Arthur: [00:00:00] Welcome everybody to today's episode of Pitching Passion. It's such a privilege to have here Vikram Goyal. We get such interesting insights into different pockets, and today we have our first designer. But as with every interview somehow pocketing people into being one thing, a designer
Or a,
An osteopath, it's never really true.
You're doing so many things. You're an entrepreneur. And just gonna kick things off by giving a bit of a overview. We're here in New Delhi at the moment, but you're,
very much based here as a designer and a craft revangelist Thomas Walters .
Vikram: evangelist.
Arthur: Your journey's a bit unusual. Princeton, educated engineer, - turned into finance professional,
And then
C-
co-founding a a wellness brand, Kama Ayurveda, which you've later sold to a Spanish conglomerate which has become one of India's most celebrated luxury wellness brands before pivoting fully into your own design practice with your studio being primarily in, in handcrafted metal, brass especially, using ancient [00:01:00] techniques like repousse and pietra dura? Pietra dura pietra dura. And you are represented by Milan's prestigious Niloufar Gallery.
Vikram: Gallery. Niloufar Gallery, yes.
Arthur: And have made phenomenal collaborations
Written across all the well-known publications and news sites and recently collaborated with
It's with de Goene. Design critique Glenn Adamson described your work as offering a truly global vision rather than a mere postmodern pastiche.
Vikram: rather than
Arthur: Let's jump back. You previously spent quite some time in the finance world at Morgan Stanley.
Jump us through.
Was it obvious to you that you wanted to be a creator looking at the young you early on in your years?
Vikram: to give you context when I went to engineering college my room was out of 2,000 rooms, my room was the only decorated room.
But we didn't know better at that time.
We did well academically, and India was very structured and conservative. and if you did well [00:02:00] academ- demically, you went either to the arts or law or medicine- ...or engineering. And I found myself in engineering college. But,
I grew up in
Delhi, spent
a lot of time in
Rajasthan, both very rich with visual cultures art, architecture, and somehow that must have influenced my
Arthur: my
Vikram: sensibilities, because I was
always
very interested in India's
heritage
and visual culture ever since I was a young child.
But then you chart your way through,
Engineering I went to study development economics, worked
with Morgan Stanley. But I guess somehow that part stayed with me,
and it was the year 2000,
Where we had the TMT boom, telecom, media, technology, and people were moving away from consulting and banking into dot-coms and ...media companies, technology companies.
Arthur: And
Vikram: I moved... I was in Hong Kong at the time with [00:03:00] Morgan Stanley, and I moved to India. There was a lot happening on the ground here post liberalization. and ostensibly, I thought I'd set up a dot-com, but the sector imploded three months after I moved
here. Thankfully, otherwise, I may have been, ...
Arthur: stuck
in,
Vikram: in another kind of office job.
Arthur: And
Vikram: I spent a couple of months figuring out what I wanted to do and I chanced upon the idea of Ayurveda, which is one of the world's oldest medical sciences, and
there was an alternative medical system. And so we, four of us got together and set up this Ayurvedic
brand tried to take the messaging of the goodness of Ayurveda to
the international
world-
and
to India and to the Indian market.
So I
was doing something entrepreneurial, but it just didn't feel right. And three years later, I set up my design company working with craft, and,
That's really has been getting me out of bed
Arthur: [00:04:00] then.
Vikram: I guess I almost... I think water always
find
this level and I figured out that
What stayed with me all through
as a child and while growing up, eventually found its way into my work and daily
Arthur: Jumping at the first designs,
had you done a few designs
Of objects before?
Vikram: I'd moved chairs
and tables around, but it's very interesting in India and I've said this before, everyone's a designer.
So you
Arthur: the,
Vikram: The, the guy who does these cane and bamboo chairs would come on a bicycle to your house, and
you'd
say, "Oh, I like this, but now could you make this slightly wider- shorter? Could you add this?" You take your clothes and go to the local tailor,
take your textiles and ta-
give to the local tailor.
You can make lampshades, We've always been experimenting. Also, everyone around me seems to be doing the same thing.
I didn't think twice about being a designer,
It
was just, you want to cr- I wanted to create, and you want You... And it's very [00:05:00] easy
to do that over here.
That's how I
became a designer.
Arthur: That's i- it's
yeah, very different here
compared to, London
Vikram: In India, you almost
coexist
Arthur: side
Vikram: by side
With craft.
Arthur: A- and
Vikram: that's ... What I mean is you'd have all these kind of one,
Arthur: one
Vikram: member craft setups of someone who was making wooden doors or wooden instruments or bamboo chairs, and they'd come to your house, and they'd go from house to house.
So
It was almost you didn't even need to go to a bazaar or anything. It was just around you. And there was a lot of, ... There was a tradition of- using local textiles, muslin,
Arthur: muslin
Vikram: cotton,
and getting them made into throws and cushions and-
Arthur: It
Vikram: was just something which was very much part of the fabric of our life.
Organized retail came much later on in life.
So
it was almost very much part.
You had the
craft,
you had
the artisan- and you had the [00:06:00] tailor or someone had to put it, stitch it all together. So it was very much part of life
around us, and
I'm not a trained designer.
I'm not an artisan, but I think my intervention has been through creating a studio
Arthur: and
Vikram: creating this ... It's very much like what you had under the Mughals, what we call the karkhana, the workshop model, where you have a group of technicians, designers, artisans,
and
Your own facilities. And therefore able to stretch the boundaries of what we can do in a particular material.
And yeah, in ours it's metal. It's brass.
And talk us through... I wanted to be clear
Arthur: Did it start with you wanting to design a table and then you had a table designed and then you got great feedback from it and people were like, "Hold on,"
"Maybe you should do something like this in this-" So
Vikram: when I started working with one particular craftsman who'd been, i
had a list of people who'd participated in the Festival of India. Someone did leather puppets, someone did tapestries. And I found this [00:07:00] person,
Rameshji, who
was working in a
garage-sized
workshop
In metal.
And in India we have a tradition of sheet metal, unlike most parts of the world where you work with cast metal, which is metal poured into molds of sand or wax.
In India,
we work with sheet
metal,
And there's a history of
surface decoration
and ritual vessels. So I stumbled upon Rameshji and
s-
looked at motifs
Arthur: from
Vikram: everyday paintings and architecture. So lotuses and
Arthur: finials
Vikram: which adorn temples and other places of worship sculptural other elements of-
daily art
and culture. And I scaled them up,
So
Very large
sculptural
Arthur: Elements
Vikram: drawn from these paintings. And this what I called was the India modern language. So looking at Indian elements and then just [00:08:00] contemporizing them by giving them scale. So that was
Where we first started.
But then the more I started engaging
Arthur: with
Vikram: the West and with international markets- I moved on to a language which was more international, so to speak,
And which was less about Indian elements. So it was more about India in the sense of the material, which is i.e. sheet metal.
and,
Arthur: And,
Vikram: But the design
Was,
Arthur: Not...
Vikram: was India agnostic.
Arthur: When you had found this wonderful team of people- did you commission them first with a few pieces? Yes. Yes. And then you had an exhibition? So we...
Vikram: Did you fi-, did you commission them first with a few pieces? Yes. So it's- And then you had an exhibition? So we... I had a store. I opened a store, and that's where we work with architects and interior designers, and then we'd have exhibitions, and then that's how it-
Arthur: Yeah
Vikram: moved on. And I tried this experiment of working with
different artisans. I wanted them to be sustainable, so we gave them
the
knowhow,
the [00:09:00] advances had someone for quality control. But
If there was a wedding in the family and the doors were shut. and There was no work.
So
it obviously couldn't sustain, given that we were trying so much to
Commercialize- this, this craft and,
As
a business. And we found ourselves setting up our own workshop where we could have more control over timelines and quality.
Arthur: You're,
being represented by the best in the business, across the world.
Being shown at,
Remarkable fairs. Being covered,
By all, all these extraordinary magazines.
It's quite a stretch to think about
the variety of the things that
You do design
And get made. Wall panels, sculptures, consoles, coffee tables, dining tables, cabinets, wall sconces, mirrors, screens, ceiling highs, lamps, vessels, desks, side tables, benches, bars.
We're gonna be showing some of your amazing stuff i-in a video with this. Do any of those in particular give you pleasure? They
Vikram: They
all do. [00:10:00] They all do. They all do. And . as a designer, I don't like to be straight-jacketed into a particular sensibility. So my work has actually been across this wide spectrum from the very decorative to the very abstract.
And I enjoy both, and my interiors reflect both,
So
I like things which have beauty but are traditional- which can coexist or sit next to something which is cont- completely modern,
abstract, contemporary. There are pieces which have been inspired by the Brutalist period
By the mid-century.
Art deco is a big influence. So
I really have a whole range of palettes,
From which I've chosen from. One of the work, one of the crafts we've spent a lot of time reviving, and is a big focus of the studio, is the world of repoussé, where you are able to... Basically, you draw on metal, so to speak.
You take the artwork and you paste it on the sheets of metal, and then you chisel away from the reverse of the metal- so
[00:11:00] because you want that indentation. And then after months, you pick it up to see what you've chiseled and created.
Arthur: And
Vikram: in that I've used works in our own language from borrowing from Chinoiserie, Japonais Rousseau Indian
traditional paintings- architecture. A whole range. So anything which I enjoy, and there are many
Arthur: cultures of
Vikram: I enjoy- have found their place in some of my work. Last year in Paris, we showed at Design Miami
Arthur: in
Vikram: the garden of Karl Lagerfeld's former house. And I had these life-sized animals made out of these three-dimensional animals, which had secret compartments which showcased illustrated fables called the Panchatantra, were the India's most celebrated set of fables where the animals were characters.
And they were fables on morality, which taught the then princes on
how
to lead a good life.
There were tales [00:12:00] using,
for example two cranes carrying a tortoise over a valley-
with
a stick on its beak. And the
tortoise being
told not to speak, but of course the tortoise couldn't resist itself, and ex- opened his mouth to talk about the view and fell to his death.
The moral of the story being think twice before speaking.
So there were all these wonderful- cultural narratives which I wanted to
bring
to
a wider audience- using my
metalwork.
Arthur: metalwork.
Vikram: This year I've got a show in in London during Frieze Week which is inspired by the Ramayana, India's greatest epic, the way it talks about the animals and how they helped Lord Rama bring Sita back.
And it's all about the animals
Arthur: displaying
Vikram: compassion and friendship and support and sacrifice. So I'm creating this whole
Arthur: scene
Vikram: out of an interior using the Ramayana as the background- where we're inviting [00:13:00]writers who have written on India to be in conversation with one another.
Trying to extend the cultural platform from the narrative of the Ramayana into metalwork, into a broader cultural
conversation.
Arthur: , We're with an artist today, creator. There must be quite unusual moments where you get these ideas for designs. Is that true? You g- have you been on, at a dinner, had a conversation with someone about something seemingly quite unrelevant to- That's exactly how I get my inspirations.
. And it always happens,
Vikram: all of the journey we've been through has been through a series of organic moments.
Arthur: One thing
Vikram: having led to the other.
When I moved to India, when I started this, I didn't think that I'd have this big setup doing what we do.
It all happened
Arthur: step
Vikram: by step, little.
by little.
And yes, many cues from conversations, travels, books, paintings.
Arthur: It's funny. Moving from this world at Morgan Stanley in [00:14:00] finance where,
It's such a totally different environment.
Vikram: in some ways, but it's such a totally different environment.
It is a different environment, but I don't think I could have done what I've done without that exposure and training because what Morgan Stanley... It was... It's... Morgan Stanley is the only company I've worked with, and what it taught me was basic, what you assume are basic levels of professionalism, of human resource management, supply, demand- people's aspirations, how those can be managed, how those can be
Arthur: regulated, managed- ...
Vikram: within an organization. Things you take for granted when particularly in the West-
Arthur: but
Vikram: when you apply them to
Arthur: such
Vikram: a disorganized
sector
such as craft in India- you can really see what the difference that sort of background and training made.
Arthur: So it
Vikram: was really helpful for me to have had that very strong professional footing-
...
Vikram: And to bring that model adapted to, to the world of craft and [00:15:00] design in India.
Arthur: What are the best moments and feelings for you? Is it seeing your finished design from having an idea, or is it seeing your work being appreciated by people?
Seeing my design fully
Vikram: what are the best moments and feelings for you? Is it seeing your finished design from having an idea, or is it seeing your work being appreciated by people? Seeing my design fully realized
into the final product.
And
Of course, appreciation from people help, but I don't let that validate what I have designed and produced.
Arthur: and produced.
Vikram: I like to, and it's... for instance, when I design my own house, I'm able to... Or design the interiors of my own house, I'm able to take risks which- and put it all together in a way which only I can
Arthur: see. Which
Vikram: becomes... That, and if someone else would take that same product and put it in a different way.
It's really, for me, what's very important is how it all comes together for me.
Arthur: When you think about environments, A lot of the things you've designed,
Are for the home. D- i- you have a view on what objects, how they [00:16:00] should serve people
In,
their space?
Vikram: I always have a view which has been completely unheeded,
Arthur: unheeded,
so
Vikram: I no longer have a view.
Arthur: Yeah. Un- in what sense?
Vikram: in what sense? In the sense people have very different tastes, and who am I to- say this is right or wrong? One person's caviar is another person's sandwich. So honestly earlier on when I used to do interiors I'd be very particular in the way
my sort of aesthetic vision was respected and adhered to. But now I've stopped doing interiors-
and relaxed a lot
In terms of I'm not attached to
the
way someone else sees my design.
The idea of
They are free to do what
they want with it.
Arthur: it.
When you finish design...
your mirrors i-
I find absolutely stunning.
To you why is there such value in making such a beautiful table or mirror? What do you get from that aside from the aesthetics of it a- and
The great feeling that you've created something?
Vikram: Yeah.
I think the joy of creation is very [00:17:00] powerful for me
and experimentation. So I
Really like to try out different things, and that probably explains why we have such a wide gamut of,
Arthur: of
Vikram: styles and- designs
and forms. So it's really the whole idea of creating something fantastic is what excites me.
Until very recently I was very excited by scale. Doing very larger-than-life
panels and
Arthur: panels and sculptural
Vikram: furniture pieces, design objects. And now for my show in London it's
i- it, The,
the exhibition is in a
is in a salon
And
We're focused on things outside metals and brocades.
We've got mother-of-pearl chess sets all inspired by the Ramayana. And the scale is...
and,
It's
they're s- they're smaller than what in- They kind of scale than what
I've worked with before.
I'd be... very interesting for me to see how people react to that.
Arthur: Are there things that you
have
not designed [00:18:00] yet
that somehow feel like- They're not to be designed tomorrow, but in time I d-
Vikram: They're not to be designed tomorrow, but in time th- I would like to work with more craft. So for my, For the studio, we work with metal and semi-precious stones. But for my lifestyle brand, Via, we work with a number of other crafts, such as textiles- embroidery block printing weave... carpet weaving, rope, cane, the number of other crafts. And Via is a much more accessible brand than the studio, and I'd be very interested in now having worked with them for Via to do something of a larger scale- for the studio. So there are many things I haven't done- and I'd be very happy to explore.
Arthur: Now
It's artwork at the end of the day with what you've got behind you here in
your studio, which gets placed in extraordinary places. What's it like seeing where your creations end up?
Vikram: Or
Arthur: or do you not have a [00:19:00] huge attachment
Vikram: with- I don't have a huge
attachment.
Yeah
Arthur: Yeah.
Vikram: I can't afford to have that luxury.
Arthur: And commi- People have different est- aesthetics. Yeah.
Vikram: But there,
there, have been people who... There have been instances, there have been interiors where I've seen some of my pieces showcased beautifully. Collectors in
Arthur: in
Vikram: Europe in India, and that's been very satisfying- to see them give do full justice- to the wo- to the work.
Arthur: I imagine you'll see your work at times in places that you wouldn't expect. It would, it, it would look in a certain way. Looking absolutely fantastic. Are you someone surprised , by seeing your designs work
In certain environments?
Vikram: by, by, by seeing designs work in certain environments? It's always interesting for me to see how they're used.
And I have my own idea of how something would be used. So for me, it's always interesting to see how someone else has used it, and especially
Arthur: if
Vikram: it's someone whose aesthetics
I appreciate and admire. There's a collector
In
Arthur: in
Vikram: Italy
Who was one of the owners of a big fashion house, [00:20:00] and I was very happy to see his my console hanging below a Fontana art painting- in his palazzo in Rome. On the cover of Vanity Fair.
Yeah, that, that made me very
Arthur: me very happy. A nice moment for you. What was I gonna say?
People will have a relationship with your creations. , Do they talk about that with you?
Vikram: All the time. All the time.
... I get a lot of... I'm very grateful for the appreciation and love I get from from my clients. And I'm constantly getting messages saying,
"So and so loved this work," and this gives me so much happiness.
I create for myself, but there's always a sense of- gratitude
And
Happiness when
some
work is appreciated.
Arthur: but,
We all think so differently and people will interpret some of the designs and see some of the beauties of, all the functions that you've created in ways that
you might not
have thought about.
H- I- is that true? Sorry,
Vikram: Sorry, I
didn't understand.
the-
Arthur: i.e.,
You might view a certain piece in a certain way and relate [00:21:00] to the artwork
And the narration. And as the creator it will be deliberate a- and a lot of that will be, Yeah,
You've got your
version of- ... what an object does, but other people have their versions.
Are there instances where you've been quite surprised or and you learn a lot from other people's interpretations about what you've done?
Vikram: There are always hits and misses. . There have been some occasions where I've been pleasantly surprised almost excited by how something has been put together, and that there've been other times
where
it's not gone according to how-
I would have imagined it.
But so be it.
Arthur: Yeah. W- walk us through, you're on holiday or maybe you're walking through the streets.
Have there been particular moments that are quite unusual where you have had inspiration for an object?
Vikram: All the time. Look,
When I live through
Arthur: travel
Vikram: or I,
I travel
Arthur: recently.
Vikram: m- re- recently.
I travel all the time.
and I
make sure I spend 10 days a [00:22:00] month outside India.
And travel involves walking
on the streets- going to all the flea markets, the galleries- the museums.
Everything is an inspiration. I look at every object- and find some inspiration somewhere or the other. For me it's it's always full of ideas and
which keeps swimming around in my head. Endless
photographs sent back to the team
to
come back to work on-
Put together.
Many of the ideas get thrown out. some
stay, and then we sample,
Arthur: and
Vikram: a very few make it to the final
cut.
Arthur: So
Vikram: it's a long process of elimination. During the time you see something and you're inspired,
Arthur: to
Vikram: finally making its way to, the final
catalog or
website.
Arthur: Yeah, that must be interesting.
And do
Do you
have people who
You get their views on things as sort of
secret hidden group where,
You check, y-
Vikram: You, you,
It's all
very democratic. You have a great set of designers, and everything is discussed and-
Arthur: And it's all very open and,
Vikram: I like to believe it's very democratic.
Arthur: Yeah. So
It's,
really much, it's very [00:23:00] much the team that- Very much the team ... help you c- contribute and-
Vikram: very much the team ... help you, contribute. Who
contribute and we, I would say th-
almost all the design direction comes from me.
But then we work with very talented set of-
designers, illustrators who put those
thoughts into paper.
And then from paper into samples and molds
Arthur: that, before
Vikram: being converted into the final product.
Arthur: And I guess,
Through any hard work or passion, we learn a lot about ourselves. What have you learned about yourself through this journey that you might not have anticipated looking back?
Vikram: learn a lot about ourselves. What have you learned about yourself through this journey that you m- might not have anticipated looking back?
Vikram: One of the things which I've learnt is that
Arthur: the
Vikram: more confident you get in your work, you're able to take risks. So for a long time I was doing sculptural furniture pieces for Niloufar, for our shows in at PAD London, and Design Miami. And last year I
Put myself out there and created these animals, the ones I talked about.
And for me, that was a big departure from the kind of work I'd been doing. This year [00:24:00] I'm even more confident in doing a salon style
small
show with smaller objects. So that's the one big learning, is that as you keep doing what you're doing
and for a long period of time, at least for myself, you stop really worrying about everyone else,
Arthur: and
Vikram: just doing it to satisfy yourself.
Arthur: So
Vikram: are able to then stretch
the
envelope. You're able to take risks. You're able to walk paths which you haven't walked on before.
That's been one big
learning
for me. And that
has
also
Translated into
other
ideas of what we're doing for- say, the Via brand.
We're
opening our first store, opening a second one, the scale of the stores. It just, one thing done well leads you to have the confidence to take it further.
For me, that's one big learning about- about about me. I haven't gone from zero to 20. I've gone incrementally- building on the [00:25:00] success of
the
stages as I've moved past them.
Do
you know what I
Arthur: Yeah that makes total sense. I think rare as well to get to that point where you're not making for validation, you're making for yourself. Is that your North Star, your primary goal, to just make amazing things?
Vikram: No, I know. That makes total sense. I think rare as well to get to that point where you're not making for validation, you're making for yourself. Is that your north star? Your... is that your primary goal, is to just make amazing things? The primary
goal actually is to make amazing things, but Has been always to
be
the storyteller of India's cultural heritage. Its craft and its
Arthur: visual
Vikram: cultures and the wonderful fables and all the other historical context- to anything to have that associated with India's cultural history.
And
I've done that very consciously through the studio's work, through the lifestyle brand Via's work. The Elephant Family project I was involved with, I curated
over
Arthur: blankets made
Vikram: 45 blankets made by designers and artisans all across [00:26:00] India, which were auctioned in America. So there've been a number of initiatives which- all have been underpinned,
even the Ayurvedic venture underpinned by excellence to do with India's history and cultural heritage.
Arthur: - We're
amongst your amazing creations here. Where are you deepest into your world of creation?
Is it,
Researching or researching
And testing these designs out?
Vikram: It's always a
challenge to come up with something new- at this stage where you've already
Arthur: tried
Vikram: many styles. [00:27:00] And every time there's a show, I show at the art fair every year
in
India the question always is, "Should we work on something which has been shown before- and augment it with new ideas or do something completely different?" 'Cause I think sometimes you need to give people
Arthur: the
Vikram: chance to respond to some creations, to
resonate
with them.
Arthur: But, but
Vikram: in my case there's always this strong tendency to try and bring something new.
So a lot of time is spent in my head researching thoughts and ideas about- which
cultural narrative do I want to engage with- which technique do I want to introduce this time? So there's always that friction between
going
with the
Arthur: new-old
Vikram: versus the new
Arthur: Cities areas - Where, one walks around maybe it's a car park or a park or,
A street in,
Vikram: street in New York
Arthur: York
Delhi, there's always [00:28:00] objects around us, and sometimes one observes exceptionally beautifully designed things. Maybe it's a park bench.
Even public loos
Get awards these days. Are there things that you'd like to design that are quite left field i-
In environments like that? Maybe public stairs going
Vikram: going up,
Arthur: u- up, up a building.
Vikram: I've
less of
an inclination to design architectural elements- as for much as I have for the artistic
repoussé panels
Arthur: panels-
Vikram: ... or
some of the more sculptural-
...
Vikram: Furniture pieces.
And I like my architectural palettes
to be clean. I go to a park, I don't think I wanna do a bench.
Yeah But I wouldn't mind doing a bench at home.
Arthur: Home. Yeah. Yeah.
Vikram: And maybe, and it's maybe because I haven't had the opportunity to work in a public space- and I haven't put my mind to it or and
think within those... I still think within the confines of four walls.
Arthur: Yeah, I, I sit here [00:29:00] thinking if you were commissioned for something, a new bench in a park in the city I think you you'd probably have a lot of fun
And do a great job.
Vikram: have a lot of fun and do a great job.
As I,
so in answer to your earlier question, there's a lot I haven't done. There's lots where
I... lots of things which
would excite me.
Arthur: how do you find that peace in terms of, you clear- you know, what you've created here you're clearly a very ambitious, driven how
do you balance that drive with being and living?
Vikram: The
work never leaves you, and your mind is always-
...whirring
with ideas and
thoughts.
But
but
I manage to live reading, traveling. Travel is a big
form
of living for me. Of balancing it.
And then I try and switch off. Though although-
...my
team will tell you otherwise.
And really
try and soak into where I am.
Arthur: When you're soaking into an environment,- you're clearly very deliberate [00:30:00] about how you do that. Are you on your own? Are you seeing places in a certain way? Or is it quite natural?
Vikram: All very natural. It's all very natural. And I may respond to something. There was this wonderful art deco palace which I saw in Tokyo two months ago. A complete departure from what I expected to see in Tokyo. But I've spent a lot of time there. So
, They're just unexpected places and- unexpected things which draw you in.
So I really don't have rules about or preconceived notions about
how
I'm going to experience something.
Arthur: Interesting. You don't have expectations, you just s- see
Vikram: You always have expectations, but once you're there, I
Live in the moment and let that take over- how I feel. Yeah.
Arthur: In some senses you've got a family here, with your, with, your team, endless people you're supporting. What do you think is the biggest privilege of having that? Of changing
Vikram: got a family here, with your c- your team and those people that
Arthur: been the greatest satisfaction
Vikram: do you think is the biggest provision of, having that? Of changing people's lives? That's been the greatest satisfaction of,
especially with the with the artisans and of reviving
[00:31:00] certain
traditional skills which were dying.
Repoussé
for
one. That's been a
tremendous satisfaction-
With elevating this craft- and
taking
this made in Noida to the Paris exhibition. It's been very satisfying.
Arthur: Vikram Goyal, thank you so much for your time today.
Vikram: Thank you so much for your time today. Thank you so much.
