional holidays, in our festivals, and so on so forth. So the observation of the moon is essential in this part of the world. It connects with us on a spiritual level. Even for the people who don’t understand it, these pieces become a significant part of the conversation and arouses curiosity in people. Nobody so far has depicted the moon in this way. The QLOCKTWO MOON honours a celestial rhythm through 28 luminous phases – from new moon to full – each an ode to the passage of light. Hand-finished in lacquer, platinum, or rare moon gold, every surface reveals the artistry of Schwaebisch Gmuend’s master craftsmen. The result is not merely a timepiece, but a collectible sculpture – a quiet dialogue between humanity, nature, and the cosmos. All of the pieces are on a made to order basis within 8 to 10 weeks.

How has the brand’s evolution been shaped through the lens of your experience (Adamik’s)  with luxury, interior design, jewelry and timepieces industries?

Adamik: All of these industries have something to do with QLOCKTWO.  The watch industry stands for precision, the jewellery industry for emotions. And the interior industry stands for bringing emotions and precision together to a space where the people live. Having one regardless of where you are, gives a connection to the space – whether at work or at home.

What are the future plans for QLOCKTWO?

Adamik: In the next couple of years, we are set to launch some extraordinary objects. – the QLOCKTWO SUN, that strengthens the universal concept of time. Meanwhile, it is equally important for us to build strong relationships within each country where we operate. In Dubai, as we open our new boutique, we look forward to working closely with local artisans and collaborating with other businesses to make QLOCKTWO ‘s vision of time meaningful and relevant to every market we enter.

The post The Art of Time appeared first on identity.

You’ve worked on projects across the world. What felt uniquely different about designing for a space so deeply rooted in Abu Dhabi’s identity?

Designing for Abu Dhabi Royal Equestrian Arts (ADREA) meant engaging with a cultural identity that is both deeply rooted and very much alive. For the library and the saddle workshop, we wanted the spaces to embody Emirati tradition, especially the equestrian heritage that remains a true way of life. We drew from the cultural references that define the region: Middle Eastern craftsmanship, material sensibilities, and the rituals surrounding horsemanship. Together, these elements formed an authentic and grounded vocabulary that guided the project.

From there, the challenge and the opportunity was to bring this richness into conversation with our own contemporary design language. Our aim was to honor tradition while keeping the spaces fresh, precise, and modern. This interplay between local culture and our design became the foundation of both the library and the saddle workshop.

If you could describe the Equestrian Library in a single emotion, what would it be and why?

For us the emotion is serenity. We wanted the library to create a pause, a moment where everything settles and you can simply be surrounded by the textures and the craft of the space.

Designing for equestrian culture involves a delicate balance between power and poetry. How did you bring that duality into the space through materials, light, or spatial rhythm?

Power comes through the precision and honesty of the craftsmanship, while the more poetic side comes from the curves, the light, and the softness of the space. In the Library, the curved bookshelves create a sense of steady movement, echoing the motion of a horse. In the Saddle Workshop, the raw presence of leather, brass, and hand tools brings a tangible strength, and the careful detailing adds a quieter, more refined layer.

The library is not just an archive, but a living cultural space. How do you imagine visitors will experience and interact with it once it opens?

We imagine a place where visitors of all ages feel welcomed to wander, to sit, and to learn. It is not a silent monument but rather a space where culture is experienced in a very tactile way. People will feel the warmth of the woodwork, discover the storytelling inside the displays, and understand equestrian heritage through design as well as through explanation.

Design balances rhythm, emotion, and structure. How do the two of you collaborate and communicate creatively to achieve that sense of flow in your projects?

Our collaboration is built on constant conversation. We challenge each other, we question ideas, and we always bring our different perspectives to the table. One of us may focus on proportion and structure, while the other pushes the emotional or narrative layer. The flow comes from this back and forth. We never design as two separate voices but as one voice shaped by dialogue.

Light, texture, and material seem to breathe in your work. How do you decide what a space should feel like before deciding what it should look like?

We always begin with the feeling. The atmosphere comes first. For this project, the feeling was warmth and groundedness. We then choose materials that carry that emotion. In Abu Dhabi, it was natural woods, earthy tones, and textures that feel connected to the landscape. When the materiality is right, the aesthetic language follows naturally.

With a dedicated Children’s Collection, how did you design spaces that engage younger visitorswhile maintaining the elegance and calm of the library?

The Children’s area is simply part of the main library. We did not create a separate world for it. We kept the same atmosphere, the same materials, and the same design language. The only adjustment was the scale of the furniture, so children can sit, read, and move comfortably. This way the space feels welcoming for them while remaining fully coherent with the rest of the library.

Design is a form of storytelling. How did you translate the poetry and movement of horsemanship into the architectural language of the library?

We were inspired by the continuous motion of a horse. There is a fluidity in the way the bookshelves curve and the way the space guides you through different narratives. We also brought in materials that echo the world of the stables such as wood, metal & leather.

Were there any challenges in designing a space that can accommodate the world’s largest equestrian collection while allowing flexibility for programming, exhibitions, or events?

The main challenge was scale. The collection is extraordinary, and it requires a space that is both practical and respectful. We focused on creating a flexible architecture where displays can evolve, where lighting can adapt, and where circulation always feels natural even during events. The challenge became an opportunity to design something living rather than static

Finally, when you look back at this project in years to come, what do you hope it will stand for interms of culture, design, and legacy?

We hope the project will stand as a tribute to craftsmanship and cultural continuity. If the space continues to inspire curiosity, to celebrate the equestrian heritage of Abu Dhabi, and to show how traditional craft can live inside contemporary design, then we will feel that the legacy is complete. It is a project very close to our hearts because it brought together artisans, stories, and a place that deserves architectural care.

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Watch the video here:

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What sets Giorgio Collection apart from other furniture brands?

Giorgio Collection is not just about furniture — it’s about a lifestyle. When you step into the world of Giorgio, you’re not just buying a table or a sofa; you’re embracing a philosophy of living. Every piece is born from passion, not price. We create timeless designs made with the finest materials available in the world, and that’s why we confidently offer a lifetime warranty. You’re buying a 100% Made in Italy product, designed with emotion and precision, meant to last forever. We don’t chase trends; we create pieces that stand the test of time — exclusive, elegant, and crafted with heart. That is what makes Giorgio Collection truly unique.

What lessons from your father do you still carry with you today in business? Has this shaped the brand values?

Fabio Masolo

My company will soon be seventy years old, and that history carries the soul of three generations. My grandfather started it all, and I continue to carry his legacy — his craftsmanship, his love for wood, and his belief in doing things with passion. I still use ebony, the same wood my grandfather once used, but in a modern way, to honor our roots while embracing the present. The biggest lesson I’ve inherited from my family is this: if you feel it, you do it. Passion is everything. It’s what keeps the company alive, it’s what shapes our brand values, and it’s what connects our past with the future.

What made you choose to partner with IN?

I always say that Giorgio Collection is not just a product — it’s a lifestyle. When I searched for partners around the world, I wanted those who shared our values, our respect for quality, and our dedication to beauty. In the UAE, I found all of that in IN. We’ve been partners since 2006, and from the very beginning, it felt like family. We work only on an exclusivity basis because relationships, to us, are built on trust and longevity — not numbers. With IN, it’s not just business; it’s a bond of shared vision, mutual respect, and the desire to create something extraordinary together.

What can the UAE Market look forward to in terms of design and trend? What should we adopt from Italian design?

I have to say, Dubai is happening — this is the place right now. I’ve traveled across the world — from Russia to Mongolia to Paris — and nowhere else do I feel the same energy, openness, and creativity. The UAE is cosmopolitan, modern, and full of people who appreciate refinement and exclusivity. The future here belongs to designs that are sophisticated yet warm — what I call contemporary transitional. That’s where Italian design fits perfectly: it combines precision with emotion, proportion with soul. People here value quality, touch, and detail, and that’s exactly what Giorgio Collection brings — timeless Italian artistry adapted beautifully to the UAE’s evolving lifestyle.

Tell us about the Luxor Collection, and how customers can best incorporate it into their homes.

The story of Luxor began during my trip to Egypt a few years ago. I visited the city of Luxor and thought, what a beautiful name — Luxor, like luxurious. The name stayed with me, and from there the collection was born. Luxor is all about richness, warmth, and subtle grandeur. It features three signature elements: Makassar ebony from Indonesia — rare and deeply textured; marble from Namibia — a discovery inspired by my wife’s travels; and a titanium-finished metal that I created after admiring a Patek Philippe watch in Paris.

Together, these materials form a dialogue of texture and tone — dark wood, luminous stone, and sleek metal — all united by craftsmanship. When placed in a home, Luxor pieces don’t just furnish a space; they elevate it, bringing elegance and emotion into every corner. It’s a collection designed from the heart — for those who understand that true luxury is not loud, it’s felt.

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We also discuss TGP’s community-driven venues, from one of its earliest UAE projects, Reform Social & Grill, to Seed & Bloom, the much-loved community café in Abu Dhabi. Both illustrate how hospitality brands resonate most when conceived holistically, with concept, brand strategy, interiors and operational service shaped together to create places people genuinely connect with.

Watch the interview below:

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Malhas: Conceptually, Hobb did not start as a bookstore; it started from a place of claim and a bit of cynicism. I am a designer, specialised in branding, and halfway through February 2013, I was nauseated by the red teddy bears and roses – nothing against romantic love – but I felt like we needed to claim the word back. Of course, a month after my first child was born, I was still high on my newfound maternal love, and was exploring all the ways love (‘hobb’ in Arabic) can be expressed. I thought, “How fun would it be if we created a brand called Hobb?” I designed the logo, and a few more things, but nothing beyond that; it was a dream, a recurring dream, that kept revisiting me over the following six years, until it was a matter of “launch it or let it go.”

I launched it in 2020, from my small home office where I was freelancing, and shipped out books ordered on our online store. By 2021 we opened the doors to our bricks-and-mortar store. The day they put the sticker up on the window was a particularly emotional one for me: it was like bringing a child into the world. Hobb was emotionally, mentally and physically exhausting, and seeing it up in physical form was a joy beyond words. 

After you founded the bookstore, what was the response like?

Malhas: I started the bookstore thinking I was going to spend my days around books, and only books. What I didn’t realise is that books would bring the most beautiful souls. Seeing someone find the right book is such a thrill; it gave the expression ‘light up’ a whole new meaning, because they literally light up; you can see it all over their face. A book lover walking into a bookshop is now my favourite thing to witness, followed by the conversation. I’ve had the best conversations in Hobb, and for that I will always be grateful. I had the honour to see people talk about and birth dreams, I saw people in pursuit of their passions, I heard stories and experiences worthy of books, but in human form. 

Who does Hobb cater to? What’s the story behind its namesake?

Malhas: Hobb mainly caters to the creative industries, but it welcomes all curious souls. I love asking people what they do, or what their dreams are; I am terrible at small talk! We’ve catered to libraries, hotels and design studios of different sizes, but we’ve also met chocolate makers and perfume-makers, as well as mycologists and psychologists! 

The name stands for finding passion and purpose, it is about pursuit and the obsessive nature of loving something. It is also a reclaim of how the media portrays love; it’s not red roses and teddy bears, it’s consistent work and effort towards a goal or a direction. Also, let’s not forget how fitting it is for a place that caters to book-lovers and design-lovers alike. 

You also hold a lot of workshops here – can you take us through a few of these?

Malhas: We’re lucky to have our intimate space, quietly tucked in Wasl Square, Dubai – smelling of baked goods thanks to our neighbours – which has allowed us to host book launches, mixers and workshops. We’ve opened the space in the summer for anyone willing to share their craft or experience, and the response has been wonderful. We’ve had a book binding session, a design meet up, a branding card game, and a board game that resembles the art world! 

What are some initiatives held at the bookshop?

Malhas: We’re always experimenting with new things. Right now we’re looking at collecting as many zines from the region as possible; we’d like to be a hub for self-publishing artists. We also want to connect the community and do more mixers. 

What are you hoping Hobb to eventually be in the future?

Malhas: Right now, Hobb is a bookstore and my personal creative space, as I use it during the day to finish my own branding work. In the future, I would love to see it expand into a co-working space, somewhere people can spend their day seeking inspiration and share their craft. The challenge is to keep the intimacy to it; I love the size of the business, and the conversations, and I worry that a bigger space would take away from our little hidden gem feel.

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Many of the key pieces were designed and manufactured by ALBD, allowing the firm to fully control the creative vision, ensure uncompromised quality, and deliver highly customised pieces tailored to each space; from one-of-a-kind furniture and lighting to artisanal detailing across materials and finishes. This was achieved in a a three- to four-month window that included global sourcing, production, and logistics. This demanded not just creative agility, but operational discipline, aligning vision, execution, and delivery seamlessly.

At the core of each brief was a shared ambition: to craft spaces that not only looked extraordinary but felt deeply personal. “True luxury, in our view, isn’t just visual — it’s emotional,” shares Savage. “Every material, texture, and design gesture was purposeful, layered to evoke an atmosphere that’s elevated yet livable, aspirational yet intimate.” Even under accelerated three- to four-month timelines, this approach ensured design integrity and craftsmanship were never sacrificed.

For Savage and her firm, design is never just about aesthetics, but about shaping how people live, feel, and connect with their space. Each project becomes an opportunity to translate lifestyle and aspiration into meaningful, lived experiences. The result is a collection of spaces that feel elevated, personal, and enduring.

Here’s an overview of the studio’s latest work in Dubai:

Villa Marina, Dubai Marina

The vision for Villa Marina was to transform the property into a sophisticated, standout residence for Dubai’s discerning luxury market. Spanning 862 sqm, the design went beyond aesthetic upgrades, unlocking the full potential of the site. Unique challenges such as an unusually configured outdoor space were integrated into a seamless, livable flow that blurs the lines between indoor refinement and private outdoor sanctuary.

Penthouse 26, Dubai Marina

Set against the iconic backdrop of Dubai Marina, Penthouse 26 was envisioned as a residence that balances exclusivity with a sense of welcome a bold, yet timeless design. Spanning 562 sqm, every design decision was intentional, from fluid spatial planning to carefully curated materiality, creating an environment that exudes confidence, quiet elegance, and modern luxury. Panoramic views remain the focal statement, with interiors that enhance, not compete.

Concept 7 Lobby: First Impressions Matter

The lobby at Concept 7 in JVC Dubai sets the tone for the entire building. Designed to impress from the first glance, it reflects the same commitment to quality, comfort, and narrative-driven design seen in ALBD’s residential projects.

The ALBD Living Team

ALBD is actively contributing to the evolving design narratives across the region—from Saudi Arabia’s ambitious growth to Dubai’s new frontiers on the Dubai Islands. Iconic F&B collaborations and highly curated residential commissions are in the pipeline, with ALBD’s Singapore HQ serving as a creative anchor for their wider Asia portfolio.

On their collaboration with Condor Developers

Condor Developers have proven to be an inspiring partner to ALBD. “They were open to pushing the boundaries of conventional luxury, giving ALBD the freedom to introduce bold gestures in colour, form, and spatial flow,” shares Savage.

As business owners and designers, both teams have challenged and inspired each other throughout the process—proving that true creative partnerships are built on trust, transparency, and a shared commitment to excellence. In today’s business landscape, these values are increasingly rare.

Photography by Sayher Heffernan

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A lobby in Jumeirah Village Circle (JVC) designed by A Life by Design – Living & Branding for Condor Developers

Born in Kenya to Indian, Portuguese and English heritage, and now based in Singapore for over two decades, Savage considers herself a true global citizen. Her expertise has been recognised by major television networks like HGTV and Star World, and she has often been featured as an anchor judge and host on shows, where her expertise is highly valued.

Savage’s design philosophy is rooted in the belief that spaces should be more than beautiful – they should be deeply personal, functional and intentionally crafted to support the lives of those who inhabit them; she navigates the intersection of functionality and aesthetics with ease, unlocking design’s potential to communicate and resonate across cultures. As Savage puts it, “We believe that a space should be designed for the life you want to live.” The studio’s holistic philosophy embraces layered, intentional and inspiring environments of ‘controlled maximalism’, creating richness and depth.

At ALBD – Living & Branding every project begins with a deep understanding of the client’s psychology. The team brings decades of expertise to the table, opening a world of leading-edge, inspired design. The studio sets out to craft emotive spaces through bespoke solutions that feature custom furniture, hand-selected materials, and layouts tailored to individual needs. A sensory and transformative experience is at the core of every design, with an emphasis on natural light, spatial flow and details that elevate daily life. 

With a diverse team spanning the UAE, Singapore, Australia, Bermuda, South Africa, New Zealand, Malaysia and beyond, ALBD’s culture encourages creative risk-taking and the seamless integration of personal and professional identities. Savage and her team pride themselves on meeting clients wherever they are, and then delivering outcomes that are impactful and inspiring. 

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What prompted the decision to shift from design-and-build to focusing purely on build?

Mihir: It really came down to one word: specialisation. The kind of work now being envisioned in the UAE—especially in the high-end space—is something that hasn’t been seen before. Clients are coming in with bigger budgets, bolder visions, and higher expectations. But the delivery side hasn’t kept pace. It’s often messy. Contractors overpromise. Quality doesn’t match aspiration. That’s where we saw an opportunity. We already had the facility, the team, and the technical know-how. So we decided to double down. We’re not trying to do everything anymore—we’re focused on becoming super-specialists who can actually bring these ambitious visions to life, locally and reliably.

How has Designsmith evolved over the last decade?

Mihir: We started out as a general contractor and fit-out company. As the market shifted, we pivoted into design-and-build—mostly because we felt like the design being delivered across the board was getting repetitive and generic. There was a creative gap that needed filling, so we stepped in. But over time, we realised our true edge was in execution. Today, we’ve split into two independent verticals: a fully specialised joinery division led by my brother and co-founder Dhaval, and a construction division under me. Both are geared toward one thing—delivering top-tier build quality with zero compromise.

What are Designsmith’s biggest strengths today?

Mihir: Our biggest strength is scale, paired with depth. We operate out of a 200,000 sq ft facility in Al Quoz, with nearly a thousand people in-house. But beyond the numbers, it’s our direct involvement as founders that sets us apart. My background is in architecture. My brother is a civil engineer. We’re not developers. We’re here to obsess over detail, chase perfection, and build things that genuinely last.

The Designsmith Headquarters

Why should architects or designers choose to work with Designsmith?

Mihir: It’s about trust, and it’s about delivery. We’re aiming to offer what we call the “Designsmith Experience.” We’re bridging the gap between what’s available globally and what’s actually accessible locally. We’ve all seen those projects in Europe and thought—why can’t we have that here? We’re saying: you can. And we’ll build it for you. We want collaborators to come to us not just because we can execute a plan, but because we can elevate it. We speak the design language. We understand intent. And we’re just as invested in the outcome as they are.

How has this business model shift impacted the way your team works—internally and with external collaborators?

Mihir: It’s been transformational. The biggest advantage is that our engineering and project management teams have a design foundation—so they’re able to translate design vision into built reality much faster. Our exposure has also increased. Instead of largely working on in-house designs, we’re now collaborating with multiple design firms. That’s fast-tracked our learning in a big way. We’re constantly tweaking our processes, sharpening our detail work, and pushing ourselves to deliver better every time. There’s a strong, collective clarity in the team — on the direction, the ambition, and the market we’re set to lead. And that is energising.

What kind of projects are you most excited to take on in this new phase?

Mihir: High-stakes build projects where quality is everything, and there’s zero room for error. We’ve delivered this level of precision at smaller scales — now we’re scaling up to entire buildings with the same attention to detail. Our focus is currently on ultra-luxury residential and hospitality.

How do you approach quality, timelines, and delivery on a project?

Mihir: We start with the end in mind. Every project begins with a clear vision of the final product. Once that’s locked, everything flows backward from there. Every decision is intentional. Every handover, every tolerance, every step is defined. It’s not a matter of just meeting deadlines—it’s about protecting quality at every single phase. And while we’re constantly evolving, we’ve built a strong internal rhythm: learn, improve, move. Then repeat. That’s how we stay sharp.

Any learnings or pivotal moments that helped shape the direction of the business?

Mihir: Deepening our focus — choosing one thing and going all in, instead of constantly reinventing the wheel. We realised we didn’t want to be generalists. We wanted to become specialists — really good at what we do, and intentional about how we do it. That clarity has shaped everything, from how we work to how we grow.

What sets your build approach apart in a market that’s increasingly competitive?

Mihir: Relationship-building. We don’t treat clients as transactions — the goal is to build genuine, long-term connections. That kind of trust creates work that lasts, and relationships that do too.

What’s been the most rewarding part of this journey so far?

Mihir: When a client picks up the phone and tells someone else they should work with us — that’s a real win. Or when you walk into a room and someone’s already saying good things about your work without you even being there. That word-of-mouth is what keeps us going.

Images: Supplied 

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Vishwa: Business runs in my blood. Coming from a Gujarati family with a strong business background, I was exposed to the entrepreneurial world from a very young age. It had a huge impact on me, both personally and professionally. One of the key lessons I learned was to take and embrace risks. My family has always believed that business is not just about making money; it’s about creating value. That mindset has been the foundation of my approach to work, always delivering and doing the best, and doing things differently. So far, it’s been a beautiful journey for me.

What made you decide to study marketing and advertising?

Vishwa: Marketing and advertising is something which is creative and I always wanted to blend creativity with strategy. I always had a passion for doing business and I knew that marketing and advertising would help me be different from everyone else. I believe creativity is something you are gifted with – you can’t teach it. I’ve always been a creative person in the sense that I do things differently compared to everyone else around me and sometimes that works…and sometimes it doesn’t!

What inspired you to co-found ClayArk?

Vishwa: My family has been in the tile manufacturing industry for over two decades. We are amazing at what we do – from exports to manufacturing. We have six factories in India and we’re doing a beautiful job with them.  However, we had never worked closely with designers and architects and used to always work on the bigger projects. I wanted to bridge that gap by bringing our surfaces to designers, architects and end-users in Dubai as you can use these products in a lot of ways. That’s how ClayArk was born. I wanted to be a one stop solution for all the tiling requirements and moreover, have it used in different ways, which would lead to creating a sense of inspiration.

Have you had any mentors who have guided you along the way?

Vishwa: Absolutely. I don’t think you can ever do anything alone. There are three main people from my family. My grandfather taught me the importance of patience and staying true to my beliefs. He as a person is very strong headed and it’s because of him that we are standing on this foundation. He has taught me patience. My father has taught me the importance of hard work and that there are no shortcuts to success. My uncle, on the other hand, is amazing at management. When I say management, I mean he runs operations so smoothly. These three people have been a very huge part of my journey.

What were some of the biggest challenges you faced when starting out?

Vishwa: I think being a young woman in a traditionally male-dominated industry was one of my biggest challenges. I had to work twice as hard to prove myself. The second one was changing the perception of Indian materials in the market. Many people associate Indian products with subpar quality, but I saw it as an opportunity to challenge that perception, to educate people and to show them a different side to Indian manufacturing.

The tile market is highly competitive. What drives you to keep innovating?

Vishwa: It is very competitive, but it is exactly what motivates me and makes it more interesting. I like to bring fresh things to the market, rather than following the crowd. Like I said, when you are a creative person, people cannot copy you. You’re always going to be one step head of them. At ClayArk, we constantly introduce fresh designs. Every time people visit, they find something different where they don’t find anywhere else.

How do you ensure the quality of your products remains consistent?

Vishwa: We invest a lot of our time, energy and resources into research and development.  Right from when we manufacture the materials, we make sure that we inspect each and every batch that comes out. . We meticulously inspect every batch of material before release. If something doesn’t meet our standards, we completely discard it.

What strategies have helped you establish a niche in the industry?

Vishwa: First, we listen to what our clients need rather than imposing what we make. We focus on bringing them the materials they would use and that is functional. Secondly, we don’t just follow trends, but we anticipate and set them. And finally, our emphasis is on client service. We don’t want to do just transactions; we believe in building relationships. Word-of-mouth referrals have been one of our biggest drivers of growth. When people trust your brand, they become your best ambassadors.

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