Nov. 10-25
As part of our Indian Design in Focus series, we recently caught up with Krupa Sheth Kapadia, Creative Director and Co-Founder of Mumbai-based design studio Stratedgy.
As part of our Indian Design in Focus series, we recently caught up with Krupa Sheth Kapadia, Creative Director and Co-Founder of Mumbai-based design studio Stratedgy, which she founded with Kruti Berawala and Aniket Kapadia in 2009.
Guided by the principle of “insights, intuition and design,” Stratedgy works with legacy brands, startups, and challengers to build identity and packaging design systems rooted in research and emotion.
The studio describes this philosophy quite well on its website, saying: “We are always looking for dreamers and troublemakers who love a good puzzle and look forward to telling stories in a completely new way, who understand that design isn’t just visual, but emotional.”
For Kapadia, a graduate of Parsons School of Design, design is inherently multidisciplinary—an intersection of research-driven thinking and expressive visual form.
In our conversation, she discusses how India’s diverse artistic traditions have cultivated an evolved visual literacy, why consumer insight drives every creative decision, and how clients are becoming more open to bold design choices when backed by sound strategy.
India’s greatest design advantage lies in its vast and varied visual heritage. Centuries of diverse artistic traditions have cultivated an evolved visual literacy, and this rich cultural landscape offers designers much stimuli and impetus from which to draw inspiration. Indian design reaches its full potential when we embrace this lineage and weave it into how we think, how we create.
Traditional Indian design is remarkably rich—from varied motifs and numerous scripts to vivid colors, diverse art forms, and craft traditions. The inspiration is truly endless. The way I integrate this into my work is by giving a modern angle to traditional design that resonates with today’s young Indian, who is aware, educated, and has global exposure.
Traditional Indian design is remarkably rich… The inspiration is truly endless.
Our first tryst with this approach was back in 2018, when we created a self-promotional series exploring the Suras and Asuras of design, drawing from Indian mythology with a visually contemporary approach.
The essence is that Indian design need not look dated or traditional, as that wouldn’t connect with who we are today. Instead, it should marry the modern global aesthetic with what is authentically, historically Indian.
India is not one market—it is thousands of distinct micro-markets, each characterized by unique mindsets and diverse spending capacities. Research is absolutely critical here—without truly understanding the consumer, how can we possibly create anything that resonates?
Research helps us identify and execute communication strategies that connect with audiences on a deeper emotional level, making the message more memorable and impactful.
Clients have certainly become more discerning about design. They are open to bold approaches when the rationale is sound. If bold fits the brief, then why not? Given our process, where every decision is backed by consumer insights and strategic thinking, clients are typically receptive to the innovation we bring to the table.
A recent project we built, Antinorm, is a unique, bold, and edgy take on the current personal care product category.
I’d say I need a mix of both. What I require for any project is a clear understanding of the product and business, a deep understanding of the consumer, and a comprehensive understanding of the industry. Whether these insights come through the initial brief or emerge during the process varies by project. But what I do with this information—what I ultimately create—must be entrusted to me.
Curiosity trumps passion every time. Absorb as much information as you can, allow as much inspiration to flow in as possible.
Consumers don’t live in silos, so designers shouldn’t create in them either. Understand the world you’re designing for, and you’ll be several steps ahead before you even begin.
Look across categories and resist the temptation to design with blinders on. Consumers don’t live in silos, so designers shouldn’t create in them either. Understand the world you’re designing for, and you’ll be several steps ahead before you even begin.
We recently worked on a chocolate brand called Ziaho, whose name itself blends Sanskrit words for joy and delight. The product is proudly Indian, and we wanted the design to authentically reflect that same rootedness without mimicking it.
We weren’t trying to broadcast heritage or tick the “vernacular” box. We simply wanted to say: This is Indian chocolate, so let’s not design it as if it came from elsewhere.
We explored how Indian scripts could function as texture and identity, not mere translations. Devanagari could evoke richness, Tamil curves could echo indulgence, Bengali could bring both softness and structure. The result didn’t look nostalgic—it looked right. Like it belonged. Like it had always belonged.
We weren’t trying to broadcast heritage or tick the “vernacular” box. We simply wanted to say: This is Indian chocolate, so let’s not design it as if it came from elsewhere. The result eschewed tradition to instead suggest familiarity.
Every region, every city has its own iconic spots. But for someone visiting India, I would suggest Kutch. The artisan community there is very inspiring.
There isn’t one person in particular; however, I would love to collaborate with Indian typography foundries and create a unique Indian type system.
For me, the biggest inspiration has to be people-watching. It stimulates my subconscious mind and, more often than not, gives me a strong direction forward.
Learn more at www.stratedgy.in
All images provided by Stratedgy
