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Doshi, the female half of Doshi Levien, grew up in India and studied design at Ahmedabad before moving to London to further her skills. Jonathan Levien began cabinet making before doing the same. They met, graduated, got on with their lives (Doshi returned to practice work in India, came back, worked with SCP and David Chipperfield, while Levien worked for Ross Lovegrove), reunited, married, set up shop together and got a commission from Tom Dixon for Habitat.",[],{"_key":442,"_type":103,"children":443,"markDefs":447,"style":130},"d1575af1e4c1",[444],{"_key":437,"_type":107,"marks":445,"text":446},[],"That was two years ago. Since then, they have designed tableware produced in China, cookware for Tefal in France, and an office furniture system for a company in Hong Kong. This autumn, Tefal is launching worldwide its second tranche of pots. Designed for cooking Asian, African and Latin-American cuisine and involving six weeks of “food research” in London (it's a tough job), each item in the range expresses a strong cultural identity through material, colour, and the varying translations of the Tefal marque on the base. 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In one experimental project, the pair designed a set of luggage, which drew inspiration from high-quality vintage travel cases. In shapes, colours and materials that together evoke thoughts of steam engines and porters and handkerchiefs fluttering goodbye, the range has been entirely created with contemporary travel and aesthetics in mind. The results are eccentric but still classic and have a broad appeal. “Nipa and I approached this project from different perspectives,” explains Levien. “While Nipa was dreaming about the visual feeling the luggage should have, I was thinking in terms of construction and performance. We have different skills that partially overlap. 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I am trying to represent my culture in all its complexity and sophistication. For example, the contradiction of a tin-roofed mud house shacked up against a glass skyscraper; a cow and cycle rickshaw fighting for space with a Mercedes Benz on a main road; a bright, highly embellished tribal outfit set against the barren desert landscape. I would like to bring some of this friction and incongruity to European design.” There is a good reason, therefore, why the pair have based themselves in Spitalfields. “We are situated on the fault line between the Bangladeshi community near Brick Lane and the City,” says Doshi. “This is what we love about this area: the friction between different communities, obvious and yet seamless. I was wearing a lungi (Indian for kilt) on a very hot day and a Bangladeshi boy from the estate said: ‘What are you wearing?’ I replied: ‘I am wearing a lungi.’ He said: ‘How do you know that?’ He was testing me!” Doshi and Levien are themselves an example of the attraction of opposites that pervades their work. “We have very contrasting memories and experiences,” asserts Levien, “but grew up to the same Eighties music!” By way of influences, “I love intimate objects like shoes and musical instruments,” he continues. “For me they embody all the ingredients that make me passionate about design: the response to basic human needs, the sculptural forms derived from an understanding of materials in relation to the body, the way a smart pair of shoes can change the way you feel and behave.”",[],{"_key":584,"_type":103,"children":585,"markDefs":589,"style":130},"b844b1c2fce6",[586],{"_key":579,"_type":107,"marks":587,"text":588},[],"Doshi's contrasting likes and loves are evident in their cluttered studio. “I love the visual landscape of street culture in India,” she explains. “I love everyday objects which have a strong cultural and emotional significance like the Iota, the ubiquitous water vessel found in every Indian home; the mythical and magical world of Indian film – the fantasy in stark contrast to the reality. I love my cheap, colourful plastic bangles as much as my beautifully crafted jewellery. I am inspired when an east London Bangladeshi girl dresses in her traditional salwar kameez and wears trainers, speaking a mix of Bengali and cockney. That to me is rich and that pushes me on. It challenges my perception of what is ethnic, what is traditional and what is pure. I am inspired when the opposites get together.” Anyone with even the most stubbornly dormant creativity in their bones can go to India and be inspired. But something in the way this pair’s enthusiasm for the culture schlock translates into their work resists the temptation to dismiss it as a mere bug picked up while travelling. “It is our aim to work with top international companies looking to enter the Asian market and help them do so with cultural sensitivity and appropriateness,” says Levien. “We would like to facilitate and encourage a discussion that addresses issues of design, identity and culture in a global manufacturing and branded environment. Somewhere in the rapid industrialisation and imperial colonisation of India, the link between craft, design and culture were lost. We would like to work with craftspeople in India to find a contemporary expression and a sustainable outlet for these indigenous skills. We would like to work with industry and craft so that one may balance the other.” Chances are they've found a magic formula.",[],{"_key":591,"_type":221,"image":592,"layoutOptions":497,"marginTop":262},"fdb7a2815fbe",{"_type":223,"assets":593,"description":258,"ratio":625,"title":260},[594],{"_key":595,"_type":132,"image":596},"d068ea8ec934",{"asset":597,"crop":11,"hotspot":11},{"altText":11,"metadata":598,"originalFilename":623,"url":624},{"_type":16,"blurHash":599,"dimensions":600,"hasAlpha":23,"isOpaque":22,"lqip":604,"palette":605,"thumbHash":622},"M8B|4{-AE1=|sC~pRlofxGt7xGt7xuIVtR",{"_type":19,"aspectRatio":601,"height":602,"width":603},1.7786187322611164,2114,3760,"data:image/jpeg;base64,/9j/2wBDAAYEBQYFBAYGBQYHBwYIChAKCgkJChQODwwQFxQYGBcUFhYaHSUfGhsjHBYWICwgIyYnKSopGR8tMC0oMCUoKSj/2wBDAQcHBwoIChMKChMoGhYaKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCj/wAARCAALABQDASIAAhEBAxEB/8QAGAAAAwEBAAAAAAAAAAAAAAAAAAQFAgb/xAAhEAACAgEEAgMAAAAAAAAAAAABAgMEAAUREyFBcRIxYf/EABYBAQEBAAAAAAAAAAAAAAAAAAMAAv/EABkRAAIDAQAAAAAAAAAAAAAAAAABAhESIf/aAAwDAQACEQMRAD8A5F7/ACxozqvxQMF289Y5Hchkox2bJMSIONFU7lj+ZHRFNFwR0FBxfUGKwRqp2UP0B6yir4ak89Nz6/YilZKtWKKIfSuNz7OGRbjNznvxhi5QFn//2Q==",{"_type":26,"darkMuted":606,"darkVibrant":609,"dominant":611,"lightMuted":614,"lightVibrant":615,"muted":617,"vibrant":620},{"_type":28,"background":607,"foreground":30,"population":608,"title":30},"#473d3d",6.42,{"_type":28,"background":610,"foreground":30,"population":34,"title":30},"#7e4436",{"_type":28,"background":612,"foreground":37,"population":613,"title":30},"#bba7a4",6.93,{"_type":28,"background":612,"foreground":37,"population":613,"title":30},{"_type":28,"background":616,"foreground":37,"population":41,"title":30},"#d7b1a1",{"_type":28,"background":618,"foreground":30,"population":619,"title":30},"#838382",6.37,{"_type":28,"background":621,"foreground":30,"population":333,"title":30},"#844e38","1wcGDIJJe1VviJiJWYZ/Pfmmlg==","LO Packaging (1).webp","https://cdn.sanity.io/images/o88d9ev8/production/3adcba35b09d4c678417b21e53484225b946cf79-3760x2114.webp","default",{"_key":627,"_type":628,"by":629,"marginTop":262,"text":630},"f4adc629c738","quote","Nipa Doshi","An Indo-European design aesthetic doesn’t really exist. 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Working downstairs, living upstairs, staying true to ourselves. The first major press we received was with Blueprint Magazine. I remember saying to Nipa at the time, “We are doing all of this amazing work, but nobody knows about us!” The following month, we received a four-page feature by Henrietta Thompson, which signified the height of happiness for us as a young studio.",[],{"_key":659,"_type":103,"children":660,"markDefs":664,"style":130},"0d39b3c802f7",[661],{"_key":654,"_type":107,"marks":662,"text":663},[],"Looking back at the article now, it reads like a snapshot of who we were – our first design studio, the cultural friction around us and the early projects that shaped our identity. Blueprint observed the tension and dialogue between our backgrounds, and how those contrasts were already present in the way we thought about design. It also captured the spirit of Spitalfields at that time, with its meeting of communities and influences that fed our work.",[],"read",{"_type":182,"cardExcerpt":667,"cardImages":668,"linkLabel":665,"slug":767,"title":769},"In an interview with Elle Decor India, Nipa Doshi reflects on design as a deeply personal and feminist practice, shaped by her love for colour, textiles and craft, while also championing ornament and everyday visual culture as powerful expressions of identity and 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