The field of Textile Design has evolved from being mainly driven by aesthetics, to balancing function, technology, and sustainability.

Pritam Paul, our next pathbreaker, CMF Designer, works across home, flooring and automotive sectors, by introducing new materials that are not just stylish but also innovative and functional.

Pritam talks to Shyam Krishnamurthy from The Interview Portal about collaborating with Anodyne Chemistries, a sustainable chemical startup based in Vancouver, where he worked on the branding, visual identity, and color psychology for their product line.

For students, never stop learning, new skills, new tools, new ideas. And remember, confidence is not something you’re born with; it’s something you build.

Pritam, tell us what were your growing up years like?

I was born in Uttar Pradesh, and I grew up between UP, Bihar, and Kolkata. My father was an electrical engineer with Indian Railways, and my mother was a schoolteacher. Most of my childhood was spent in Bihar because of my father’s job postings, but for better education, I was sent to Kolkata after grade six. I did my high school from the ICSE board in Kolkata, and later, my higher secondary from the CBSE board in Bihar.

I come from a middle-class family where education and creativity were both valued. My grandfather was a musician who could play three instruments, and my uncle was a painter and graphic artist who worked for the Indian Railways back in the 1980s, when designs were drawn by hand! So, art and creativity were in my blood from the beginning.

Later, I went to Delhi University to study B.Com, and then pursued my passion for design by doing a Bachelor in Design from NIFT Chennai.

What did you do for graduation/post graduation?

I did two undergraduate degrees, first, BCom from Delhi University, and second, Bachelor in Textile Design from NIFT Chennai. I also did a Masters from Emily Carr University of Art + Design (Vancouver, Canada) .

While BCom gave me a strong foundation in understanding business and commerce, NIFT helped me discover my creative side and turn my passion for design into a career.

I chose Emily Carr University of Art + Design (Vancouver, Canada) for my Master’s because I wanted to experience a new perspective of education — one that could help me grow not just technically, but also in terms of how I think and approach design.

After working for about 15 years in the industry, I had already gained a lot of practical knowledge, but I felt the need to pause, reflect, and learn something new. I had worked closely with European and American teams, and I always noticed how confident and concept-driven their approach was. I realized that while we, in Asia, are extremely skilled and hardworking, there are certain ways of thinking and presenting ideas that I wanted to explore more deeply.

So, I started applying to universities in the US and Canada. I got into several, but I chose Emily Carr because it is Canada’s top-ranked art and design university, known for its creative freedom and strong emphasis on research and sustainability. Another reason was personal — I wanted to bring my family with me. I didn’t want to spend two years away from my wife and children, and Canada’s multicultural, family-friendly, and inclusive environment made that possible.

My program was Master of Design (Interdisciplinary), which allowed me to choose my own research direction. I specialized in CMF (Color, Material, and Finish) Design and Sustainability — focusing on how material choices and surface finishes can support sustainable design practices. It was a research-based program, meaning I could explore my topic in depth through design projects, papers, and real-world collaborations.

I received a small scholarship from the university, but most of my education was self-funded. It was expensive, but worth every bit for the exposure and the learning experience.

NIFT gave me my foundation — it built my technical skills, aesthetic sense, and confidence as a young designer. Emily Carr, on the other hand, helped me reflect, question, and evolve — it made me think about why we design, not just how. If NIFT taught me to design, Emily Carr taught me to think like a designer on a global, philosophical level.

What were some of the key influences that led you to such an offbeat, unconventional, and unique career in Design?

During my BCom years at Delhi University, I discovered my love for design almost by accident. A friend of mine had to make a poster for a college competition, and I designed it for him. He ended up winning first prize, and that small moment changed everything for me.

I’ve always been artistic, creativity runs in my family. My grandfather was a musician who played three instruments, and my uncle was a painter and graphic artist back in the 1980s. So I think design was already in my blood; I just needed a moment to realize it.

After that competition, one of my friends told me that I was wasting my talent doing BCom and should apply to NIFT. I initially thought NIFT was only for rich kids, but he broke that misconception and even introduced me to some students who were preparing for the exam. It was a big decision because I had already spent three years on my BCom degree, but I told myself, “If I don’t enjoy what I do, I’ll waste my whole life.” My parents supported me, and I cleared the NIFT entrance exam in my very first attempt. That was my first major turning point.

Another big turning point came a few years later, when I was working with W in Delhi. One day, I got a call from HHEC (Handloom and Handicraft Export Promotion Council), the same organization where I had done my internship during NIFT. They invited me to design their exhibition booth for a large event at the Greater Noida Expo Mart. They wanted something modern, trendy, and conceptual, something that could show that HHEC wasn’t just about promoting handlooms and handicrafts, but also about studying design trends and innovation.

I designed the entire booth, and it turned out really well. Coincidentally, a General Manager from a Chinese home textile company happened to visit that exhibition. She saw the booth, liked it, and asked who had designed it. When she found out it was me, she got my contact number and called me that very evening. She asked to meet me the next day at the airport before flying back to China. We met, exchanged cards, and that’s how I started doing freelance projects for her company. Eventually, they offered me a full-time job in Shanghai, which became my first international opportunity and changed my career completely.

So, if I look back, I would say my journey was shaped by a mix of creativity, curiosity, and unexpected opportunities. Sometimes, one small project or one chance meeting can open doors you never imagined.

How did you plan the steps to get into the career you wanted? Or how did you make a transition to a new career? Tell us about your career path

My journey into design began when I joined NIFT Chennai. During my time there, I did an internship with HHEC (Handloom and Handicraft Export Promotion Council), which later became the topic of my graduation project. That internship gave me my first exposure to the professional design world.

I did my internship with HHEC (Handloom and Handicraft Export Promotion Council) — a government organization under the Ministry of Textiles. My college helped me get this internship, and I was lucky that at that time, HHEC was under the leadership of Ms. Beela Rajesh, an IAS officer who was modernizing the organization.

My project was focused on home furnishings, especially bedding collections. I designed an entire range — from concept to finished product. I personally visited Karur and nearby towns in Tamil Nadu to work with artisans and stitching units. We worked together on patterns, colors, and styles to bring my designs to life.

It was a great mix of design and practical industry exposure — understanding not just aesthetics, but how real products are made. That project later inspired many of my early professional choices and even helped me get my first job in Karur.

After graduating, I started my first job as a Textile Designer in Atlas Exports, a leading home textile company in Karur, Tamil Nadu. From there, I moved to SAVA International in Delhi, then worked briefly with W, a fashion brand.

At Atlas Exports (Karur), my first job, I designed home furnishing products — mainly bedding, cushions, table linens, curtains, and soft toys. It was my first industry experience, and I learned how large-scale exports work — from design creation to factory production and client approvals.

At SAVA International (Delhi), I continued in home textiles but in a more design-driven environment. Each company has its own design style, and I learned a lot from my design manager there, Ms. Shweta Saxena, who taught me how to design efficiently under tight deadlines.

At W for Women, I worked in their print design division, which was my first experience in fashion. I studied global fashion trends — from New York, Paris, and London Fashion Weeks — and adapted them to suit Indian ethnic wear. It was fascinating to see how international ideas could be transformed into something culturally relevant for Indian consumers. Though I worked there for only a few months before moving to China, it gave me a fresh creative perspective.

A major turning point came when I accepted an offer from Sunwin Industries in China to work as a Design Manager. That decision completely changed my professional perspective. After that, I joined Tarkett, a French flooring and carpet company, and later Lear Corporation a Fortune 500 USA based company, where I worked as Senior Design Manager for car interiors in their Shanghai headquarters.

My journey gradually took me from Textile Design into Industrial and CMF Design.

At Sunwin Industries (China), I worked as a Design Manager, leading a team and managing international clients. It was my first leadership role, and I learned how to think strategically about design — not just create, but plan for the brand’s growth.

At Tarkett (France), I worked as Asia Design Manager for commercial flooring and carpets. Here, my work was at the intersection of textile, surface design, and industrial manufacturing. It was my first exposure to large-scale industrial processes and technical materials.

At ABS, I continued in a similar direction, working on material innovation and surface development.

At Lear Corporation (USA-based Fortune 500 company), I was Senior Design Manager for Car Interiors, based in Shanghai. It was my first automotive design role, where I worked on materials for car seats, doors, and interior surfaces. I collaborated with brands like BMW, Audi, Mercedes, Volvo, and several Chinese automakers.

By then, my design approach had evolved — earlier I was driven mainly by aesthetics, but at Lear, I started balancing function, technology, and beauty. I introduced new materials and lighting technologies like fiber-optic fabrics, making interiors not just stylish but also innovative and functional.

So yes, over time, I transitioned from being a pure textile designer to a CMF and industrial designer, working across home, flooring, and automotive sectors.

I moved to Canada for my Masters at Emily Carr.

I undertook an internship that was part of my Master’s program at Emily Carr, and it was funded by Mitacs, a Government of Canada research program that supports startups and universities.

Our team of six designers collaborated with Anodyne Chemistries, a sustainable chemical startup based in Vancouver. The company develops environmentally friendly chemical solutions for industrial use.

We worked on branding, visual identity, and color psychology for their product line. My personal role focused on color theory, logo design, and visual branding, ensuring their identity reflected their commitment to sustainability. I also contributed ideas for packaging and presentation. It was a unique experience to work with scientists and merge design thinking with chemistry and innovation.

Now, if I talk about my approach or thought process, I would say it has always been driven by curiosity. As a designer, it’s not just about creativity or sketching, it’s also about understanding how things actually work. I was always curious about the technical side of design, how machines function, how fabrics are printed or embroidered, how materials behave under different conditions. That curiosity helped me grow faster because I was never limited to just “what” to design; I wanted to know “how” it could be made better.

My second big principle was to keep learning through movement. I know some people believe that changing too many jobs early in your career isn’t a good thing, but for me, it worked. Every company, every design team has its own process, and by moving between them, I learned faster and saw design from many different perspectives. So, for young people, I’d say, in the early years, explore as much as you can if circumstances allow.

Also, don’t be afraid to change your location. Moving from India to China was not an easy decision. My mother was worried because we didn’t know much about the country, but I took the chance. It was one of the best decisions of my life. Living and working in China opened my eyes to an entirely different culture, work ethic, and design approach.

When it comes to contacts, my belief is simple, be kind, be wise, and be respectful. Skills are important, but how you treat people matters even more. I always gave respect to everyone I worked with, no matter their position, and in return, I earned their respect too. Even today, I’m still in touch with people from my first job because I built genuine relationships based on kindness and professionalism.

Lastly, real growth happens in real work, not just internships. Internships are great for exposure, but it’s when you take up a job, where you’re accountable and have to deliver results, that you truly understand how the industry works.

In short, my journey was guided by curiosity, courage, movement, and kindness. I never stopped learning, and I never stopped appreciating people who helped me along the way.

How did you get your first break?

My first real break came through my NIFT internship with HHEC. That project helped me build confidence, and right after graduating, I was offered a full-time job at Atlas Exports in Karur. That’s where I learned how the real textile export industry works, right from concept and design to product manufacturing and shipment.

What were the challenges? How did you address them?

Challenge 1: I was a very shy and introverted person. Even though I had good ideas, I wasn’t confident to speak up.

Solution: During my third year at NIFT, my then-girlfriend and classmate (now my wife, Sarika) told me that confidence is as important as skill. I started to “fake” confidence, telling myself I could do it, and eventually, I became genuinely confident.

Challenge 2: Financial and emotional risk of switching careers after BCom.

Solution: I decided that short-term loss was better than a lifetime of doing something I didn’t love. My parents’ support made that decision possible.

Challenge 3: Adapting to new countries and industries, from India to China and now Canada, from textiles to automotive.

Solution: I learned to stay curious and flexible, and kept improving my technical and creative skills.

Where do you work now? What problems do you solve?

I recently completed my Master’s in Design here in Canada, and I’m currently in a transition phase, interviewing for different design roles. I’m confident that I’ll be starting a new position very soon.

My upcoming work will still revolve around CMF design (Color, Material, and Finish), but this time, it will focus more on home interiors rather than car interiors. The city I live in, Vancouver, doesn’t have much of an automotive industry, so I’m exploring opportunities in interior design and product innovation within the home and lifestyle sectors.

I co-founded Voro Works along with my brother, who is also a designer with years of experience working for leading companies like Mankind Pharma and Aristocrat.

We decided to start Voro Works as a multidisciplinary design studio that brings together our expertise from different industries. It’s not just a CMF consultancy — it’s a design solutions company that offers product design, CMF strategy, branding, and innovation consulting.

Currently, we are registered in India and Canada, and we’re in the process of registering in New Zealand and China. We’ve already worked on a few projects for large clients, and our first set of design services will soon be launched in the market.

While I’ve completed my Master’s, Voro Works is something I’m continuing to grow alongside my transition into the Canadian design industry. It’s an exciting step — combining my 15+ years of professional experience with my brother’s expertise to create something of our own that focuses on sustainable, meaningful, and well-crafted design solutions.

How does your work benefit the society?

As a designer, I believe our biggest responsibility is to create things that make life better , not just prettier. My focus has always been on sustainable design, designing in a way that uses materials wisely, reduces waste, and avoids unnecessary consumerism. I strongly feel that every product we create should serve a real purpose and have a minimal impact on the environment.

For me, sustainability is not just a design principle; it’s a way of thinking and living. Whether it’s through choosing eco-friendly materials, simplifying product designs, or promoting minimalism, I always try to make sure that my work contributes positively to both people and the planet.

I also believe that design isn’t something that should be done in isolation. I love sharing knowledge and learning from others, because when creative minds come together, the impact is far greater than what any of us can achieve alone. I try to motivate others,  not just through my designs, but through my approach to life and work,  to think more consciously, to collaborate, and to find meaning in what they create.

So in short, I see my work as a small part of a larger mission,  to encourage people to design and live more sustainably, and to remind everyone that our joint efforts can shape a better, more balanced world.

Tell us an example of a specific memorable work you did that is very close to you!

One of my favorite projects was designing the “Pine” interior for Volvo’s EX30 car while I was working at Lear Corporation in Shanghai.

Volvo approached us to develop a sustainable textile made of polyester and wool, something our company had never done before. Many thought it wasn’t possible, but I believed it could be done.

I worked on it for almost two years with a small, dedicated team, and we succeeded! Today, that fabric is used in cars sold around the world. That project taught me that believing in your ideas can really make a difference.

Your advice to students based on your experience?

Don’t be afraid to take risks if it means following your passion. You might fail a few times, but that’s part of the journey.

Also, never stop learning, new skills, new tools, new ideas. And remember, confidence is not something you’re born with; it’s something you build.

Future Plans?

Honestly, I see myself as a lifelong learner. Along with design, I’ve developed a new passion, music production. Over the last few years, I’ve been producing music and even released three songs with my 11-year-old son, who’s a rapper!

So, my plan is simple, keep creating what you are good at, keep learning new skills, and keep enjoying every step of the journey. Everything is not about money or tangible rewards. Sometimes you got to do things which gives you happiness. Maybe you make nothing out of it, but just pleasure. It’ll keep the motivation high and lead you through the tough times.