Cover Artist and activist Sravya Attaluri is the founder of Hello Colour, a multidisciplinary design studio that uses brand strategy, storytelling and design to drive social impact (Photo: Affa Chan/Tatler)
Artist and activist Sravya Attaluri is the founder of Hello Colour, a multidisciplinary design studio that uses brand strategy, storytelling and design to drive social impact (Photo: Affa Chan/Tatler)
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Spurred by her own experience of facing imposter syndrome due to the lack of representation, Sravya Attaluri, the founder of the design studio Hello Colour, launches a new podcast to foster a community for creatives who look like her
As an India-born creative raised in Korea and Hong Kong, Sravya Attaluri has worked with renowned brands such as Facebook and Columbia Sportswear. Yet, she often finds herself grappling with imposter syndrome, a feeling she attributes to the lack of representation in the industry.
“I truly believe you cannot be what you cannot see,” says Attaluri, a Gen.T Leader of Tomorrow 2023, who founded the design lab Hello Colour in 2020.
Read more: Sravya Attaluri of Hello Colour on tackling discrimination in Hong Kong’s design industry
Recognising that she was not alone in facing these challenges, Attaluri decided to take charge and build a community supporting her and her fellow artists through her new podcast Desi in Design (desi refers to a person of South Asian birth or descent who lives abroad).
It features conversations with successful South Asian creatives from diverse backgrounds, where they share insights about their work, the challenges and triumphs of their artistic journeys through the lens of their upbringing and valuable advice to emerging talents.
We sit down with Attaluri to delve deeper into her podcast—from its inspiration to how she curates her guest list and the exciting highlights listeners can expect.
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What inspired you to launch this podcast?
Sravya Attaluri (SA): The podcast was the solution to my struggles with confidence because I realised that even though I had done amazing projects and collaborated with wonderful people, I was still wondering if it was luck or just a one-time thing. I wondered if I could keep doing it or even whether I deserved to be in this space. [It’s easy to feel like] an outsider if no one else looks like you in your field.
At some point, I needed to connect with [other people] because I was sure they had gone through imposter syndrome too. So that’s where the podcast came from: [the desire to find] mentors who have navigated this. [That way] I can also learn and feel more confident because I can surround myself with peers who understand my questions and have gone through the same experiences.
How do you curate the lineup of guests for the show?
SA: Initially, I started to make a wish list of artists in different fields whom I have looked up to over the years. They were the only representation that I could see. I also have to connect with the artist personally.
Diversity is also important because “South Asian” is so broad—not just Indian, but Singaporean, Bangladeshi, Pakistani, Sri Lankan and more. I’m a second-generation Hong Kong Indian, and my partner is a third-generation Hong Kong Indian. So, I wanted to show that representation so that people know that those who look like me can come from many different cultures.
In the creative space, there isn’t much representation of different types of art, including tattoos, ceramics and storybook illustrations. I love these fields and want to see the creatives from those fields championed. I also look for artists with success or industry experience because I am trying to create a resource to help younger artists.
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How do you produce each episode?
SA: I spend a lot of time researching the artists before I write the questions, including any books they have written, all the press, videos and any writing they have to support their art. I want to ensure the questions are tailored and come from an artist’s perspective, including the technical aspects of their design and artwork. I’m deep-diving into each artist—they become my world, and I become their super fan.
I will use two to three days just to rewatch each artist talking about themselves and their art, and cut down the episode. Whatever episode I’m editing, I’m thoroughly engrossed.
Do you have any favourite episode so far?
SA: That’s very difficult to choose. The first one with a painter is special to me because it’s the first one. Laxmi Hussain is a mother who started after she had three kids. She has worked with some of the biggest brands and is a contemporary painter who has switched mediums to apply herself to different brands.
The second episode featured Murugiah, a British Sri Lankan male designer, illustrator and sculptor, and in the third episode, I spoke to tattoo artist Nikki Kotecha.
Every episode so far has been so unique.
I’m excited about artist Kumari Nahappan’s episode that we will produce in Singapore because the production value will be higher, and it’s closer to home because I have family there.
Read more: Anamika Khanna’s design work pays chic tribute to Indian craftsmanship
What is the ultimate goal for the podcast?
SA: To build a community and a platform.
I want these episodes to be evergreen and a great career resource for anyone wishing to join this space. It can also be a resource for parents with creative children to support them.
There is also a lot of stigma around creative fields, suggesting that they’re not a safe or good financial bet—we don’t know [much about these] career paths, and we don’t know if some of these fields could make as much money as engineering or tech, but they could. It’s just about hearing successful people with similar backgrounds say they have done it and suggest some courses [others] could take.
This community needs connections and networking, so I’m in discussion about planning events next year. The goal is to bring the podcast to physical spaces and host panels. I want to introduce the artist who gave me time on the podcast to new opportunities, space and connections with people. I aim to do a launch party by July and organise more events in Asia to bring together the community as I travel.
What is one piece of advice you have for South Asian creatives?
SA: Never give up on your passion. Perseverance is important if you are South Asian in this field because we are not the majority. You need to build that confidence however you can. You need to find support in your communities outwardly, create a support system, and persevere because it will take a lot of trying and convincing people around you. It’s not success in the first year—it’s a marathon. You have to look at the long term and prepare yourself for that.
Now, meet more Gen.T Leader of Tomorrow 2024 from The Arts sector.
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Based in Hong Kong, editor Yoyo Chow covers the people and ideas redefining Asia’s future—from cutting-edge innovation and AI to bold moves in sustainability and diversity. She also drives content for Tatler Gen.T in Hong Kong, a platform and community spotlighting the region’s next generation of startup founders, creatives and changemakers.
Before that, she was a video journalist producing content for international TV and digital platforms, including Reuters and South China Morning Post. If you have a powerful story to share, she’s all ears. Send press materials, event invites and any inquiries to yoyo.chow@tatlerasia.com.
