Interview with Dheeraj Bangur

Dheeraj Bangur ("DB") interviewed on Sunday, 6 July.

Could you please tell us about your experience as a designer, artist, architect or creator?

DB : I’ve been in the design industry for over a decade now, with a core focus on branding and packaging design. My journey began with a strong foundation in visual communication, and over the years, I’ve had the privilege of working with some of India’s leading design studios, including Firstbase and iKar Design Services, where I served as Creative Director. Currently, I run my design studio, Brandsthan, based in Jaipur, Rajasthan. Brandsthan is a space where I blend cultural storytelling with contemporary design thinking, especially in the realm of luxury packaging and branding. Throughout my career, I’ve had the opportunity to work with renowned clients like Maharani Mahansar, Radico Khaitan, Jaisalmer Gin, Parle Agro, Haldiram’s, and several heritage and craft-based brands across India. My work has been recognized both nationally and internationally, including multiple wins at the A' Design Awards (Italy) and India’s Best Design Awards, making me a three-time consecutive winner. What truly drives me as a designer is the challenge of creating work that feels both timeless and culturally rooted, while being visually striking and commercially effective.

How did you become a designer?

DB : My journey into design started quite early. Since Class 6, I’ve been deeply passionate about sketching and drawing. Art was always my escape and my form of expression. During my school days, I explored various mediums—from pencil shading and watercolors to experimenting with forms, typography, and visual storytelling, even before I knew what "design" really meant. After school, I took up a Bachelor’s degree in Commerce (B.Com) with the initial plan of pursuing a career as a Chartered Accountant (CA). But somewhere deep inside, I knew that my true calling was always in the field of art and creativity. The structured world of commerce couldn’t satisfy my creative urge. That realization pushed me to follow my passion more seriously, and I went on to pursue my Master’s degree in Communication Design from MIT Institute of Design, Pune. This was a turning point for me. Those years shaped my design thinking, exposed me to user-centric design, and gave me the foundation to understand how creativity can solve real-world problems. My inspiration has always come from observing life around me, culture, human behavior, and the power of visual storytelling. It wasn’t a single person who influenced me; it was more of an internal drive to create impact through design—to make things that not only look beautiful but also communicate, solve, and connect with people emotionally. From there, my professional journey began—leading me to work on projects that range from heritage liquor brands like Maharani Mahansar, to legacy FMCG brands like Jalani, to international clients like Radico Khaitan (Jaisalmer Gin), and now building Brandsthan, my own creative studio in Jaipur. Looking back, every sketch I made as a kid, every wrong career turn, and every learning curve shaped the designer I am today. And that’s what keeps me moving forward—the idea that good design can create real change and leave a lasting legacy.

What are your priorities, technique and style when designing?

DB : For me, three core priorities always guide my design process: Storytelling with Cultural Relevance: Every project I take on—whether it’s a luxury liquor packaging or ethnic FMCG branding—starts with uncovering the core story behind the brand. I strongly believe that design is not just about visuals; it’s about evoking emotion, building connection, and communicating a legacy. Especially when working with brands like Maharani Mahansar or Jalani, where culture, heritage, and origin play such an important role, the narrative becomes my starting point. Strategic Functionality: A design has to solve a problem and serve a purpose, not just look beautiful. I invest time in understanding the target audience, market trends, and product positioning. Whether it’s the choice of material, structure, typography, or packaging usability—commercial viability and user experience are always key checkpoints for me. Attention to Craft and Detail: While I work extensively with digital tools, 3D software, and rendering technologies, I always start with hand sketches and moodboards. My creative ideation starts on paper. For most packaging projects, I create physical mock-ups and prototypes to evaluate scale, texture, and how the design feels in hand. Tactility is important—especially when you’re designing for luxury products. My overall style leans towards a blend of contemporary minimalism with rich cultural textures. I love playing with contrasts—modern typography with vintage motifs, bold layouts with intricate detailing—all while making sure the brand essence remains intact. With every new project, my approach is always research-first, followed by concept sketching, digital development, material exploration, and finally mock-ups and pre-production sampling before final rollout. At the end of the day, my goal is to design experiences, not just visuals, where the consumer feels the story, the craft, and the brand soul in every interaction.

Which emotions do you feel when designing?

DB : Designing for me is an emotional journey. The process takes me through a full spectrum of feelings—curiosity, excitement, challenge, flow, and finally, fulfillment. The most exciting phase for me is the ideation stage—the moment when an abstract idea starts taking a tangible visual form. That phase where I’m surrounded by moodboards, sketches, references, and scattered thoughts—that creative chaos gives me energy. It's like connecting invisible dots and giving shape to something that never existed before. There’s also a deep sense of responsibility and respect when I work on culturally rooted brands like Maharani Mahansar or Jalani. Carrying forward a legacy while making it relevant for today’s audience creates both pressure and pride. I feel emotionally connected to the heritage I’m representing. But the most rewarding emotion comes when I hold the final, finished product in my hands—especially with packaging design. That moment when you see the texture of the paper, feel the weight of the bottle, smell the fresh print—it’s an unmatched sense of joy. It’s like seeing your imagination become reality. Design fulfills me because it allows me to tell stories, evoke emotions, and leave a visual legacy. Knowing that something I created will sit on a shelf, touch people’s lives, or become part of their celebrations—that feeling makes every struggle and sleepless night in the design process absolutely worth it.

What particular aspects of your background shaped you as a designer?

DB : Several aspects of my background have shaped the kind of designer I am today, and interestingly, many of them are non-design skills. Coming from a commerce background (B.Com) before pursuing my Master’s in Communication Design gave me a strong understanding of business, consumer behavior, and market dynamics. This helps me create designs that are not just aesthetically pleasing but also strategically positioned and commercially viable. Another skill that has really helped me is storytelling and observation. I’ve always been curious about people, cultures, and human emotions—this reflects heavily in my work, especially when crafting brand narratives for culturally rich brands like Maharani Mahansar and Jalani. Time management, decision-making, and client communication are also crucial non-design skills I’ve developed over the years. As a Creative Director and now running my own studio (Brandsthan), these skills help me manage teams, handle clients, and meet project deadlines without compromising creativity. In terms of influence, I would say the culture and visual richness of Rajasthan has been my biggest source of inspiration. Growing up surrounded by architecture, traditional art forms, and vibrant local markets has built my design sensitivity towards color, texture, and storytelling. My journey so far—from a kid obsessed with sketching, to choosing design over accounting, to studying at MIT Institute of Design Pune, to working with top agencies like Firstbase.in and iKar Design Services, and finally building Brandsthan—has been filled with learning, risks, challenges, and moments of creative fulfillment. At every stage, the blend of business understanding, cultural observation, and visual storytelling has been at the core of my design approach.

What is your growth path? What are your future plans? What is your dream design project?

DB : For me, design is not just a profession—it’s a lifelong journey of learning, evolving, and leaving a creative legacy. My personal growth path has always been about raising the quality of my work with every project and pushing the boundaries of storytelling through design. With my studio Brandsthan, the vision is to position it as one of India’s leading branding and packaging design studios with a global footprint, while staying deeply rooted in Indian culture, craft, and storytelling traditions. In terms of personal creative growth, I want to continue exploring the intersection between design, sustainability, and sensory branding. I’m particularly excited about working on experiential design projects, where packaging, space, and digital touchpoints merge to create a 360-degree brand experience. A dream project for me would be to rebrand a historic Indian craft or heritage brand on a global stage, giving it the design and visibility it truly deserves—something like what we achieved with Maharani Mahansar, but at an even larger, international scale. There are also personal projects I’ve put on hold due to time constraints—like creating a book or documentary series that documents India’s packaging design evolution, especially in the luxury and craft sectors. In the future, I want to be remembered as a designer who blended culture with commerce, who told authentic brand stories through design, and who inspired the next generation of designers from smaller cities like Jaipur to dream big and aim global.

What are your advices to designers who are at the beginning of their career?

DB : My biggest advice to young designers starting their career is this: Fall in love with the process, not just the outcome. Design is not just about making things look beautiful—it’s about solving problems, telling stories, and creating impact. In the early stages of my career, one of the biggest challenges I faced was self-doubt and over-comparison. Seeing other designers’ polished portfolios online made me question my own journey. But over time, I realized that everyone’s growth path is different, and the only competition you truly have is with your previous self. One of the best pieces of advice I received from my mentor was: “Design is 20% talent and 80% discipline, research, and consistency.” That mindset shift helped me build a solid work ethic and kept me grounded, especially during difficult projects or creative blocks. For new designers, I’d strongly recommend: Master your fundamentals: Typography, layout, color theory, storytelling—these basics will always stay relevant, no matter how much technology evolves. Stay curious and observant: Look at design around you—packaging in stores, posters on the streets, digital ads—everything can teach you something. Don’t rush for awards or recognition too soon: Focus on building real skills first. Recognition will follow naturally. Be open to feedback: Some of my best work came out after rounds of constructive criticism from clients, mentors, or even my own team. I personally keep growing by studying global design trends, entering international competitions, and learning from both success and failure. Reading, traveling, and engaging with other creative communities have also helped me expand my perspective. Lastly, remember: Design is a journey, not a destination. Be patient with yourself, keep experimenting, and never stop learning.

You are truly successful as a designer, what do you suggest to fellow designers, artists and architects?

DB : Thank you for the kind words! If there’s one thing I’ve learned over the years, it’s that design success isn’t just about talent—it’s about mindset, consistency, and adaptability. Here are a few principles and best practices I personally follow and would recommend to fellow designers, artists, and architects at any stage of their career: Always Design with Purpose: Every color, every texture, every line should serve a reason. Avoid decorating for the sake of aesthetics. Understand the brand, the audience, and the emotion you want to trigger. Intentional design lasts longer than trendy design. Balance Creativity with Strategy: Design is as much about solving business problems as it is about creative expression. Whether you’re designing packaging, a brand identity, or a space, always ask: "What’s the business objective this design needs to achieve?" Stay Curious and Keep Updating Yourself: The industry evolves fast. Technologies change. Consumer behavior shifts. I make it a point to continuously explore new tools, attend design conferences, follow global design trends, and most importantly, stay culturally aware, especially working with brands like Maharani Mahansar and Jalani that deeply connect with heritage. Don’t Fall into the Trap of Creative Ego: One of the biggest mistakes seasoned designers sometimes make is getting too attached to their first idea or style. Stay open to feedback. Stay flexible. The client’s business success is as important as your creative vision. Invest in Storytelling: In today’s world, consumers don’t just buy products—they buy stories, emotions, and experiences. This applies whether you’re designing packaging, branding, or architecture. Understand how to weave a narrative through your design choices. Document and Celebrate Your Work: Don’t wait for others to recognize your work. Enter awards, share case studies, talk about your process. It not only builds credibility but also helps you reflect and grow as a designer. Finally, stay authentic to your voice. Trends will come and go, but originality and authenticity always stand out.

What is your day to day look like?

DB : As a designer and studio owner, no two days are ever exactly the same—but I do try to keep a structure that balances creativity, strategy, and business management. My mornings usually start with a quiet cup of tea, followed by going through emails, client messages, and project timelines for the day. I also make it a point to spend at least 15-20 minutes browsing global design platforms like Packaging of the World, World Brand Design Society, A’ Design Award winners gallery, and Behance to stay updated with what’s happening in the design world. The first half of my day usually goes into creative work—concept sketching, reviewing design drafts from my team, ideation for new projects, or working on moodboards for upcoming pitches. I prefer doing all my core thinking and design review work in the morning when my mind is freshest. Afternoons are mostly reserved for client calls, internal team discussions, material sample reviews, and vendor coordination, especially when we’re deep into a packaging project. One of the small things that keeps me excited, even on a routine business day, is the moment when I see a design coming together—a logo locking into place, a packaging dieline fitting perfectly, or a print mockup arriving at the studio. These little milestones remind me why I love what I do. Towards the end of the day, I usually spend time planning the next day’s workflow, giving feedback on ongoing projects, and sometimes brainstorming on Brandsthan’s own social media or award submissions. Even after work hours, design doesn’t leave my head easily—whether I’m observing typography on a billboard, packaging in a grocery store, or color combinations in everyday life. That’s the beauty of this profession—it becomes part of how you see the world.

How do you keep up with latest design trends? To what extent do design trends matter?

DB : I believe in being aware of design trends but not being ruled by them. As a designer, it’s important to know what’s happening globally—whether it’s a shift in typography styles, packaging material innovations, color psychology trends, or consumer behavior patterns. But at the same time, I’m very conscious that good design should be timeless and authentic to the brand story, not just a reflection of what’s currently trending. For inspiration and trend awareness, I regularly follow platforms like Packaging of the World, World Brand Design Society, A’ Design Award winning projects, Pinterest, and global design blogs. I also stay connected with the luxury and FMCG market trends, since a lot of my work, like with Maharani Mahansar and Jalani, sits at the intersection of tradition and modern consumer expectations. That said, I don’t believe in force-fitting seasonal design styles into projects just for the sake of looking trendy. Instead, I prefer to blend contemporary design language with culturally rooted storytelling, ensuring that the work stays relevant today but still feels meaningful years later. For me, the focus is always on design that solves a brand challenge, reflects the brand’s soul, and connects emotionally with its audience. Trends can influence surface elements, but the core thinking, strategy, and storytelling remain deeply personal and original.

How do you know if a product or project is well designed? How do you define good design?

DB : For me, a product or project is well-designed when it balances three things perfectly: purpose, emotion, and execution. Purpose: Good design must first and foremost solve a problem or communicate a clear message. Whether it’s packaging, branding, or spatial design—it should make sense for the brand, the audience, and the context it lives in. Emotion: A great design makes you feel something. It connects instantly—whether it’s curiosity, joy, nostalgia, or even intrigue. For example, when I worked on Maharani Mahansar Shahi Gulab, the goal was to evoke a sense of royal heritage and authenticity with just one glance at the packaging. Execution: Even the best idea will fail if not executed well. Craftsmanship, attention to detail, material choices, typography, and finish quality—these things separate a good design from a great one. My personal “Aha!” moment with any project comes when I can look at it and say: “This feels effortless, natural, and emotionally aligned with the story it wants to tell.” That sense of visual and emotional harmony is what I chase in every project. Some common mistakes I’ve seen that designers should avoid: Over-designing: Adding too many elements just to fill space or impress. Ignoring usability and user experience: Especially with packaging or product design. Following trends blindly: It might look great today but could feel outdated tomorrow. For me, a good design has longevity, tells a story, and serves both aesthetic and functional goals—all while leaving an emotional imprint on the audience.

How do you decide if your design is ready?

DB : Honestly, I don’t think any design is ever truly “complete” in the emotional sense—there’s always something you feel you could tweak, refine, or push further. But as professionals working with deadlines, budgets, and production timelines, we have to develop an instinct for knowing when a design is “ready” for the world. For me, a design is ready when it achieves these key checkpoints: It solves the core problem it was meant to address. Whether it’s communicating a brand story, standing out on a shelf, or enhancing user experience—the design must deliver on its purpose. It feels visually and emotionally balanced. When I can look at the composition, colors, typography, and material finishes and feel there’s nothing unnecessary or missing—that’s usually my internal green light. It passes through multiple rounds of critical feedback. I always encourage internal team reviews, client feedback loops, and sometimes even prototype testing, especially for packaging projects like Maharani Mahansar or Jalani, before locking a final version. That said, I do believe that every project leaves behind learnings for the next one. I don’t usually go back and change an already-launched design, but I do take the insights forward to improve future projects. Success for me is when the design not only looks good but performs well in the real world—whether that means strong market reception, client satisfaction, consumer engagement, or industry recognition like winning international awards. In short, a design is ready when it feels right both strategically and emotionally—when it delivers on its promise and is crafted with care and intention.

What is your biggest design work?

DB : It’s difficult to pick just one, but if I had to name the projects that truly defined my journey as a designer so far, I would say Jaisalmer Indian Craft Gin, Maharani Mahansar Somras, Shahi Gulab, Royal Rose Palace Edition, Indian Absinthe, and Bark Bark Beer are among my most significant and meaningful works. Each of these projects represents a unique creative challenge and a different chapter of my growth as a designer. Jaisalmer Gin was a milestone because it was one of my first projects that gained global recognition, putting an Indian craft spirit brand on the international design map. The design had to reflect the royal heritage of Jaisalmer city, with intricate gold detailing and rich storytelling layered into the packaging. With Maharani Mahansar Somras, it was about reviving the legacy of a 300-year-old royal recipe from Rajasthan and creating a brand that felt both authentic and luxurious. That project gave me the freedom to blend traditional Rajasthani art elements with contemporary packaging trends, and it went on to win multiple international design awards, including at the A' Design Awards in Italy. Shahi Gulab and the Royal Rose Palace Edition hold a special place because they challenged me to express purity, emotion, and royalty through design. The storytelling had to feel timeless and sensory-rich, especially since the product uses fresh Pushkar roses and not artificial essences like many commercial brands. Indian Absinthe and Bark Bark Beer pushed me to explore more playful, bold, and modern packaging languages, especially for a younger, experimental audience. What makes all these projects special is that each one allowed me to go deep into research, cultural storytelling, and material exploration, while also challenging me to create something that stands out on the shelf and connects with consumers emotionally. Currently, I’m excited about new packaging projects for upcoming craft liquor brands and artisanal FMCG products, where I’m continuing to explore the balance between modern design language and Indian storytelling roots. These projects collectively reflect my design philosophy: culture-driven, story-rich, and visually impactful work that builds emotional connection with the audience.

Who is your favourite designer?

DB : It’s difficult to pick just one, but I’ve always admired designers who have redefined visual storytelling and pushed boundaries in how design connects with culture and emotion. From a global perspective, Massimo Vignelli is someone I truly admire for his philosophy of “Design is one”—meaning good design transcends disciplines, whether it’s branding, product, or space design. His clarity of thought and timeless approach to typography and layout continue to inspire me. Another designer I deeply respect is Pentagram’s Paula Scher, for her bold, fearless typography work and the way she mixes storytelling with graphic power. Her ability to blend art and communication is something I constantly learn from. If I could sit and have a conversation with a designer from the past, I’d choose Paul Rand, one of the pioneers of modern branding. His work for IBM, ABC, and UPS shaped the very foundation of corporate identity design, and I’d love to learn from his thought process on simplicity, function, and timelessness. In terms of artists and architects, I admire Charles and Ray Eames for their multidisciplinary approach and human-centered thinking, and Satyajit Ray—not just for his films but also for his work in typography, illustration, and design in India. Ultimately, what attracts me to any designer is their ability to communicate powerful ideas with simplicity, emotion, and lasting impact—something I try to bring into my own work at Brandsthan, whether it's with Maharani Mahansar, Jalani, or any other brand I touch.

Would you tell us a bit about your lifestyle and culture?

DB : Being born in Pali and raised in Jaipur, Rajasthan, culture has always been an inseparable part of my identity and my design process. Jaipur’s architecture, colors, textures, and craftsmanship traditions constantly inspire me. From the intricate patterns of Hawa Mahal to the vibrant streets of old bazaars—there’s design storytelling happening everywhere around me. I feel fortunate to work from a place where heritage and modernity coexist. This cultural background naturally reflects in my projects—especially for brands like Maharani Mahansar and Jalani, where authenticity and rooted storytelling are key. Music plays a huge role in my creative process. Depending on the mood of the project, I often listen to instrumental, classical Indian music, or even electronic chillout tracks while brainstorming or sketching. It helps me build emotional energy into my concepts. One city that deeply inspires me is Amsterdam, for how it blends design thinking, functionality, and aesthetic sensibility in public spaces, branding, and everyday life. But at heart, I remain very connected to Jaipur and Rajasthan—it’s where my storytelling roots are. In terms of lifestyle, design has taught me to find beauty in small details—whether it’s appreciating good typography on a menu, packaging on a grocery shelf, or just how morning light falls on textures around me. Currently, I’m working on new packaging projects for upcoming craft liquor brands and FMCG products, while also focusing on growing Brandsthan as a studio that represents India on global design platforms. I strongly believe good design plays a powerful role in shaping behavior, perceptions, and even social progress. It has the ability to make people feel seen, heard, and emotionally connected—whether it’s through a product, a space, or a story. In my personal life, design has taught me discipline, empathy, and the joy of simplicity—all of which shape not just my work, but the way I live every day.

Would you tell us more about your work culture and business philosophy?

DB : At Brandsthan, the studio I founded, our work culture is built around collaboration, storytelling, and craft excellence. I strongly believe that good design is a team effort, and while I lead the creative direction, I work closely with my team, partners, illustrators, photographers, and production experts to bring each project to life. Is it easy to work with me? I’d say yes, but with one condition—you need to be as passionate about the project as I am. I’m very detail-oriented and expect a certain level of commitment and quality, but I’m also open-minded, collaborative, and believe in giving creative freedom to my team and partners. When selecting people to work with—whether it’s team members, collaborators, or clients—I always look for clarity in communication, hunger for learning, accountability, and emotional connection with the project. Skills can be learned, but attitude and curiosity are non-negotiable. Our studio culture encourages open discussions, constructive feedback, and a constant hunger to push boundaries. Whether it’s a heritage liquor brand like Maharani Mahansar or a craft FMCG brand like Jalani, I always make sure we go deeper into research, understand the story, and create work that feels authentic and commercially effective. Some core challenges of our profession include: Managing creative expectations within real-world business constraints (timelines, budgets, production limitations) Balancing creativity with strategy and functionality Staying original in a crowded, trend-driven market As a Creative Director and studio owner, my responsibilities range from concept development, client presentations, overseeing production, mentoring the team, handling business development, and of course, making sure every project carries the Brandsthan signature of quality and storytelling. If I had to list traits a good designer, artist, or architect should have, I’d say: Curiosity, empathy, attention to detail, resilience, discipline, and the ability to tell stories visually. Most importantly, I believe that good design comes from good people with good intentions—people who truly care about making something meaningful.

What are your philanthropic contributions to society as a designer, artist and architect?

DB : As a designer and creative studio owner, I strongly believe that design has the power to bring positive change—socially, culturally, and economically. Giving back to the design community and the society that shaped me has always been close to my heart. I regularly take on pro bono projects for local artisans, small businesses, and cultural initiatives—especially when the project has a strong social or cultural impact. For example, I’ve contributed design support to small heritage-based entrepreneurs in Rajasthan who lack access to high-end branding but have incredible stories to tell. I also make it a point to mentor young designers and students. I’ve conducted guest lectures, portfolio reviews, and design talks at institutes whenever possible. Whenever we have the capacity at Brandsthan, we offer internships and learning opportunities for young design students—giving them a chance to work on real, award-winning projects like Maharani Mahansar Somras or Jalani. I’m a firm believer that designers, artists, and architects should actively engage with humanitarian projects—because we are trained to solve problems creatively and can offer solutions that go beyond aesthetics. Whether it’s designing for environmental awareness, public health, or cultural preservation—design thinking can drive real impact. Being part of international design competitions and forums like the A’ Design Awards also gives me a platform to represent Indian design globally and inspire upcoming designers from smaller cities like Jaipur to dream big. For me, good design is not just about beauty—it’s about responsibility, storytelling, and leaving things better than we found them. And I believe that as we grow in this industry, it’s our duty to lift others up along the way.

What positive experiences you had when you attend the A’ Design Award?

DB : Attending the A’ Design Award has been one of the most memorable and defining experiences of my design career. Being surrounded by top creative minds from around the world, exchanging ideas, and seeing the diversity of design thinking across cultures was incredibly inspiring. The Gala Night in Como, Italy, where designers from over 100 countries come together, was more than just an awards ceremony—it felt like being part of a global design movement. Three key benefits of participating in design awards like A’ Design Award: Global Exposure: Having my work—whether it was Maharani Mahansar Somras, Shahi Gulab, or Indian Absinthe—recognized on such a big platform gave me international visibility. It allowed my designs to reach audiences, clients, and media from different parts of the world. Creative Benchmarking: Competing on a global stage forces you to push your creative limits, compare your work with the best in the industry, and set higher quality standards for yourself. It’s not just about winning; it’s about growing. Building Credibility and Trust: For clients and collaborators, an international award instantly builds trust and confidence in your expertise. It shows that your work has been evaluated and appreciated by some of the top design professionals globally. Participating in competitions like the A’ Design Award has made me more self-critical, research-oriented, and concept-driven in my projects. It also pushed me to document and present my work better, which in itself is a great learning curve for any designer. I truly believe that design competitions are not just about trophies—they are about professional growth, creative validation, and being part of a larger global design dialogue.

Dheeraj Bangur Profile