Eeshaan speaks to Blur The Border :

Blur : Being both a trained chef and a designer, how does your culinary expertise shape your approach to design, especially in the way you envision tableware and dining experiences? Are there any skills from your early career as a chef that continue to influence your design practice today?

Eeshaan : Being both a designer and a trained chef, my approach to design is heavily influenced by my culinary expertise—especially when it comes to expressing color, pattern, and geometry. My life has always revolved around food, and I have a deep passion for hosting and cooking for others. Although I’m not a formally trained designer, my journey has been organic, shaped largely by having worked with some of the best chefs and designers in the country. I have learned to blend materials and create bold flavor profiles, which I now apply to my design practice. 

The freedom to explore and push boundaries, even when things don’t always work out, is essential to my creative process. So, there’s no rulebook — each project I undertake is unique, and everything is intuitive. I have always aimed to create a brand with a distinct visual vocabulary—one that sets itself apart from traditional designs and fits seamlessly into any global context. My philosophy revolves primarily around functionality—how easily people can consume a dish or experience an event. My focus is on making these experiences memorable so that, when people leave, the food and beverages stand out as the highlights. This intersection of food, design, and flavor is where my vision truly comes to life. Working with crafts and modernism in commercial spaces like restaurants, bars, and tableware has been particularly rewarding. Another way in which my culinary background continues to influence my design practice is through creating a balance between creativity and practicality. To sum up, food, flavor, and design are at the core of everything I do, shaping my approach to every project. This combination of food and design is still a relatively unexplored space, which makes it both challenging and exciting.

Blur : Your work spans culinary design, tableware, and event styling—what unifying philosophy guides you across these diverse creative fields?

Eeshaan : I think pattern play, the use of different textures and materials, and the ability to take risks are key. The unifying philosophy for me is surprise—without revealing it beforehand. For example, the same food bowl or cake stand can also be an object on your coffee table, and a candle stand can double as a bath fixture. It's about challenging perceptions and nudging people to view objects as both functional and artistic. The use of colour also plays a major role in my designs. Some people might find it overwhelming, but I encourage them to embrace it in small doses—just enough to add sparkle to an otherwise simple brunch setting. I believe in blending culinary interventions with design to create something unexpected. My design process also incorporates a lot of geometry, abstract forms, and art. I’m heavily inspired by different art forms, whether it's performative or visual.

Blur : What have you found most rewarding—and most challenging—about working across such a wide range of disciplines?

Eeshaan : Whatever I envision seems to find its place in different projects and the most rewarding aspect is seeing them come to life. For example, I always wanted to create cocktail fountains, and we did that for a pre-wedding event. We also created chandeliers made of mishri (sugar crystals) for a wedding that sparkled with light, adding a unique design element. The chef then pulled the crystals from the chandelier and used them to garnish a dish. Seeing how design and food come together in such an innovative way is incredibly satisfying. But the true reward, for me, is watching how people use and adapt these design elements and bring them to life at a table. It’s not just the table or the crockery—it’s the context, the people, and the moment that truly makes it special.

The challenges I face often stem from convincing others to trust my ideas. For instance, when we designed a peacock feather tablecloth for a Thomas Goode event, the team was initially uncertain about using 1,400 peacock feathers. It was an unconventional concept, but we managed to weave them together into a luxurious, distinctly Indian design. Another challenge is effectively communicating these unconventional ideas to clients and collaborators who often have grand, expressive visions. Sometimes, it takes time to break down the layers of an idea and help them visualize the final result but they must trust the process.

However, the greatest challenge I continue to face is defining what I do—it spans so many disciplines that it’s difficult to capture in a single phrase.

Blur : How do you balance the need to be creative with the practical aspects of being a professional artist?

Eeshaan : I'm a bit of a purist in thinking about an art practice. I believe the only thing that matters is to get good at your art. To enjoy it, to investigate what you want to say, and how to go about doing it in the best way you can. Everything else is just toppings and is easy to put into place if the work is good enough. I see no ‘practical’ aspects that hinder the creative process. Well, sometimes I do have to do boring admin work, but that's a negligible bother compared to this vast task and gift of creating.

Blur : Do you have any specific process, habits, or rituals that help you get into a creative mindset?

Eeshaan : There’s no specific process that I follow, but I think my travels and the variety of food I try play a huge role in shaping my ideas. Everything around me eventually comes together in unexpected ways. At the studio, I often set up smaller pedestal tables and arrange them in unusual ways, almost like a playful experiment. I encourage everyone to just keep observing—it’s like a child’s play, where ideas often emerge organically. When we create, it’s often about starting with more and then editing it down to less. This approach applies even to table settings, where editing is critical—otherwise, there wouldn’t be enough space for people to eat!

However, when working on projects specifically, it’s crucial to first understand the objective of the event—whether it’s a gathering, the people attending, the tablescape, or the occasion. If I am collaborating with an artist, I delve into their work—the nature of their art, the mediums they use, and their overall creative approach— and then a clear concept or deck, which is key. When space is limited, the layout and venue are equally important, especially in finding solutions and bringing ideas to life within constraints. There’s always a lot of back-and-forth to clarify the purpose of the project. For brands, the focus is often on sales, but I emphasize that not everything needs to be transactional. It’s equally about creating recall value and making the experience memorable.

Blur : What new creative areas or materials are you excited to explore in the future, and what do you hope they’ll add to your work?

Eeshaan : Hmm.. In the future, I am really excited about exploring textiles, especially how they can be adapted to tableware. While embroidery has become repetitive, I am more interested in using other techniques and applying them to functional objects_such as repoussé on metal thats inspired by traditional textile patterns like bandhani and leheriya or metal carpets. We are focused on making them functional, for example, metal carpets would be durable and won't get damaged easily.

We are also exploring the concept of weaving in metal, such as the copper baskets we have been working on, an exciting direction for us, really. Additionally, we are delving into 3D terracotta, experimenting with how we can shape and adapt it using available software and machines.

One idea I’m really passionate about is the concept of “table jewelry”, which involves designing small, luxurious pieces such as a beautiful jade spoon for your coffee or a rock crystal butter knife for your toast. It’s about making the ordinary extraordinary—adding a touch of elegance and style to everyday items and moments. Although it may sound a bit unconventional, there’s a lot of potential here. We are working on a collection that incorporates materials like tribal jewelry, ropes, knots, leaves, and stones. The goal is to make these pieces accessible, not prohibitively expensive, and create something that brings excitement to daily rituals.This is a project I’m excited to continue developing in the future.

Blur : How do you see the culinary landscape evolving across different cities in India?

Eeshaan : Goa has experienced a significant resurgence, particularly after the pandemic. I worked on Jamun in Assagao right before the lockdown, and since then, the region has seen an incredible boom. From skyrocketing rentals to an influx of people and brands setting up there, it’s remarkable how the space has evolved over the last five years.While Goa has become a hotspot, Bombay remains ahead in the food game with a diverse and dynamic culinary scene. In contrast, Delhi feels stagnant—there are only a handful of notable restaurants, and even those have become predictable. The food scene there is primarily focused on entertainment, alcohol, and music rather than innovation in cuisine. Unlike Bombay, which offers a broader spectrum of flavours and experiences, Delhi's culinary growth seems limited for now.

Blur : Your recent collaboration with Sarita Handa looks fantastic! If you were to collaborate with more such artists, outside of your discipline, what is one collaboration you would love to do?

Eeshaan : Many! But one of them would be to create a holiday table with Martha Stewart. I think that'll be fun because she's so cool, amazing and with all the colors and the hats and the holiday vibe.

I would definitely want to do a collection of objects in tableware or design with Axel Vervoordt, who I absolutely like and admire in terms of what he brings and puts together. He coined the term ‘Wabi Sabi’, so even in terms of flavours and food between India and Japan, it could be phenomenal.

Blur : Any exciting project you are looking forward to in 2025?

Eeshaan : I am thrilled about my upcoming solo show in March at The Stands called PLAY. It is a vibrant and dynamic canvas to explore the intersection of functionality, creativity, and emotion in design. I am glad to be brainstorming with the Anchor of style Maithili Ahluwalia, Founder of Bungalow Eight. Her style and fine taste resonate with many generations in Bombay.

In this collection, each product is not just a static object but a tool for storytelling, interaction, and connection. This approach aligns with the idea that home is not just a place to live but a space to create, explore, and grow. Inspired by playful shapes and vibrant hues, the collection features bold geometric lines and fluid curves. These designs spark a sense of wonder, much like a game that is both simple and endlessly fascinating.