Many creatives tend to develop a niche for their practice, something that helps them gain recognition for a particular style or form. As a visual artist, graphic designer, drag artist, aerialist, and now a space designer, Ishaan Bharat, aka Osheen, cannot be confined to a box or the sophisticated letters of a ‘niche.’ He is always experimenting with new forms and practices.
When I met him at his studio and home, which reflects his many personalities, he shares his journey into space design and talks about designing the new Cord store in Delhi.
Transition to Space Design
In 2016, I began exploring aerial arts, and around the same time, I realized that I was ready for a significant shift in my professional design practice. Before that, my focus had been on fine art—illustration, murals, and freelance work centered around identity, branding, and typography. I was also leading design efforts at Nappa Dori. At that time, I started feeling a need to move beyond graphic design and transition into space design. This shift was very intentional because, although I had worked on a mix of illustration, fine art, art direction, product design, and branding, I began to feel unsatisfied with the direction I was heading. The essence of my work had always been aesthetic-driven, focused on beauty, but over time, it felt more like I was just packaging things and making them look beautiful. It took me a while to realize that there was something deeper I could explore—creating alternate worlds and fictionalizing elements. I had to step back, analyze my work, and figure out the underlying theme or current that ran through it all. The concept of mutation emerged as a key theme in my design process.
Establishing Sector Form
I call it Sector Form because when discussing my design philosophy, I often look at things through an aesthetic lens. My foundation in graphic design shaped the way I viewed design. While I had studied animation, I gravitated toward graphic design, where everything revolves around form. Whether it’s typography, illustration, or product design, the core element in all design is form. I wanted to explore the possibilities of playing with form in new and innovative ways.
I had already delved into stage design and installations at festivals like Magnetic Fields, which played a crucial role in inspiring my transition to space design. However, I wasn’t interested in pursuing commercial spaces. Instead, I wanted to occupy the space between art, installation, and architecture. During this time, I began collaborating with architects who were eager to think outside the box. They had a strong technical team, but they needed someone who could inject creativity and storytelling into the spaces they were designing. It was a perfect fit for me.
One key aspect of my design philosophy is the concept of storytelling. I approach spaces as if they were characters in a larger narrative. Everything within the space should have a purpose and contribute to the overarching story. If something doesn’t fit the narrative or doesn’t serve a purpose, it has no place. This is what I look for in the projects I take on at Sector Form. Every space needs to have its own story to tell.
Bringing Time Travel to Cord
One of the most unique projects I’ve worked on was designing a store for the fashion label, Cord. What excited me most about this project was the opportunity to merge performance, art, and design in a way that hadn’t been done before. The concept for the store was inspired by the idea of time travel, with the space drawing from vintage train aesthetics. Instead of traditional mannequins, I wanted to create a sense of storytelling and childhood nostalgia. I designed puppets that would serve as the focal point of the store. These puppets were created in collaboration with an artisan sculptor from Baroda, and we finished them in Delhi before placing them in the store.
The store’s revolving door, reminiscent of the feeling of spinning, added to the playful atmosphere, evoking a sense of wonder and travel. I sought to create a new kind of nostalgia, not the typical vintage or retro style that’s so overdone. Instead, I focused on abstract nostalgia—nostalgia reimagined through a fantastical, mystical lens. We created a vintage puppet box. For example, I avoided cliche mannequins and opted for small, handpainted or paper-mâché characters inspired by Oriya masks. We also used the craft from their clothing in the furniture, printing fabric for the sofas instead of sourcing pre-made fabric. I also incorporated a circus theme, drawing from my involvement in drag and aerial work, adding a performance element to the space. This mix of performance, play, and decor is something I’m exploring further in future projects.
Words Paridhi Bargotri
Date 21.04.2025