MAM

Design maestro Dick Powell on reimagining design and never giving up

Published

2 years ago

October 28, 2023

Mumbai: Since the last in-person Designyatra in 2019, the world has spun on its head.

The pandemic prompted a re-evaluation of not just how we work, but the kind of work we’re creating as well. With massive shifts in nearly every aspect of life, it triggered the need for new design narratives to match the flux of life. We had to reimagine how we engage and communicate with everything from brands and business to art, entertainment, and activism. Mindsets changed. And so did the tools available to us. It was time for a reset.

A reset. It’s not just about starting over; it’s about reimagining, realigning, and redrafting some of the rules. It’s about rethinking conventions, challenging norms, and creating fresh narratives. All to remain relevant.

Indiantelevision.com caught up with Dick Powell on the sidelines of the Kyoorius Design Yatra 2023.

Dick Powell, co-founder of Seymourpowell, a top-notch design company has almost 40 years of experience. Recently Powell’s team designed the inside of Virgin Galatic’s spaceship.

He is a big supporter of creative folks shaping our future, spending a decade as chairman at D&AD and serving on boards like the Design Council and Samsung’s International Design Advisory Board.

On elaborating on the topic of design being more than just aesthetics

If you ask anybody in the street, what design is, they would tell you that it’s about aesthetics, form, color, shape, and the soft, emotional aspects of things. But for me, it’s also about making things better and we all have a duty to make things better. So fundamentally, when we’re creating new products and services, our primary focus should be improving the lives of people; there’s always a customer. Design is not art; it’s not about self-expression, it’s a commercial act. The companies that we work for have to make money from what we do, better for the world, We strive for sustainability in sourcing, design for repair, and ensure recyclability and reusability whenever possible. We’re not always successful at that, let’s be honest, but as somebody else yesterday said, you try and make small changes, you try and have the influence you can and that way, gradually, step by step, you can change things.

On the ‘reset’ in your life in the context of this year’s Designyatra theme being ‘Reset’

Well, I think I’m the odd person out here when it comes to reset, because during the pandemic, my business had to keep going because we had big projects for clients that couldn’t be stopped. There was no option to drop the ball during that period, so we were all working right through that. So I never had that feeling of stopping and starting again. It was just always, we were just continuing. So I didn’t have that reset feeling. Actually, a designer is resetting every time you start something new. Whether you’re designing a spaceship or a spinal insert, you begin with a clean slate because you don’t have prior knowledge in that specific area. This continuous renewal is a vital aspect of the profession, as it ensures you never cease to learn. The moment you stop learning, you cease to truly be a designer. To remain effective, you must maintain a spirit of exploration and ongoing learning.

On some of your memorable works

I believe one of our noteworthy innovations was the world’s first cordless kettle, a concept introduced at a time when people were content with manually unplugging kettles. This seemingly simple solution addressed a potential safety hazard, as cords could inadvertently end up in sinks, posing dangers. If we had sought public opinion at that time, many might not have recognized it as a problem. It’s a product that resolved an issue most individuals hadn’t even realized they had. If I had received royalties for that idea, I’d probably be sailing on a yacht in Monaco Harbor right now. This is one of the projects that people associate with us. More recently, we gained recognition for designing the interior, seats, and overall experience for Virgin Galactic’s Spaceship. It’s a remarkable endeavor. These are the achievements that stand out for me. Although many everyday products may seem ordinary when they appear on high streets, they have been part of my mission. I recall my mother pointing out items on the high street, saying, “We did that, and we did that, and that too.” Enhancing everyday household items has always been a personal goal. The same principle applies to transportation – whether it’s designing the interior of a train or creating a motorcycle, the objective is clear: make it better than its predecessors.

On the feeling of speaking at the Designyatra and addressing the best of minds in design in India

The first thing to be absolutely clear is, I love India and have always loved it. I’ve been here quite a lot. I’ve had the privilege of visiting India on numerous occasions, and when the opportunity arose to speak here, my eagerness was unquestionable. Over the years of my visits to India, I’ve witnessed a remarkable transformation in the field of design. The creative landscape has soared to new heights in terms of creative endeavors, activities, and education. It’s truly astonishing. We consider our Indian colleagues to be on par with designers from any part of the world, be it the United States or elsewhere. India hosts industries that are exceptionally productive, and they rely on the expertise of designers and creative minds to drive this progress. It’s a transformation I’ve observed. When engaging with people here, you’re essentially conversing with like-minded individuals who share a common passion for design and creativity. It’s that straightforward.

On your mantra to succeed in life and the message you’d like to convey to the audience reading and listening to you

Reflecting on what I mentioned earlier, the core principle I’ve upheld is the relentless pursuit of improvement. Life offers the opportunity to introduce change, but for me, it must inherently result in something better. While many designers find their work as a form of self-expression, akin to artists, and it’s a valid approach, my perspective leans heavily on ensuring functionality and effectiveness. Creating a chair that appears aesthetically pleasing but lacks stability when sat upon is simply unacceptable in my view. Making things better is my mantra, and I believe that striving to enhance life is a noble guiding principle.

On your advice to the young minds

Never give up! I think because it’s actually quite hard to be successful in the creative industries. There are a lot of people competing for places in the creative industries. It’s quite easy to just think it’s impossible, but you know, if you keep going, and you keep doing great things, and you keep trying to improve yourself, you can get there. So making yourself better, I suppose as well as making the world better is important. Never stop learning.

On the other reason for you to want to accept to come to Designyatra

We touched on the topic of ‘Reset’ earlier. The entire landscape of design conferences underwent a significant transformation due to the pandemic, with most of them vanishing. These conferences used to offer a wonderful chance to travel abroad, connect with people, and engage in discussions about such issues. With this event at Designyatra, it marks the first conference I’ve participated in since the pandemic. It presents a valuable opportunity to re-engage with the global community. While we often travel to various locations, there’s something uniquely energising about bringing together a diverse group of people in a single forum.

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Brands

Netflix India names Rekha Rane director of films and series marketing

Streaming giant bets on a seasoned marketer who helped build Amazon and Netflix into household names

Published

5 days ago

February 9, 2026

indiantelevision.com Team

MUMBAI: Netflix has put a proven brand builder at the helm of its films and series marketing in India, naming Rekha Rane as director in a move that signals sharper focus on audience growth and cultural cut-through in one of its most hotly contested markets.

Rane steps into the role after seven years at Netflix, where she has quietly shaped how the platform sells stories to India. Her latest promotion, effective February 2026, crowns a run that spans brand, slate and product marketing across originals, licensed content and new verticals such as games.

A strategic marketing and communications professional with roughly 15 years’ experience, Rane has spent much of her career building technology-led consumer businesses and new categories, notably e-commerce and subscription video on demand. She was part of the early push that introduced Amazon.in, Prime Video and Netflix to Indian homes, then helped turn them into everyday brands.

At Netflix, she most recently served as head of brand and slate marketing for India from March 2024 to February 2026, leading teams across media and marketing for global and local content portfolios. Before that, as manager for original films and series marketing, she led IP creation and go-to-market strategy for titles including Guns and Gulaabs, Kaala Paani, The Railway Men* and The Great Indian Kapil Show, spanning both binge and weekly-release formats.

Her earlier Netflix roles covered product discovery and promotion in India and integrated campaign strategy to drive conversations around the content slate, product awareness and brand-equity metrics.

Before Netflix, Rane logged more than three years at Amazon in brand marketing roles in Bengaluru. There she handled national and regional campaigns for Amazon.in, worked on customer assistance programmes in growth geographies and contributed to the go-to-market strategy for the launch of Prime Video India.

Her career began well away from streaming. At Reliance Brands in Mumbai, she worked on retail marketing for Diesel and Superdry. A stint at Leo Burnett saw her work on primary research for P&G Tide, mapping Indian shoppers’ paths to purchase. Earlier still, at Orange in the United Kingdom, she rose from sales assistant to store manager, running a team and owning monthly P&L for a retail outlet.

The arc is telling. As global streamers fight for attention in a crowded Indian market, executives who understand both mass retail behaviour and digital habit-building are prized. Rane’s career sits at that intersection.

For Netflix, the bet is simple: in a market spoilt for choice, sharp marketing can still tilt the screen. And with Rane now leading the charge, the streamer is signalling it wants not just viewers, but fandom.

Brands

Orient Beverages pops the fizz with steady Q3 gains and rising profits

Kolkata-based beverage maker reports stronger revenues and profits for December quarter.

Published

5 days ago

February 9, 2026

indiantelevision.com Team

MUMBAI: A fizzy quarter with a steady aftertaste that’s how Orient Beverages Limited, the company that manufactures and distributes packaged drinking water under the brand name Bisleri closed the December 2025 period, as the Kolkata-based drinks maker reported improved revenues and a healthy rise in profits, signalling operational stability in a competitive beverage market.

For the quarter ended December 31, 2025, Orient Beverages posted standalone revenue from operations of Rs 39.98 crore, up from Rs 36.42 crore in the previous quarter and Rs 33.53 crore in the same quarter last year. Total income for the quarter stood at Rs 42.24 crore, reflecting consistent demand and stable pricing across its beverage portfolio.

Profit before tax for the quarter came in at Rs 3.47 crore, a sharp improvement from Rs 1.31 crore in the September quarter and Rs 0.39 crore a year ago. After accounting for tax expenses of Rs 0.79 crore, the company reported a net profit of Rs 2.68 crore, nearly three times the Rs 0.99 crore recorded in the preceding quarter.

On a nine-month basis, the momentum remained intact. Revenue from operations for the period ended December 31, 2025 rose to Rs 117.66 crore, compared with Rs 106.95 crore in the corresponding period last year. Net profit for the nine months climbed to Rs 5.51 crore, more than double the Rs 2.18 crore reported in the same period of the previous financial year.

The consolidated numbers told a similar story. For the December quarter, consolidated revenue from operations stood at Rs 45.06 crore, while profit after tax came in at Rs 2.06 crore. For the nine-month period, consolidated revenue touched Rs 133.57 crore, with net profit of Rs 4.49 crore, underscoring the group’s improving profitability trajectory.

Operating expenses remained largely controlled, with cost of materials, employee benefits and other expenses broadly aligned with revenue growth. The company continued to operate within a single reportable segment beverages simplifying its cost structure and reporting framework.

The unaudited financial results were reviewed by the Audit Committee and approved by the Board of Directors at its meeting held on 7 February 2026. Statutory auditors carried out a limited review and reported no material misstatements in the results.

In a market where margins are often squeezed by input costs and competition, Orient Beverages’ latest numbers suggest the company has found a reliable rhythm not explosive, but steady enough to keep the fizz alive.

MAM

Washington Post CEO exits abruptly after newsroom cuts spark backlash

Leadership change follows layoffs, protests and a bruising battle over trust.

Published

5 days ago

February 9, 2026

indiantelevision.com Team

MUMBAI: When the presses are rolling but patience runs out, even the editor’s chair isn’t safe. The Washington Post announced on Saturday that its chief executive and publisher Will Lewis is stepping down with immediate effect, bringing a sudden end to a turbulent two-year tenure marked by financial strain, newsroom unrest and public backlash.

Lewis’s exit comes just days after the Bezos-owned newspaper announced sweeping job cuts that triggered protests outside its Washington headquarters and a wave of anger from readers and staff. While newspapers across the US are grappling with shrinking revenues and digital disruption, Lewis’s leadership had increasingly come under fire for how those pressures were handled.

The Post confirmed that Jeff D’Onofrio, a former Tumblr CEO who joined the organisation last year as chief financial officer, has taken over as CEO and publisher, effective immediately. In an email to staff, later shared by reporters on social media, Lewis said it was “the right time for me to step aside.”

The leadership change follows the announcement of large-scale redundancies earlier this week. While the Post did not officially confirm numbers, The New York Times reported that around 300 of the paper’s roughly 800 journalists were laid off. Entire teams were dismantled, including the Post’s Middle East bureau and its Kyiv-based correspondent covering the war in Ukraine.

Sports, graphics and local reporting were sharply reduced, and the paper’s daily podcast, Post Reports, was suspended. On Thursday, hundreds of journalists and supporters gathered outside the Post’s downtown office in protest, calling the cuts a blow to public-interest journalism.

Former executive editor Marty Baron described the moment as “among the darkest days in the history of one of the world’s greatest news organisations.”

Lewis defended his record in his farewell note, saying “difficult decisions” were taken to secure the paper’s long-term future and protect its ability to publish “high-quality nonpartisan news”. But his tenure coincided with growing scrutiny of editorial independence at the Post.

Owner Jeff Bezos faced criticism for reining in the paper’s traditionally liberal editorial page and blocking an endorsement of Democratic presidential candidate Kamala Harris ahead of the 2024 US election. The move was widely seen as breaking the long-standing firewall between ownership and editorial decision-making.

According to a Wall Street Journal report, around 250,000 digital subscribers cancelled their subscriptions after the paper declined to endorse Harris. The Post reportedly lost about $100 million in 2024 as advertising and subscription revenues slid.

While the wider newspaper industry continues to battle declining print advertising and the pull of social media, some national titles have stabilised. Rivals such as The Wall Street Journal and The New York Times have managed to build sustainable digital businesses, a turnaround that has so far eluded the Post despite its billionaire backing.

As Jeff D’Onofrio steps into the role, the challenge is stark, restore confidence inside the newsroom, win back readers who walked away, and prove that one of America’s most storied newspapers can still find its footing in a brutally competitive media landscape.