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 businesses 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.
Since its establishment, Kyoorius, under the guidance of creative advocate Rajesh Kejriwal, has been dedicated to empowering the creative community in India. Kyoorius offers a diverse portfolio of initiatives, including ZEE MELT, Kyoorius Creative Awards, and Kyoorius Design Awards. As a non-profit organisation, Kyoorius remains committed to fostering excellence within the creative industry through its various endeavours.
On the sidelines of the Kyoorius Design Yatra Indiantelevision.com caught up with Kyoorius Group founder & CEO Rajesh Kejriwal on DesignYatra this year after a gap of 3 years, the theme, and much more…
On the response received since the announcement of this event
After three years, we finally made it happen. We skipped the previous year because the only ones who would have benefited from it would have been the hotels, airlines, delegates, and speakers. The hotel rates were at 25,000 rupees, and lunch rates were 4,000 rupees. It’s not fair to blame them because they had also suffered for two years without making any money. They were struggling, so we had to consider their situation. However, supporting them shouldn’t come at the expense of others. Delegates typically spend around 60,000 rupees to attend our design event, including all expenses related to travel. If that cost were to become one lakh rupees, it wouldn’t be worth it for them. So, we decided to skip a year.
This year, we tried to level the playing field, but it was a bit late. We negotiated and confirmed the venue and date in February, and we had to hold the event in July. We had only a two-month window to organise everything. Despite the time constraints, we managed to attract 983 delegates through curation, discussions, announcements, and promotion.
This year, we introduced something new, which we called the “Blind Date with Design.” In August, we hadn’t confirmed any speakers yet, but we had tentative agreements from many because we had contacted them previously without specifying the date. With the dates set, we needed fresh confirmations, and some of them dropped out. Even with no confirmed speakers, we announced the event as a “blind date with design.” We provided the dates and venue and offered a special, reduced price for early registration. We had 383 delegates sign up without knowing any speaker names. This shows the trust people have in Design Yatra’s ability to bring in quality speakers.
In the end, people are investing their money in this event. If we don’t provide good speakers, curate the event well, and ensure diversity in various aspects, we will be short-changing our attendees. They are not just spending money; they are also investing their time away from their families and work. Cheating them is not an option.
I always emphasise four key aspects of event organisation: first, how does the audience benefit from it? Second, how do the speakers benefit? Third, how do the sponsors benefit? And lastly, how does the event itself benefit in the long run? These are the pillars we consider.
On Design Yatra being curated and creating the event
We begin with our team. For instance, if our theme for this year is “Reset,” we examine every potential speaker from around the world, creating a list of about 200 names. Next, we delve into their backgrounds to see if they’ve gone through any significant resets in their lives. This process is like a reset within a reset for them. Starting with the theme, we assess the body of work of all the potential speakers, aiming for diversity. We don’t need to include only lighting designers or architects; we seek a variety of perspectives. This process eventually led us to a selection of 22 speakers.
Gender diversity is also a crucial consideration. I came across an AIGA report in 2018, which stated that from 2000 to 2015, only three festivals worldwide consistently featured 50 per cent or more female speakers. Design Yatra was one of them. Interestingly, from 2006 to 2010, gender diversity was not a widely discussed topic, but I embraced it intuitively because I recognised the importance of providing a platform for female voices. To ensure that the audience benefits, we look at it from their perspective. The path forward becomes clear when you focus on what the audience needs.
On the thought behind Design Yatra
This is a remarkable journey to share, considering our background as a paper merchant specialising in fine creative papers. To introduce our paper into the market, we needed to connect with designers. Meeting designers was crucial because when they saw our paper, they were often impressed and chose it for their projects. They designed around our paper, and once they specified it, changes were challenging to make, so price was not the main concern. Our paper business thrived through this approach.
I realised that to connect with designers, I needed to transition from being a mere paper supplier to being their friend. I coined the term “return on relationship” instead of “return on investment.” To build a strong relationship, I had to offer something that benefited them. I identified a gap in the Indian design community: exposure to their design heroes. These heroes were rarely brought to India, and many designers couldn’t afford to attend international conferences to meet them. It required a substantial amount of money.
So, I decided to bring these design heroes to India in a conference, solving two problems at once. Designers flocked to the event to meet their heroes. For three days, we provided opportunities for networking through meals and socialising. This strengthened the relationship between me, my team, and the designers. I made valuable connections, and in that year alone, our business saw a 300% growth.
Around the same time, Goafest was initiated, which I hadn’t known about as I was not part of the advertising world. However, I continued with Design Yatra as it was driven by love and passion rather than profit.
As time passed, the paper business began to decline, and there was a question in 2010-11 about whether to continue Design Yatra. With the paper business dwindling, the original purpose of the event was in question. However, we had become deeply passionate about the design community. Many success stories emerged from Design Yatra, with lives transformed, new talent discovered, and studios expanding. It had become a significant event.
In 2018, 383 people signed up for Design Yatra without knowing the details. We decided to make the transition from a not-for-profit organisation to a not-for-loss initiative. We aimed for sustainability, taking some sponsorship funds and delegate fees to break even or make a slight profit.
A noteworthy point is that in 2014, we purchased a piece of land in Chikmagalur and planted 30,000 trees. Since 2014-15, Design Yatra has been the only event in the world to achieve carbon neutrality, even before it became a popular concept.
On ensuring every stakeholder who comes to Design Yatra benefits
I’m someone who values feedback. I actively seek input from people and encourage them not only to tell me when I’ve done something well but also when they’ve noticed something I’ve done wrong or something that isn’t right. I genuinely appreciate it when people sit down with me, including speakers, to provide feedback. Continuous improvement is essential because the world is constantly evolving. Even something like the impact of COVID has reshaped how people perceive the need for physical conferences. People attend in person because they seek inspiration and often leave with a sense of purpose.
We listen to the audience and adapt accordingly. For instance, this year, we’ve embraced an “anti-disciplinary” approach. In the past, our focus was primarily on the visual aspect, which made sense considering our background in the paper business. We ensured that the visual community received the attention it deserved. However, the world has changed since then.
To put it in perspective, imagine swim lanes where you have graphic designers, fashion designers, furniture designers, architects, and interior designers, each in their own lane. With the internet and evolving design practices, these boundaries have blurred. Now, it’s like one big pond where a graphic designer might be working on murals, designing a restaurant, or even creating furniture. A furniture designer might explore architectural facades. The design landscape has become more interconnected.
By listening to a diverse range of speakers, we offer our attendees a rich and varied experience. When you listen to speakers from different backgrounds, you get inspired in various ways. You absorb insights from each of them, and even though you might not immediately know how you’ll use that knowledge, it accumulates and influences your work. An architect’s words can indeed inspire a graphic designer, and a graphic designer’s insights can benefit a product designer. This is what I mean by embracing an “anti-disciplinary” approach, and we’ve curated the best possible diversity of speakers this year.
We don’t overwhelm the event with too many sponsors, and we ensure there are no conflicting sponsors. Our focus is on delivering value to the audience.
On Design Yatra over the years helping recognise Indian talent
All creative professionals in advertising have their roots in design backgrounds. However, along the way, advertising professionals sometimes develop a perspective where they see advertising as the big brother and design as the small brother, not realising that many designers have emerged from within this field. Some argue that the advertising industry is much larger, while the design industry is smaller. Nevertheless, what some advertising professionals fail to grasp is the importance of investing in the growth of their teams.
Senior members of the industry may not need to attend events like Design Yatra, but it’s crucial to allocate resources for the development of junior professionals. Without this investment, it’s unreasonable to expect junior talent to excel. The advertising industry often complains about talent shortages, but one must ask, “What have you done to attract and nurture talent?” It’s not necessarily about sending them to a specific event but about providing them with opportunities to learn and grow. When they acquire new skills and knowledge, they will share their experiences with peers and juniors, eventually promoting the industry.
If you neglect upskilling your team, they will stagnate and produce work that falls short of expectations. Complaining about the declining quality of work without proper mentorship and investment in training is counterproductive. Advertising agencies should allocate resources not only to awards but also to the development and growth of their teams. Regrettably, advertising agencies often overlook this aspect, while design companies tend to prioritise it. For example, this year, there were 20 design students at our event, which presented an excellent opportunity for them to learn and advance in their careers.
On avenues opening up for young talent in India
There’s another compelling reason why advertising agencies should participate in Design Yatra. We offer sponsorship opportunities at very low costs, mainly covering the expenses for lunch and dinner. We don’t believe in providing freebies; instead, we ask attendees to pay for their meals while enjoying complimentary drinks. Unlike other events, we don’t create exclusive lounges or areas for different groups. Everyone, including senior creative professionals, mingles in the same space.
I believe that senior creative individuals should attend events like Design Yatra, engage with students and young talent, and understand their needs and aspirations. It’s true that advertising doesn’t typically offer high salaries at the entry-level, but have we made the advertising field attractive enough for young design school graduates? Have we taken the initiative to present the value of advertising as a career?
In my experience, advertising professionals often fail to convey the broader impact of their work. They tend to focus on individual projects, like showcasing a great ad or film, without discussing the significant work that goes on behind the scenes. We should inspire young talent by highlighting the role of advertising in brand building, cultural change, and long-term company growth. Advertising isn’t the sole driver of these processes, but it plays a crucial role.
To attract new talent to the advertising industry, we need to demonstrate how a career in advertising can help individuals contribute to building brands and transforming small companies into major brands. It’s about showcasing the inspiring journey and opportunities that lie ahead. I’m not criticising advertising alone; this issue is prevalent in design studios as well. People become designers because they are driven by creativity and a passion for art and design, not solely for monetary reasons. To attract and retain talent, we must reach out and provide a clear understanding of what a career in advertising or design entails. This is our responsibility.
