Designer Michael Foley's ethos of simplicity and functionality is contrary to the opulence that underscores so much of Indian design. Probably why his entrepreneurial venture in the corporate world has won him the respect of peers, clients and competitors
Michael Foley is unfazed by the constant blare of vehicles and the rattling and chuffing of passing trains. The incessant noise of a city on the go seeps through the walls of his office, but it barely registers in his mind. The designer has eschewed Bangalore’s posh central business districts of MG Road and Lavelle Road to set up his studio and office in the nondescript neighbourhood of Richards Town. His workplace overlooks Bangalore East railway station.
The clutter-free and simple interiors are a reflection of the man: Reserved and meditative, bordering on shy. The 43-year-old could easily pass off as a corporate manager who spends his time huddled in front of Excel spreadsheets and PowerPoint presentations. There is nothing about Foley that screams ‘I am one of India’s most successful industrial designers’. Not his clean-shaven appearance. Not his buttoned-down pink-tinged shirt, which he’s teamed with a pair of formal cotton trousers.
After spending more than a decade with Titan Company Ltd (formerly Titan Industries), where he is credited with designing the hugely popular Titan ‘Edge’ and ‘Fastrack’ watches, he set up his own design studio, Foley Designs, in 2006. And over the last eight years, the Bangalore-based designer has stamped his aesthetic sensibilities on a body of work which, more likely than not, has a place in many Indian homes, sometimes even without their owners’ knowledge. Foley has designed water purifiers for Hindustan Unilever and the understated but elegant packages for ITC’s Fiama Di Wills range of personal care products. He has built an impressive client list, which includes Microsoft, Godrej, HP, Wipro and Mindtree. He also conceptualised and created the baton for the 2010 Delhi Commonwealth Games. “For the baton, I chose a symbolic route and used soil collected from every state to represent a fragment of India,” says Foley.
The streak of practicality which colours Foley’s design took root during his years at school. “I was interested in understanding the human body, in particular the muscular form. I also had a keen interest in nature, and refraction and reflection. I used my sketching ability to record these aspects,” he says.
His initial sketches and concepts show that need and aesthetics are not mutually exclusive. “I believe in common underlying design principles irrespective of the type of product or experience. It’s a holistic experiential outcome of any design intervention, be it a logo, product or a space. The drive to bring unique design experiences consistently motivates me,” he says.
(This story appears in the Sept-Oct 2014 issue of ForbesLife India. To visit our Archives, click here.)