In the vast realm of creativity, where design and innovation intertwine, the journey of Aditi Sharma stands as an ode to the boundless possibilities of artistic expression. Aditi, a multi-faceted designer with a deep-rooted passion for both interior and jewellery design, has carved a niche for herself by blending unconventional materials and innovative concepts. Her work transcends traditional boundaries, bringing forth a unique perspective that is both refreshing and inspiring. Raised in the serene environs of Landour, a quaint mountain town, Aditi’s upbringing played a pivotal role in shaping her design sensibilities. The tactile experiences of her childhood spent amidst nature and her father’s carpentry workshop fostered an early appreciation for the character of materials and the joy of creating with one’s hands.

This early exposure to the raw beauty of materials is evident in Aditi’s distinct approach to design. Whether it is her bold and minimalistic jewellery brand, Greytone, or her meticulously crafted interior projects, Aditi’s work reflects a deep connection to the materials she uses. In this intricate dance of creativity and craftsmanship, Aditi’s story is a beautiful blend of personal experiences, cultural influences, and an unwavering commitment to following her heart. As she navigates the complexities of balancing two demanding creative fields, her journey offers valuable insights into the world of design, the importance of staying true to oneself, and the joy of creating from a place of passion and authenticity.

 

 

Your background in interior design is evident in your jewellery designs, particularly in your use of architectural materials like concrete. Could you share more about how your experience in interiors has influenced your approach to jewellery under your brand?

Aditi Sharma (AS): My experience in interior design has significantly influenced my approach to jewellery design. I spent seven years in interior design before transitioning to jewellery, which has deeply impacted my work, especially in terms of material selection and combination, as well as attention to proportions and scale. In interior design, the focus is on blending different materials harmoniously. Traditionally, jewellery has been limited to metals like gold and silver, but I wanted to experiment with a wider variety of materials.

Even though there were already designers abroad experimenting with different materials, it wasn’t as prevalent in India. I aimed to adopt a bolder and more sculptural approach to jewellery design, moving away from creating just tiny pieces to crafting pieces that are more like art. For example, some of my necklaces can also function as wall installations, blending the boundaries between jewellery and art installations. All of it relates to me and I think it just comes to me; subconsciously.

 

That’s very interesting. When I first saw your pieces, I thought exactly what you described – they seem like smaller components coming together to create a larger, art-like piece.

So, my next question is, your pieces are often described as bold statement pieces that redefine perceptions of jewellery. How do you balance this boldness with wearability and comfort in your designs, especially considering you’re using non-traditional materials?

Balancing boldness with wearability and comfort has been a journey of trial and error. The first priority was to make the pieces lightweight because while it’s important for them to look beautiful, functionality is equally crucial. Using materials like concrete and glass, which have their own inherent weight, posed a challenge. Through numerous experiments and material combinations, I was able to find ways to incorporate these unconventional materials into my designs while ensuring they remained wearable and comfortable.

 

Many designers I know often delve into becoming educators or writers. How did the idea of creating jewellery come to you?

Frankly speaking, I have no idea. It just happened. I was working somewhere, and we were already making lifestyle products in concrete, like platters and vases. After I quit my job, I spent a year wondering what to do next. During that time, I was dabbling in various things, just creating. One day, I made a piece, added a string, wore it, and thought, “This could work.” So, I started adding more elements to it.

It took me about a year and a half to bring it to the public because I was nervous, not coming from a fashion background. I had to understand where to place my jewellery, who would wear it, and what kind of clothes would complement it. After making that first piece, I did a lot of homework and developed other pieces. It was exciting and different, and I thoroughly enjoyed the process.

From what I’ve seen, the response has been overwhelming, so hats off to you for that.

Thank you. It was a happy accident. There wasn’t a specific concept or detailed plan; it just happened.

I think those are the best kinds of accidents.

Absolutely. It came out of the blue, and it turned out to be one of the best things that happened to me. I kept following and developing it without worrying about the outcome or success. It was a fascinating journey.

 

 

One of your collections is inspired by the Bauhaus movement. This expands your material palette beyond concrete to include glass, wood, and aluminium. What drew you to this aesthetic, and how did it influence the design process for this specific collection?

I do a lot of interior design work and have always been inspired by the Bauhaus movement, especially how modernism emerged in design post-World War II. I was particularly inspired by the works of Hungarian artist László Moholy-Nagy. His innovative use of materials and forms really spoke to me, and I drew inspiration from his work for that collection.

 

In every collection of yours, the juxtaposition of materials creates a striking visual contrast. How do you select and combine materials to achieve the desired aesthetic in your pieces?

After the Bauhaus collection, I did a collection combining concrete with zari. To find materials, I often explore places like Chandni Chowk and Turkman Gate, where you see a lot of traditional Indian elements like gota and zari. I thought, why not combine these strong materials from two distinct backgrounds: fashion and interiors?

Concrete, being neutral and grey, pairs beautifully with many elements, including the vibrant and intricate zari. It worked quite well and created a unique aesthetic. The process is always one of exploration, trial, and error to see what combinations work best. While resources like Pinterest provide images and inspiration, there’s nothing like getting hands-on and experimenting yourself. It’s through this tactile process that you truly understand the textures and how materials interact, helping you achieve the desired look and feel.

 

 

Perfect. So bold, minimal, and authentic are what define your brand. My question, based on that, is twofold. First, can you walk me through the creative process from concept to the finished product? And second, how do you refine your ideas to ensure they align with your brand identity of being bold, minimal, and authentic?

Right. Everything starts with sketching and brainstorming ideas. Sketching is the initial step, and then I focus on materials, which is a core aspect of both my interior design and jewellery work. Concrete is my main material, so I list down new materials I want to experiment with. After procuring these materials, I play around with shapes and sizes, continuing to sketch and refine ideas.

Next, I create prototypes and eventually develop a collection. Keeping the designs minimalist is essential because the boldness of the materials, like concrete, requires simplicity. The weight and nature of these materials make intricate designs impractical, so form and function must work hand in hand.

How do you ensure that your designs align with the bold, minimal, and authentic identity of your brand?

The boldness comes naturally from the strong materials I use, like concrete and glass, which stand out visually. People are often surprised by the idea of wearing cement jewellery, but its unique character makes it inherently bold and authentic.

The authenticity also stems from the originality of my work. Few are creating jewellery from these architectural materials, so it stands out as a distinct, genuine offering. As for minimalism, the forms and shapes I use are simple and geometric. The materials themselves have a strong presence, so I avoid adding too many details or frills. This approach ensures the pieces remain visually striking without being overpowering. For example, a piece with a simple circle and a small metal element showcase the material’s beauty without unnecessary complexity, letting the material speak for itself.

 

 

And I think that’s also more or less the philosophy behind your interior projects, right? Since you have two parallel businesses in the creative field, how do you balance both? Do you plan your days around each, or is it more fluid?

That’s a very good question. Lately, I’ve been struggling a lot with balancing both. When I started my brand, Greytone, I didn’t have many interior projects. Now, with multiple projects, and given that interiors is a very demanding profession, it’s challenging. As a small studio, we play many roles, which can lead to creative blocks. There are times when I struggle to create. But if you love what you do, you find a way to make it work.

 

Given your experience with the jewellery brand and your tendency to collaborate with local artisans or incorporate architectural design elements, how do these collaborations inform and enrich your design process?

Collaborations enrich us in a significant way. When multiple creative forces come together, you learn from each other, which can change your perspective and be very inspiring. Working alone can be lonely, and self-motivation can be tough. There are many days when you doubt yourself and what you’re doing. But then, there are moments of clarity when you feel great about your work. Collaborating with others keeps you inspired and motivated, and you learn a lot from sharing ideas and experiences.

 

 

Absolutely amazing. So in India, there’s been a recent trend towards experimental and unconventional materials in jewellery, which is exactly where Greytone fits in. How do you anticipate the brand evolving to stay relevant in this dynamic landscape?

I don’t think too much about staying relevant. Greytone is a passion project for me. I see myself more as an artist than a commercial designer. Of course, commercial viability is important, but I believe when you create from the heart and focus on art, your work remains relevant to those who understand and appreciate it. If my goal was purely to be relevant, I wouldn’t have chosen this path. I would have stuck with metal or gold. But I do this for fun and for myself. Interior design often involves pleasing clients, but art is something personal. That’s what Greytone is for me—an extension of who I am.

 

 

What advice would you give to others who want to dive into the creative field?

Follow your heart and don’t be scared to create. The pressure of being relevant can consume you and take you in a different direction. Just keep creating and be happy in that process. Don’t worry about being liked or seeking validation. When you focus too much on external approval, you lose yourself. This is a challenge I face every day in interior design, where I have to cater to clients’ needs. But with my art and jewellery, I can focus on what truly makes me happy.

 

I want to know, how does the mood-boarding process work for you? In terms of getting inspiration, putting it all together, and then coming to the final product.

So, of course, I go back to Google, Pinterest, and other sources. I start by putting pictures together—basically what everyone does. I compile images that inspire me and then develop the ideas. It’s not about copying but getting inspired. For example, with my Bauhaus collection, if you look at the artist’s work and my pieces, you can see that his paintings are translated into my jewellery.

It’s essentially Aditi’s take on what inspires her.

Correct. Yes.

 

 

Got it. Your upbringing in a quaint mountain town seems to have influenced your design sensibilities, particularly in the resin renovation project you did in the Uttarakhand hills. How do your personal experiences and cultural background shape your approach to design, specifically for Greytone?

I’m a Pahari, born and brought up in Landour. Our upbringing was deeply connected to nature. As children, we would play in the jungles and nearby areas rather than with toys or dolls. My father was into construction, and we had a small carpentry workshop. Since childhood, I’ve been exposed to various materials and the tactile nature of things. This exposure helped me understand the character of materials, how to mould them, and use them for my necklaces—considering weight, structure, polish, and behaviour in different conditions. It’s about understanding materials on a fundamental level and experimenting with them.

So that ingrained the artist in you since childhood.

Absolutely, and I believe if you have a strong foundation in design, you can do anything. Nowadays, fashion designers are doing interiors, and interior designers are moving into fashion. It’s about having a solid foundation and knowing how to play your cards right.

 

 

Your jewellery predominantly features neckpieces. Do you aim to expand into other types of jewellery, like earrings or bracelets?

I enjoy creating necklaces. For earrings and bracelets, I face material limitations because they tend to become heavy. Necklaces are simpler; you wear one piece, and you’re done. For bracelets and other pieces, the material needs to be treated like clay, which can lead to breakages. So, I don’t think I’ll venture beyond necklaces.

So, you’re focusing on keeping it fashionable yet sustainable, ensuring the pieces last longer and don’t break easily.

Exactly.

 

 

As both an interior designer and jewellery designer, how do you find inspiration across these different creative domains? Are there common themes or motives that resonate with you in both fields, beyond the materials?

My inspiration comes from travelling. I love to travel, see new things, and explore different places. I think all creative people get their inspiration from experiencing the world firsthand. It can’t be from Pinterest or the Internet or just flipping through magazines. It’s about going out there, being present, and feeling the environment around you.

And are there common themes or motives that resonate with you in both fields?

Circles. I find circles to be a recurring motif in both my interior and jewellery designs.

 

If not an interior or jewellery designer, what would you have chosen for your career path?

I think I would have stayed back in the hills, running an Airbnb or something like that. I love my Pahari roots and I hate being in the city. As you grow older, you realise you don’t want to be part of the madness. I feel blessed that I have a home in the hills where my parents are, so I always go back there. Your list of shoulds and coulds suddenly reduces, and you find peace.

 

 

Looking ahead, what are your aspirations for the future of Greytone, and how do you envision the brand growing and evolving over the coming years?

I envision Greytone as a passion project that will always remain so, without any pressure to meet specific goals. I want to create jewellery that is unique and out-of-the-box, using materials in innovative ways and presenting them to the world. My high comes from people appreciating and enjoying my creations. If your product is good and comes from the heart, it resonates with people.

So it’s all about creating from the heart?

Exactly. On the other side, with my interiors, I have goals and aspirations for different types of spaces I want to design. But with Greytone, it’s more about creating something I love and putting it out there without the pressure of commercial viability.

 

 

Aditi Sharma’s journey through the realms of interior and jewellery design is a compelling narrative of passion, creativity, and authenticity. Her work, characterised by its bold minimalism and innovative use of materials, stands as a testament to her unique design philosophy and her unwavering commitment to creating from the heart.

Her journey serves as an inspiring example of how following one’s heart and embracing the creative process can lead to truly extraordinary outcomes. In a world where the pressure to stay relevant and commercially successful can often stifle creativity, Aditi’s story is a refreshing reminder of the power of authenticity and the boundless possibilities that lie in creating from the heart.