Everyday scenes like women going about their daily chores or children playing may seem mundane to the common man, but these often inspire Parth Parikh of Design Clinic India. Parth hits upon many of his best ideas while travelling across Indian villages. His latest project exhibits include the matka bench (made of red and yellow finials, which represent clay pots), the haathi daat table lamps (in the shape of elephant tusks) and the dabbawala coffee table (which is inspired from the dabbawalas of Mumbai).
He says, “I keep asking myself how I can create utility products by integrating Indian elements. The relationship between objects and people interests me. India, at its grassroots, is tremendously inspiring not only because we are a colourful country but also because we are driven by beautiful customs and traditions.”
The Matka Bench
The Safa Chair, which was made of the quilted multi-colored Rajasthani turban, is one of his most talked about products. He says, “Turbans are worn throughout India and it varies in style, colour, size. It indicates a wearer’s social class, caste, region and the occasion it’s being worn for. The turban is also multifunctional and exhausted travellers use it as a pillow, a blanket or a towel. I just extended its functionality by adding it to these stools, which have been well received by national and international consumers.”
The young designer believes in bringing out products that foster an enduring relationship with his buyers. He explains, “It’s about how I stay sustainable. If you create products that hold importance for people, then the products are more likely to last longer.” 
The Safa Chair
Making his work seem personal and meaningful was always his objective, even as a student, admits Parth, who went to the Domus Academy in Milan. Even during projects in college, he invariably included an Indian element. He says, “When I look back now, I think using Indian motifs was instinctive — I always took my country with me. It was while pursuing my degree that I understood design. While I was working there, I became increasingly passionate about my work. So I decided to come back to India and start my own company.”
Parth, who believes in narrating a story through his designs, states that in a culture where there is a surplus of cheap mass-produced goods, handcrafted products have received a boost because of its quality. He says, “The narrative needs to stand out over quantity. I think we as designers shouldn’t constantly be pressed to churn out collections or be driven by seasons. There is a huge market for ‘emotional’ designs.”
A staunch believer that “luxury just can’t be fast,” Parth says he takes his time to create his collection. He says, “Today it is not good enough to simply churn out products. An authentic brand narrative is fundamental today, otherwise you will simply be booted out. The bond between the brand and the consumer has to be sentimental.”
