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The exposure I have had to beautiful materials across the world, from Japan to Italy, enables me to pull design ideas together. This, combined with years of historical research, has created a great fountain of ideas for me.

It may sound ambitious, but I really hope that modern design will spread all around the globe.

Everything we design is a response to the specific climate and culture of a particular place.

In this fast-developing world, particularly in the fast-transforming China market, we really need to take this opportunity and offer a modern interpretation of Scandinavian design which fits people's demands perfectly.

I think there is a new awareness in this 21st century that design is as important to where and how we live as it is for museums, concert halls and civic buildings.

In the design process, there's a need to be culturally comprehensive.

Advances in technology have opened up possibilities in the cultural realm throughout history. I'm intrigued by developments in technology - as an artist it gives me a new palette to explore.

The design process usually starts as a fantasy, with ideas that I dream of and visualize. These ideas become a reality by bringing various ingredients together, from the lifestyle of my bride, her age and sex appeal, to the textures of the finest fabrics and embroideries that we produce in my family factories in India.

Our guiding principle was that design is neither an intellectual nor a material affair, but simply an integral part of the stuff of life, necessary for everyone in a civilized society.

For centuries, cultures throughout the world have used indigenous technologies to navigate life's complexities. From navigator-priests in Micronesia to mystics in India, vast sums of knowledge are available if we but recognize it.