September 24, 2025 • 31 mins
On this episode of Boulevard Beat, Meghan Blum and Krissa Rossbund sit down with Swati Bansal, the visionary founder of Soil to Studio. Swati shares how she bridges centuries-old Indian textile traditions with modern design, honoring artisans and slow design practices. From her journey leaving banking to launching her own business, to collaborating with craftspeople and making hand-blocked textiles accessible for everyday life, this conversation explores creativity, versatility, and the power of human connection in design.
Street Style Takeaways:
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Street Style Takeaways:
- Creativity Can Thrive Anywhere: Inspiration doesn’t require a particular geography—Swati finds it in nature, everyday life, and quiet spaces away from constant external stimuli.
- Business Acumen Matters: A background in finance helped Swati approach her creative business strategically—budgeting collections like portfolios, understanding ROI, and building long-term sustainability.
- Textiles as a Storytelling Medium: Hand-blocked textiles combine playfulness and sophistication, offering versatility for both everyday and celebratory moments.
- Collaboration is Key: Working closely with artisans who are masters of their craft while open to experimentation creates “happy accidents” and elevates designs.
- Technology vs. Craftsmanship: While technology can help with global reach, Swati emphasizes that hand-driven processes bring focus, warmth, and character that machines can’t replicate.
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Episode Website https://www.blvdbeat.com/about
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:08):
Welcome to Boulevard Beat, a podcast where life and style intersect.
I'm designer Megan Bloom along with my co hosts, editor CHRISA.
Rossbund and gallery owner Liz Logit. This podcast focuses on
the daily highlights instead of the hustle, interviews with taste makers,
and personal conversations on how to highlight achievable style. You
constrol one street at a time, boulevard Beat proves the
(00:30):
one you should take.
Speaker 2 (00:33):
Today.
Speaker 1 (00:33):
On boulevard Beat, we're diving into the world of textiles, tradition,
and creativity with Swatty Bansel, founder of soil To Studio.
Swatty's work brings centuries old Indian hand blocking printing traditions
into modern homes, honoring artisans while creating versatile and timeless designs.
From our journey leaving a corporate banking career to building
a thriving creative business, we explore the stories, philosophies, and
(00:56):
human connections behind every textile. We like to begin each
episode of Boulevard Beat the same way, and we'd love
to know about the street that you grew up on.
Speaker 2 (01:05):
Oh hi, Megan, thanks for having me first of all,
to this beautiful series. I just came across it and
I'd love to, you know, I'm so excited to be
part of it. I grew up in a very small
town called Udeppur in India. Even though it's like world
famous for its beauty, it's called city of Lakes and Palaces. Yeah,
(01:25):
I grew up there in a very small town, very
small street, very residential like any other small town. But
what I really remember is like every house there had
like a huge garden in front, and that was the
highlight of my growing up. We would be exposed to
(01:45):
a lot of gardening. So that's a beautiful memory I have.
Speaker 1 (01:50):
That's a lovely memory. And I think you're the first
one that has ever said a city of lake and palaces.
That sounds fascinating and my mind is just creating what
this place looks like. Also look at wonderful.
Speaker 2 (02:01):
Oh definitely. It's actually world famous for destination weddings. Really yeah,
even Hillary Clinton, like people, famous celebrities have been there.
There are seven lakes. There are floating seven star hotels
in the middle of the lake, so you have to
actually take a boat to go there. It is beautiful.
I hope you can make it one day too.
Speaker 1 (02:21):
I'll add it to the list, that's for sure. Well, Swany,
we love to hear a little bit more about your background,
both personally and professionally. You know what brought you to
the United States and what led you into starting your
own textile business.
Speaker 2 (02:35):
Yeah, I mean I had a past life before I
started soil to Studio. I was in banking, like I
started my career with City Bank in India. My mom
and dad both at doctors, so like every Indian parent,
people would assume that I would become a doctor, and
I thought myself I would become a doctor. But funny enough,
(02:59):
my my dad thought I should study design and he
dragged me to a design school, which is funny because
most of the times, and like any other teenager, I
did not listen to my dad back then, as like
who makes a career out of design? You have to
be either a doctor or an engineer or like a
investment banking. So I guess I did give the exam
(03:23):
did not go through. Back then, I didn't prepare for
it and I did like any other other teenager, I
wanted to run to a big city Mumbai and I
studied finance. I became a chartered accountant, and I joined
City Bank. So that's what my growing up looked like.
Then we moved geographies. We've been to London, we've been
(03:46):
to Dubai, Singapore, all with banking with City Bank, and
my husband, who's also in banking, got a job in
New York. So that's how we moved to New York.
I guess while again, SO have a very strong creative side,
you know, so even with corporate banking, I've taken a
couple of sabbaticals because I wanted to do something creative,
(04:09):
you know. I've taken a sabbatical of two years, I learned.
I went to London to study photography. Again went back
to banking because I thought I couldn't make a career
out of photography. Then again took a sabbatical of six months.
Wanted to open a cafe, wanted to do interior designing.
So I've done a lot of back and forth. However,
when I came to New York again, there was that
(04:30):
itch that I wanted to kind of start something of
my own. And this time my husband asked me to
like make a promise that you have to give it
three years before you actually quit and say this is
not for me or I'm not an entrepreneur. So I
think that was like a crucial point where I said, Okay,
(04:51):
I'm going to give my best and final, you know, effort,
and that's how I really started Soil to Studio and
after six years here I am.
Speaker 3 (05:01):
Well, Swati. I have to applaud the moxie that you
have to take the sabbaticals and you know, scratch the
creative itch that you referenced with. That said, though, the
background in numbers and finance is such a contrast to
the creative world that I imagine did help you though,
(05:22):
as you started this business and made that three year
commitment to try to build and scale something special, tell
us maybe about a couple ideas from your past career
that helped your business and textiles.
Speaker 2 (05:35):
I mean, you're sure, right, Chris. You know, when I
was in banking, I thought I did not have a skill,
like there was not a good enough skill which is transferable.
But having gone through the whole side of running a business,
a creative business, I feel like that skill which I
learned over like almost a decade being in banking, about numbers,
(05:58):
about systems, about thinking long term, has really helped me.
I think it's a very crucial experience. I think a
lot of people do not understand numbers while they are
creative businesses and might be working for free. So like
even knowing what ROI means before I started my business,
(06:19):
how to price products, you know, how to account for
cash flows has definitely helped me in running this successful business.
I also feel like sometimes the way I approached each
collection or all the designs, I see it like as
a portfolio. It's like budgeting a portfolio. I know there
are few designs which I like to call it as
(06:40):
safe investments, which I know customers would love and they
would sell, and then there are a few of the
riskier experimental designs which are high risk, high reward. Sometimes
they might do some well, sometimes they do not. So
I think it's kind of like looking the whole collection
as a portfolio has helped me kind of like make
(07:02):
the numbers work in the end, you know, if that
makes sense.
Speaker 3 (07:06):
Absolutely, And we hear from so many people in the
design creative world that they love the skill that they have,
that they didn't necessarily have that business acumen because they
don't always teach that in school either, So that's certainly
a benefit that you had from your past.
Speaker 2 (07:24):
Definitely, and I'm still learning, you know, I'm still learning.
I think also it made me think in terms of
like systems and long term sustainability, how to kind of
put your vision onto paper and execute it, you know.
So I think it's just the structure which we were
made to work in has helped me kind of like
(07:45):
apply the same systems to the business.
Speaker 3 (07:48):
It would be so great if everybody, regardless of what industry,
kids choose to pursue in college, if they had that
numbers background or some classes, because everything's a business, right,
no matter what line of its driven my passion.
Speaker 2 (08:02):
But I think if we have to be sustainable, we
definitely need that skill.
Speaker 3 (08:07):
Absolutely. So Swatty India. I feel like it's that place
that's on everybody's bucket list, but it is a country
that's so vast and so many creative skills through artisans.
What made you choose textiles.
Speaker 2 (08:23):
It's a very interesting question, CHRISA Like I said, like,
even before I started Solta Studio, I've tried out many
things just to figure out what resonates with me deeply.
But then in the end, I when I started textiles,
I realized I worked with textiles all my childhood, every
summer holiday, every long holiday we got. I was embroidering,
(08:49):
I was doing canvas painting. I was just working with
textiles all the time. And I guess I've seen my mother,
my grandmother, my extended family, everybody worked with textiles in
some form or the other. So I guess it just
came a bit naturally to me. And also, I feel
like textiles is so intimate. It's like everywhere in our homes,
(09:11):
you know what we wear. I think it just kind
of resonated with me and my memories of my childhood,
so I was naturally drawn to it.
Speaker 3 (09:20):
And what an exciting time to be in the textile business,
specifically with tabletop linens, because I feel like, so there's
just been this influx. Part of it, I think was
the pandemic, but I think that people really give more
attention now to setting their table and creating escape on it.
Speaker 2 (09:38):
I know, and I'm so glad. I think it's almost
like bringing fashion to the table and people are able
to like freely express their creativity when they're setting the
table and inviting people to their homes. And yeah, I
think in India, while growing up or even now, entertaining
is a big part of our culture, so we've seen
(09:59):
that happen effortlessly in our homes, Like we would always
have these beautiful dinnerware and the linens which would only
come out when guests come in, and we would set
like a beautiful table and everybody would gather around the table,
And I think it's it's beautiful to kind of have
that feeling when guests come in, and you know, it's
(10:22):
like a really great conversation starter as well.
Speaker 3 (10:25):
It's a little surprised because it's an art all presentation
that can be changed up every time. So the Indian
influence obviously on your hand blocked textiles. Do you have
to adapt anything about them for the American market or
has the American market really embraced the patterns, the colors,
the hand blocking.
Speaker 2 (10:44):
Yes, they have, but I feel like it's still different.
So I feel like every market has its own design language.
Like for the American market, I would sometimes simplify palettes
or scale the patterns differently so that they just feel
a little more at home in their slightly more minimal interiors.
(11:06):
Whereas in India, I think people are more adventurous with
bold mixes, you know, I would rather go as slightly
bolder and embrace or celebrate maximalism if I was designing
for the Indian market. I guess just because the cultural
appetite for ornamentation and abundance is so strong in India.
(11:30):
So I feel it's America is very much open to
color and pattern, but India is a little more wild.
Speaker 1 (11:39):
Well, and I can see that. I mean, they're just
surrounded by it every day in their everyday life, so
I can see that making sense that they're open to
the boldness of it.
Speaker 2 (11:46):
And also the layering. I mean, there's just so much
going on. So yeah, India is wild, I would say.
Speaker 1 (11:53):
Well, and I think it's that really wonderful playfulness that
emerges from Indian black printing techniques. I know, as a designer,
I'm a sucker for a good black print.
Speaker 2 (12:02):
I love seeing it.
Speaker 1 (12:02):
I love the artistic nature of them and just the
labor of love that goes into all of them.
Speaker 2 (12:09):
But and what's neat about it too.
Speaker 1 (12:10):
Is it's not so formal as you know, your pristine
Italian linen style textiles. But at the same time, Indian
blackprinting delivers visual cohesion with so many coordinating patterns it's also,
you know, really versatile. How would you say your versatility
influences your designs, knowing that your linens could be used
(12:31):
in really casual breakfast outdoors or more formal place setting,
and just has that versatility.
Speaker 3 (12:38):
You know.
Speaker 2 (12:38):
Block printing I feels like such a beautiful medium because
it's both playful and sophisticated at the same time. Unlike
like very polished machine made fabrics, block prints have tiny
irregularities which I like to call hot meats, and that
creates like a lot of sense of warmth and character
(12:59):
to the When we design coordinating patterns and cohesive collections,
they can look incredibly elegant and pulled together beautifully, you know.
So for me, it's important that textiles don't feel intimidating.
They should feel like something you can live with every day,
(13:20):
but also special enough for life's important moments. It's the
duality that really inspires me. It's like hand block printing,
connecting tradition with modern life, everyday life with celebratory moments.
And that's why I feel like people respond to it
so deeply, is because it gives them permission to kind
(13:41):
of use beauty in their daily lives, whether be it
like a simple breakfast mourning or like a formal, elegant
table filled with flowers and beautiful ceramics. So I think
it's block printing technique in itself is very versatile.
Speaker 1 (13:58):
Well, And I think that's so true in that exactly
why Chris and I wanted to do this podcast was
just sharing that beauty in everyday life and encouraging people
to do that. So I think that's wonderful to hear
and just how you've brought those traditions back. So Swati,
India Brooklyn very beautiful, fascinating places to live, you know,
and they both have very heavy design influence on every
(14:20):
place you walk around, the boulevards, the streets, the buildings.
That's not the case for everyone of where they live.
They don't get to have that beautiful envelope of inspiration.
Speaker 2 (14:32):
Everywhere they turn.
Speaker 1 (14:33):
What advice would you give to the person out there
who wants to be creative but may not have the
variety of inspiration around them like you do every day?
Speaker 2 (14:42):
Yeah, I mean, I've been really lucky to live in
places like India and Brooklyn. I guess where design is everywhere.
But I really believe creativity doesn't depend on geography. Inspiration
can be found in almost everyday life, Like simple things
even like a visit to your local farmer market or
a vintage shop can be inspiring. Even for me, sometimes
(15:05):
I have to leave the city to be in a
quieter space to really find inspiration, to really go deeper,
to go focus and create my own visual language without
being overwhelmed by you know, external constant external noise. I
also think sometimes limited input can be actually very powerful.
(15:28):
When you are not flooded with constant external design references,
you have the space to develop your own voice. You know.
They say sometimes the original work comes from people who
had to make their own world, you know, so some
I mean. Having said that, I think travel is definitely
very inspiring to me. You know, you don't have to
(15:50):
go far, even take a road trip around be in nature.
I feel that definitely is super inspiring.
Speaker 1 (15:57):
Yeah, I agree with you. I at least find a
lot of inspiration nature and just those everyday moments like
you said, that can be inspiring. So good piece of
advice for sure. Well, there must be that feel good
component to what you've built. It's a wonderful company and
you have just beautiful textiles and just knowing that you've
gotten to work with so many wonderful artisans in your homeland,
(16:19):
how do you find crafts people who work aligns with
your vision and just how does the collaboration look with them?
Speaker 2 (16:26):
I mean, definitely I call it as a partnership and
working with artisans is one of the most rewarding things
of my journey. I often connect with crafts people through
local cooperative, family run workshops, generational artisans who are not
just masters of their craft, but are also kind of
like open to experimentation, you know, and have open minds
(16:50):
about design. Because definitely my vision has always been to
bring the craft forward but make textiles for today. So
just the dialogue between the craftsmen and every time I
visit India is something special. So I look for crafts
people who are definitely masters of their craft but also
(17:14):
want to learn, you know, about what the world has
to offer now. So that's definitely a big point and
how we kind of find crafts people we want to
work with. Collaboration is always a dialogue, you know. I
bring palette and patterns to the table and they bring
(17:34):
like centuries of like inherited knowledge about how the plot
makes the fabric how the dies behave, how the motives repeat,
and that dialogue is always magical. And through that dialogue
sometimes we kind of like have happy accidents and we
create a design together, you know. So I think that
(17:55):
is just beautiful. That dialogue between the artisans and between
the design people is very important. And I feel like
every time a new collection comes to life after having much,
you know, dialogue about what we should do, I feel
proud that it's a result of many hands and hot
working together.
Speaker 3 (18:16):
That's so interesting and it really takes the product back
to the human quality of it. It's all about people
at the end of the day, and knowing that somebody
crafted this napkin that you have, or the sheets are
the betting that are keeping you warm at night, it's
really special.
Speaker 2 (18:33):
Definitely chrise. I feel like sometimes it's the human element
which we are missing a lot in our daily lives,
in every part of the life, and more and more
as AI is taking over our lives, I feel like
we need to keep that human element intact, right.
Speaker 3 (18:51):
We need to keep that curiosity about people and learning
all because I feel like, especially in our you know,
crazy world that we live in today, where there are
so many opinions. I'll leave it at that, there are
lots of opinions. I think the best way to learn
about all of the things that matter is just through
talking to people, so and seeing what.
Speaker 2 (19:10):
Yeah, it's the community is the strongest, you know, especially
the craft's community is really strong.
Speaker 3 (19:17):
So I have to ask, as you are designing, how
difficult is it to create a whole bevy of patterns.
There have to be some that are your babies, are
your favorites. You have to play favorites with something, So
how do you how difficult is it when you're designing
something and you're like, oh, this isn't really the color
palette that I would choose, but I know that I
(19:38):
need to develop it for the market.
Speaker 2 (19:39):
I mean, definitely, It's always like a dance between keeping
your creative soul intact while also making it wible for
the market. I don't see it sometimes as a problem
but a challenge. I think it keeps me on my does.
It really pushes me to be more inventive and find
the sweet spot where the tradition, the design and actual
(20:02):
more than living meat, you know. So, yeah, it is
difficult at times because I want to push boundaries, but
I also want to make sure that people will use
that in their daily homes effortlessly. So it's always finding
that balance basically, and that's exciting.
Speaker 3 (20:21):
Yes, it's sure, is so Swati. It's difficult to talk
about anything today without that word technology creeping into the conversation.
It's everywhere and it's rather difficult for us to avoid.
And the thing about technology is it's not just about
the devices that we have our heads stuck in all day.
It's really about the technology that allows artisans to craft
(20:45):
things a little differently, or you know, whatever your hobby is,
there is technology in the tool sometimes. So how do
you incorporate technology into your business that is so rooted
in hand craftsmanship?
Speaker 2 (20:59):
To be hones honest, I should be using technology a
little more than we actually do. It's still purely hand
driven process, right from the hand driven motives to handblock
carving to printing. Of course, we haven't really apart from
the devices we use, and apart from the social media
(21:21):
and the e commerce which is mostly for you know,
taking the textiles global and making it accessible to more people,
we really haven't used technology as much in terms of
like design process. You know, even though I keep telling myself.
I need to learn technology. You know, people are now
(21:43):
learning AI and I don't even use Photoshop or illustrator
to create designs. But I feel like sometimes with online
softwares and all, we tend, I tend to get distructed.
When I'm creating with hand I'm super focused, So I
feel like it plays to my advantage for now. Maybe
(22:04):
as and when business grows, we'll kind of like have
to include technology a little more. But I also like
the hand drawn effect, you know, and just being true
and authentic to the process till now has helped us,
you know, So we'll see. I'm sure we'll have to
like include technology a little more going forward. But yeah,
(22:27):
it's just the process. It's a slow process. You know.
We are not making for the masses. We're not like
making hundreds of designs and not just shelling out designs.
Everything is very thoughtful, Everything is very meaningful, and it
truly gives us joy.
Speaker 3 (22:42):
Well, the product that you create certainly elicits a relationship
like you have a relationship with, you know, a table runner,
because it's something that you bring out when you know
that you're going to be entertaining people or rolling out
one of the quilts over a bed that you've created
for a guest who's showing up. So I think to
your point, when companies just shell out pattern after pattern
(23:05):
after pattern, fifty patterns at a time, every new seasons,
it's a much different experience than something than it's so
personal and so human touched as what you create. But
I love that you talked about the focus that you
have when you're not with technology, because you're right, it's
a distraction, Like you mean to focus on technology, and
(23:26):
next thing you know, you're ordering handwarmers from Amazon or whatever.
Speaker 2 (23:31):
We do I know. And also in terms of like
just creating patterns, the little time I spent initially when
I started the business, I was using technology and I
was just creating pattern after pattern because it was so
easy to do, you know, and without kind of like
really nailing down to that one pattern, which I feel
is for fact, you know, So I feel it's kind
(23:53):
of like a substractive process as well.
Speaker 3 (23:56):
So you started with table linens, if I'm getting this correct,
and then that grew into bedding that you also have
available in your inventory. What's next for Soil to Studio
Because there are so many opportunities and we want to
hear about what you are willing to tell us about
the direction of the company.
Speaker 2 (24:15):
Yeah, I mean, I mean, I don't even know how
we started. We started with table linens, and I did
not know where we're going to head. But here we are.
We have table linens, we have pillows, we have of
course bedding now and looking ahead, I definitely feel like
the business wants to expand itself into a fuller lifestyle brand,
(24:37):
and that could mean layering in our home categories like
lambshades and upholstery, you know, or custom fabric so that
people can create more of a cohesive story living through
throughout their living spaces. But I also feel like beyond
just a product, I'd like to grow in ways that
(24:58):
deep in impact, more collaborations with artisans, more storytelling around
the craft, and perhaps creating experiences, hands on experiences where
people can engage with block printing, fust hand, which means
more workshops, etc. I'm excited for where we are heading.
(25:19):
We definitely want to kind of do more products and
get more experiences and do more custom work.
Speaker 3 (25:27):
I love it, and I think it's important that you
talk about the workshops and the engagement because for so
many people I'm one of them. I am kind of creative,
but I'm not an artist. I'm not a fine artist,
and so I don't make anything.
Speaker 2 (25:44):
Really.
Speaker 3 (25:44):
I make a mess. I can make a mess, really mess.
The colors will be good in the mess at least.
But in all seriousness, I think when you have the
opportunity to put your hands on a technique or try
a art class of some kind, it's just special and
it connects you more to again the product. Even if
(26:07):
I don't make the product in the end and I
end up buying it, it still deepens that connection. And
I think in our world of mass consumption all the time,
having that connection and again relationship with the pieces that
we bring into our home is it's meaningful, it's memorable,
it's special, and it's important. I think it's very necessary.
Speaker 2 (26:27):
It's very necessary, and I feel like definitely everyone needs
to create because only when we create with our own hands,
we understand the value, like you said, of anything, and
we turish it over the years and we just don't
throw it. You know, we reuse it, we repurpose it.
We know how much love and effort has gone through
(26:50):
in making that piece. It becomes generational more heritage, you know,
and like you said, you feel that you don't have
the creative You've not how to find artists. But trust me,
when you've given the tools, everyone's creativity comes out, you know.
And we've seen that at every workshop, every one of them,
(27:11):
with no prior experience, they create masterpieces with the same
blocks we give. So yeah, it's just we have to
find ourselves sometimes through.
Speaker 3 (27:22):
Maybe I'll try that, maybe hand blocking my calling. Who knows?
So tell us India again, such a special destination on
this planet that so many people dream about. I know
I do, and you know have visions of visiting at
some point to experience its rich culture. What does it
meant to you to honor your culture and traditions with
(27:45):
something that is so beautiful?
Speaker 2 (27:47):
I mean definitely. For me, this business is more than design.
It's a way of honoring where I come from. And
block printing is one of India's oldest crafts and working
with me with it allow me to celebrate that history
while also reimagining it for so many homes globally. And
every time I see artisan's carving blocks, mixing dies and
(28:10):
just layering prints, I'm reminded of this. This isn't just
a product, it's a living tradition. Bringing that to the
world feels like both the responsibility and a joy. And
it's my way of saying, this culture, this heritage, and
this artistry matters, and it deserves to be cherished, shared
(28:30):
and carried forward. So I definitely feel very happy.
Speaker 1 (28:35):
I love that you're sharing that and just like you said,
bringing it forward. So it's not a skill that gets
forgotten either. Yes, definitely, Well, Swati, we like to close
out each episode of Boulevard Beat, what does your perfect
boulevard look like?
Speaker 2 (28:48):
Well, I am a romantic at hot and so my
boulevard would be something straight out of a Bollywood movie.
And where the boulevard would be a blend of India
and Clint with a picturesque cobblestone streets lined with shade trees,
but also bursting off hand block printed banners waving in
(29:11):
the breeze. There'd be cafes where people would linger over
tea and coffee, and little shops filled with like handmade objects.
Music would spill out into the air, children would be dancing,
and everything would just feel vibrant and unhurried. You know,
I guess just the perfect boulevard is the one which
(29:32):
celebrates scraftsmanship and community and a place where people would
slow down, notice details and just feel connected, you know,
which is what sometimes we all are missing.
Speaker 3 (29:42):
Well, that sounds like a Bollywood movie that we need
to to watch. What I'm curious In India, do people
eat popcorn when they go to the movies? Oh?
Speaker 2 (29:51):
Definitely, No, It's just like that's universal sack. Okay, we
have various flavors, well, cheese, like the whole thing. All
the good stuff. Definitely, all the good stuff. Yeah.
Speaker 1 (30:05):
And finally, what is the beat that keeps you going?
Speaker 2 (30:08):
It's the community. It's the craft community, you know, just
working with them for the last six years. Every time
I go to India, that's my happiest place. So that's
that's the hot beat. That's wonderful.
Speaker 1 (30:23):
And it's so sweet to hear your dedication to preserving
the craft while creating pieces that feel so timeless. So
thank you for joining us today.
Speaker 2 (30:31):
Thank you for having me. It's such a pleasure.
Speaker 3 (30:33):
Thanks Swatty. We loved hearing all about your beautiful craft
and we need listeners to go check it out at
soildstudio dot com.
Speaker 2 (30:42):
Thank you so much. Chris and I hope to see
you soon.
Speaker 1 (30:47):
Thank you for listening to this week's episode of Boulevard Beat.
Speaker 2 (30:50):
If you enjoyed this episode, please.
Speaker 1 (30:51):
Follow along and leave a review on Apple Podcasts, Spotify,
or wherever you listen so you never miss an episode,
And of course, follow your hosts on Instagram at Megan
bloom Interiors, at Chrissa Rossbund, and at Liz Legit. We'll
be back next week as we take a stroll down
another boulevard
Welcome to Boulevard Beat, a podcast where life and style intersect.
I'm designer Megan Bloom along with my co hosts, editor CHRISA.
Rossbund and gallery owner Liz Logit. This podcast focuses on
the daily highlights instead of the hustle, interviews with taste makers,
and personal conversations on how to highlight achievable style. You
constrol one street at a time, boulevard Beat proves the
(00:30):
one you should take.
Speaker 2 (00:33):
Today.
Speaker 1 (00:33):
On boulevard Beat, we're diving into the world of textiles, tradition,
and creativity with Swatty Bansel, founder of soil To Studio.
Swatty's work brings centuries old Indian hand blocking printing traditions
into modern homes, honoring artisans while creating versatile and timeless designs.
From our journey leaving a corporate banking career to building
a thriving creative business, we explore the stories, philosophies, and
(00:56):
human connections behind every textile. We like to begin each
episode of Boulevard Beat the same way, and we'd love
to know about the street that you grew up on.
Speaker 2 (01:05):
Oh hi, Megan, thanks for having me first of all,
to this beautiful series. I just came across it and
I'd love to, you know, I'm so excited to be
part of it. I grew up in a very small
town called Udeppur in India. Even though it's like world
famous for its beauty, it's called city of Lakes and Palaces. Yeah,
(01:25):
I grew up there in a very small town, very
small street, very residential like any other small town. But
what I really remember is like every house there had
like a huge garden in front, and that was the
highlight of my growing up. We would be exposed to
(01:45):
a lot of gardening. So that's a beautiful memory I have.
Speaker 1 (01:50):
That's a lovely memory. And I think you're the first
one that has ever said a city of lake and palaces.
That sounds fascinating and my mind is just creating what
this place looks like. Also look at wonderful.
Speaker 2 (02:01):
Oh definitely. It's actually world famous for destination weddings. Really yeah,
even Hillary Clinton, like people, famous celebrities have been there.
There are seven lakes. There are floating seven star hotels
in the middle of the lake, so you have to
actually take a boat to go there. It is beautiful.
I hope you can make it one day too.
Speaker 1 (02:21):
I'll add it to the list, that's for sure. Well, Swany,
we love to hear a little bit more about your background,
both personally and professionally. You know what brought you to
the United States and what led you into starting your
own textile business.
Speaker 2 (02:35):
Yeah, I mean I had a past life before I
started soil to Studio. I was in banking, like I
started my career with City Bank in India. My mom
and dad both at doctors, so like every Indian parent,
people would assume that I would become a doctor, and
I thought myself I would become a doctor. But funny enough,
(02:59):
my my dad thought I should study design and he
dragged me to a design school, which is funny because
most of the times, and like any other teenager, I
did not listen to my dad back then, as like
who makes a career out of design? You have to
be either a doctor or an engineer or like a
investment banking. So I guess I did give the exam
(03:23):
did not go through. Back then, I didn't prepare for
it and I did like any other other teenager, I
wanted to run to a big city Mumbai and I
studied finance. I became a chartered accountant, and I joined
City Bank. So that's what my growing up looked like.
Then we moved geographies. We've been to London, we've been
(03:46):
to Dubai, Singapore, all with banking with City Bank, and
my husband, who's also in banking, got a job in
New York. So that's how we moved to New York.
I guess while again, SO have a very strong creative side,
you know, so even with corporate banking, I've taken a
couple of sabbaticals because I wanted to do something creative,
(04:09):
you know. I've taken a sabbatical of two years, I learned.
I went to London to study photography. Again went back
to banking because I thought I couldn't make a career
out of photography. Then again took a sabbatical of six months.
Wanted to open a cafe, wanted to do interior designing.
So I've done a lot of back and forth. However,
when I came to New York again, there was that
(04:30):
itch that I wanted to kind of start something of
my own. And this time my husband asked me to
like make a promise that you have to give it
three years before you actually quit and say this is
not for me or I'm not an entrepreneur. So I
think that was like a crucial point where I said, Okay,
(04:51):
I'm going to give my best and final, you know, effort,
and that's how I really started Soil to Studio and
after six years here I am.
Speaker 3 (05:01):
Well, Swati. I have to applaud the moxie that you
have to take the sabbaticals and you know, scratch the
creative itch that you referenced with. That said, though, the
background in numbers and finance is such a contrast to
the creative world that I imagine did help you though,
(05:22):
as you started this business and made that three year
commitment to try to build and scale something special, tell
us maybe about a couple ideas from your past career
that helped your business and textiles.
Speaker 2 (05:35):
I mean, you're sure, right, Chris. You know, when I
was in banking, I thought I did not have a skill,
like there was not a good enough skill which is transferable.
But having gone through the whole side of running a business,
a creative business, I feel like that skill which I
learned over like almost a decade being in banking, about numbers,
(05:58):
about systems, about thinking long term, has really helped me.
I think it's a very crucial experience. I think a
lot of people do not understand numbers while they are
creative businesses and might be working for free. So like
even knowing what ROI means before I started my business,
(06:19):
how to price products, you know, how to account for
cash flows has definitely helped me in running this successful business.
I also feel like sometimes the way I approached each
collection or all the designs, I see it like as
a portfolio. It's like budgeting a portfolio. I know there
are few designs which I like to call it as
(06:40):
safe investments, which I know customers would love and they
would sell, and then there are a few of the
riskier experimental designs which are high risk, high reward. Sometimes
they might do some well, sometimes they do not. So
I think it's kind of like looking the whole collection
as a portfolio has helped me kind of like make
(07:02):
the numbers work in the end, you know, if that
makes sense.
Speaker 3 (07:06):
Absolutely, And we hear from so many people in the
design creative world that they love the skill that they have,
that they didn't necessarily have that business acumen because they
don't always teach that in school either, So that's certainly
a benefit that you had from your past.
Speaker 2 (07:24):
Definitely, and I'm still learning, you know, I'm still learning.
I think also it made me think in terms of
like systems and long term sustainability, how to kind of
put your vision onto paper and execute it, you know.
So I think it's just the structure which we were
made to work in has helped me kind of like
(07:45):
apply the same systems to the business.
Speaker 3 (07:48):
It would be so great if everybody, regardless of what industry,
kids choose to pursue in college, if they had that
numbers background or some classes, because everything's a business, right,
no matter what line of its driven my passion.
Speaker 2 (08:02):
But I think if we have to be sustainable, we
definitely need that skill.
Speaker 3 (08:07):
Absolutely. So Swatty India. I feel like it's that place
that's on everybody's bucket list, but it is a country
that's so vast and so many creative skills through artisans.
What made you choose textiles.
Speaker 2 (08:23):
It's a very interesting question, CHRISA Like I said, like,
even before I started Solta Studio, I've tried out many
things just to figure out what resonates with me deeply.
But then in the end, I when I started textiles,
I realized I worked with textiles all my childhood, every
summer holiday, every long holiday we got. I was embroidering,
(08:49):
I was doing canvas painting. I was just working with
textiles all the time. And I guess I've seen my mother,
my grandmother, my extended family, everybody worked with textiles in
some form or the other. So I guess it just
came a bit naturally to me. And also, I feel
like textiles is so intimate. It's like everywhere in our homes,
(09:11):
you know what we wear. I think it just kind
of resonated with me and my memories of my childhood,
so I was naturally drawn to it.
Speaker 3 (09:20):
And what an exciting time to be in the textile business,
specifically with tabletop linens, because I feel like, so there's
just been this influx. Part of it, I think was
the pandemic, but I think that people really give more
attention now to setting their table and creating escape on it.
Speaker 2 (09:38):
I know, and I'm so glad. I think it's almost
like bringing fashion to the table and people are able
to like freely express their creativity when they're setting the
table and inviting people to their homes. And yeah, I
think in India, while growing up or even now, entertaining
is a big part of our culture, so we've seen
(09:59):
that happen effortlessly in our homes, Like we would always
have these beautiful dinnerware and the linens which would only
come out when guests come in, and we would set
like a beautiful table and everybody would gather around the table,
And I think it's it's beautiful to kind of have
that feeling when guests come in, and you know, it's
(10:22):
like a really great conversation starter as well.
Speaker 3 (10:25):
It's a little surprised because it's an art all presentation
that can be changed up every time. So the Indian
influence obviously on your hand blocked textiles. Do you have
to adapt anything about them for the American market or
has the American market really embraced the patterns, the colors,
the hand blocking.
Speaker 2 (10:44):
Yes, they have, but I feel like it's still different.
So I feel like every market has its own design language.
Like for the American market, I would sometimes simplify palettes
or scale the patterns differently so that they just feel
a little more at home in their slightly more minimal interiors.
(11:06):
Whereas in India, I think people are more adventurous with
bold mixes, you know, I would rather go as slightly
bolder and embrace or celebrate maximalism if I was designing
for the Indian market. I guess just because the cultural
appetite for ornamentation and abundance is so strong in India.
(11:30):
So I feel it's America is very much open to
color and pattern, but India is a little more wild.
Speaker 1 (11:39):
Well, and I can see that. I mean, they're just
surrounded by it every day in their everyday life, so
I can see that making sense that they're open to
the boldness of it.
Speaker 2 (11:46):
And also the layering. I mean, there's just so much
going on. So yeah, India is wild, I would say.
Speaker 1 (11:53):
Well, and I think it's that really wonderful playfulness that
emerges from Indian black printing techniques. I know, as a designer,
I'm a sucker for a good black print.
Speaker 2 (12:02):
I love seeing it.
Speaker 1 (12:02):
I love the artistic nature of them and just the
labor of love that goes into all of them.
Speaker 2 (12:09):
But and what's neat about it too.
Speaker 1 (12:10):
Is it's not so formal as you know, your pristine
Italian linen style textiles. But at the same time, Indian
blackprinting delivers visual cohesion with so many coordinating patterns it's also,
you know, really versatile. How would you say your versatility
influences your designs, knowing that your linens could be used
(12:31):
in really casual breakfast outdoors or more formal place setting,
and just has that versatility.
Speaker 3 (12:38):
You know.
Speaker 2 (12:38):
Block printing I feels like such a beautiful medium because
it's both playful and sophisticated at the same time. Unlike
like very polished machine made fabrics, block prints have tiny
irregularities which I like to call hot meats, and that
creates like a lot of sense of warmth and character
(12:59):
to the When we design coordinating patterns and cohesive collections,
they can look incredibly elegant and pulled together beautifully, you know.
So for me, it's important that textiles don't feel intimidating.
They should feel like something you can live with every day,
(13:20):
but also special enough for life's important moments. It's the
duality that really inspires me. It's like hand block printing,
connecting tradition with modern life, everyday life with celebratory moments.
And that's why I feel like people respond to it
so deeply, is because it gives them permission to kind
(13:41):
of use beauty in their daily lives, whether be it
like a simple breakfast mourning or like a formal, elegant
table filled with flowers and beautiful ceramics. So I think
it's block printing technique in itself is very versatile.
Speaker 1 (13:58):
Well, And I think that's so true in that exactly
why Chris and I wanted to do this podcast was
just sharing that beauty in everyday life and encouraging people
to do that. So I think that's wonderful to hear
and just how you've brought those traditions back. So Swati,
India Brooklyn very beautiful, fascinating places to live, you know,
and they both have very heavy design influence on every
(14:20):
place you walk around, the boulevards, the streets, the buildings.
That's not the case for everyone of where they live.
They don't get to have that beautiful envelope of inspiration.
Speaker 2 (14:32):
Everywhere they turn.
Speaker 1 (14:33):
What advice would you give to the person out there
who wants to be creative but may not have the
variety of inspiration around them like you do every day?
Speaker 2 (14:42):
Yeah, I mean, I've been really lucky to live in
places like India and Brooklyn. I guess where design is everywhere.
But I really believe creativity doesn't depend on geography. Inspiration
can be found in almost everyday life, Like simple things
even like a visit to your local farmer market or
a vintage shop can be inspiring. Even for me, sometimes
(15:05):
I have to leave the city to be in a
quieter space to really find inspiration, to really go deeper,
to go focus and create my own visual language without
being overwhelmed by you know, external constant external noise. I
also think sometimes limited input can be actually very powerful.
(15:28):
When you are not flooded with constant external design references,
you have the space to develop your own voice. You know.
They say sometimes the original work comes from people who
had to make their own world, you know, so some
I mean. Having said that, I think travel is definitely
very inspiring to me. You know, you don't have to
(15:50):
go far, even take a road trip around be in nature.
I feel that definitely is super inspiring.
Speaker 1 (15:57):
Yeah, I agree with you. I at least find a
lot of inspiration nature and just those everyday moments like
you said, that can be inspiring. So good piece of
advice for sure. Well, there must be that feel good
component to what you've built. It's a wonderful company and
you have just beautiful textiles and just knowing that you've
gotten to work with so many wonderful artisans in your homeland,
(16:19):
how do you find crafts people who work aligns with
your vision and just how does the collaboration look with them?
Speaker 2 (16:26):
I mean, definitely I call it as a partnership and
working with artisans is one of the most rewarding things
of my journey. I often connect with crafts people through
local cooperative, family run workshops, generational artisans who are not
just masters of their craft, but are also kind of
like open to experimentation, you know, and have open minds
(16:50):
about design. Because definitely my vision has always been to
bring the craft forward but make textiles for today. So
just the dialogue between the craftsmen and every time I
visit India is something special. So I look for crafts
people who are definitely masters of their craft but also
(17:14):
want to learn, you know, about what the world has
to offer now. So that's definitely a big point and
how we kind of find crafts people we want to
work with. Collaboration is always a dialogue, you know. I
bring palette and patterns to the table and they bring
(17:34):
like centuries of like inherited knowledge about how the plot
makes the fabric how the dies behave, how the motives repeat,
and that dialogue is always magical. And through that dialogue
sometimes we kind of like have happy accidents and we
create a design together, you know. So I think that
(17:55):
is just beautiful. That dialogue between the artisans and between
the design people is very important. And I feel like
every time a new collection comes to life after having much,
you know, dialogue about what we should do, I feel
proud that it's a result of many hands and hot
working together.
Speaker 3 (18:16):
That's so interesting and it really takes the product back
to the human quality of it. It's all about people
at the end of the day, and knowing that somebody
crafted this napkin that you have, or the sheets are
the betting that are keeping you warm at night, it's
really special.
Speaker 2 (18:33):
Definitely chrise. I feel like sometimes it's the human element
which we are missing a lot in our daily lives,
in every part of the life, and more and more
as AI is taking over our lives, I feel like
we need to keep that human element intact, right.
Speaker 3 (18:51):
We need to keep that curiosity about people and learning
all because I feel like, especially in our you know,
crazy world that we live in today, where there are
so many opinions. I'll leave it at that, there are
lots of opinions. I think the best way to learn
about all of the things that matter is just through
talking to people, so and seeing what.
Speaker 2 (19:10):
Yeah, it's the community is the strongest, you know, especially
the craft's community is really strong.
Speaker 3 (19:17):
So I have to ask, as you are designing, how
difficult is it to create a whole bevy of patterns.
There have to be some that are your babies, are
your favorites. You have to play favorites with something, So
how do you how difficult is it when you're designing
something and you're like, oh, this isn't really the color
palette that I would choose, but I know that I
(19:38):
need to develop it for the market.
Speaker 2 (19:39):
I mean, definitely, It's always like a dance between keeping
your creative soul intact while also making it wible for
the market. I don't see it sometimes as a problem
but a challenge. I think it keeps me on my does.
It really pushes me to be more inventive and find
the sweet spot where the tradition, the design and actual
(20:02):
more than living meat, you know. So, yeah, it is
difficult at times because I want to push boundaries, but
I also want to make sure that people will use
that in their daily homes effortlessly. So it's always finding
that balance basically, and that's exciting.
Speaker 3 (20:21):
Yes, it's sure, is so Swati. It's difficult to talk
about anything today without that word technology creeping into the conversation.
It's everywhere and it's rather difficult for us to avoid.
And the thing about technology is it's not just about
the devices that we have our heads stuck in all day.
It's really about the technology that allows artisans to craft
(20:45):
things a little differently, or you know, whatever your hobby is,
there is technology in the tool sometimes. So how do
you incorporate technology into your business that is so rooted
in hand craftsmanship?
Speaker 2 (20:59):
To be hones honest, I should be using technology a
little more than we actually do. It's still purely hand
driven process, right from the hand driven motives to handblock
carving to printing. Of course, we haven't really apart from
the devices we use, and apart from the social media
(21:21):
and the e commerce which is mostly for you know,
taking the textiles global and making it accessible to more people,
we really haven't used technology as much in terms of
like design process. You know, even though I keep telling myself.
I need to learn technology. You know, people are now
(21:43):
learning AI and I don't even use Photoshop or illustrator
to create designs. But I feel like sometimes with online
softwares and all, we tend, I tend to get distructed.
When I'm creating with hand I'm super focused, So I
feel like it plays to my advantage for now. Maybe
(22:04):
as and when business grows, we'll kind of like have
to include technology a little more. But I also like
the hand drawn effect, you know, and just being true
and authentic to the process till now has helped us,
you know, So we'll see. I'm sure we'll have to
like include technology a little more going forward. But yeah,
(22:27):
it's just the process. It's a slow process. You know.
We are not making for the masses. We're not like
making hundreds of designs and not just shelling out designs.
Everything is very thoughtful, Everything is very meaningful, and it
truly gives us joy.
Speaker 3 (22:42):
Well, the product that you create certainly elicits a relationship
like you have a relationship with, you know, a table runner,
because it's something that you bring out when you know
that you're going to be entertaining people or rolling out
one of the quilts over a bed that you've created
for a guest who's showing up. So I think to
your point, when companies just shell out pattern after pattern
(23:05):
after pattern, fifty patterns at a time, every new seasons,
it's a much different experience than something than it's so
personal and so human touched as what you create. But
I love that you talked about the focus that you
have when you're not with technology, because you're right, it's
a distraction, Like you mean to focus on technology, and
(23:26):
next thing you know, you're ordering handwarmers from Amazon or whatever.
Speaker 2 (23:31):
We do I know. And also in terms of like
just creating patterns, the little time I spent initially when
I started the business, I was using technology and I
was just creating pattern after pattern because it was so
easy to do, you know, and without kind of like
really nailing down to that one pattern, which I feel
is for fact, you know, So I feel it's kind
(23:53):
of like a substractive process as well.
Speaker 3 (23:56):
So you started with table linens, if I'm getting this correct,
and then that grew into bedding that you also have
available in your inventory. What's next for Soil to Studio
Because there are so many opportunities and we want to
hear about what you are willing to tell us about
the direction of the company.
Speaker 2 (24:15):
Yeah, I mean, I mean, I don't even know how
we started. We started with table linens, and I did
not know where we're going to head. But here we are.
We have table linens, we have pillows, we have of
course bedding now and looking ahead, I definitely feel like
the business wants to expand itself into a fuller lifestyle brand,
(24:37):
and that could mean layering in our home categories like
lambshades and upholstery, you know, or custom fabric so that
people can create more of a cohesive story living through
throughout their living spaces. But I also feel like beyond
just a product, I'd like to grow in ways that
(24:58):
deep in impact, more collaborations with artisans, more storytelling around
the craft, and perhaps creating experiences, hands on experiences where
people can engage with block printing, fust hand, which means
more workshops, etc. I'm excited for where we are heading.
(25:19):
We definitely want to kind of do more products and
get more experiences and do more custom work.
Speaker 3 (25:27):
I love it, and I think it's important that you
talk about the workshops and the engagement because for so
many people I'm one of them. I am kind of creative,
but I'm not an artist. I'm not a fine artist,
and so I don't make anything.
Speaker 2 (25:44):
Really.
Speaker 3 (25:44):
I make a mess. I can make a mess, really mess.
The colors will be good in the mess at least.
But in all seriousness, I think when you have the
opportunity to put your hands on a technique or try
a art class of some kind, it's just special and
it connects you more to again the product. Even if
(26:07):
I don't make the product in the end and I
end up buying it, it still deepens that connection. And
I think in our world of mass consumption all the time,
having that connection and again relationship with the pieces that
we bring into our home is it's meaningful, it's memorable,
it's special, and it's important. I think it's very necessary.
Speaker 2 (26:27):
It's very necessary, and I feel like definitely everyone needs
to create because only when we create with our own hands,
we understand the value, like you said, of anything, and
we turish it over the years and we just don't
throw it. You know, we reuse it, we repurpose it.
We know how much love and effort has gone through
(26:50):
in making that piece. It becomes generational more heritage, you know,
and like you said, you feel that you don't have
the creative You've not how to find artists. But trust me,
when you've given the tools, everyone's creativity comes out, you know.
And we've seen that at every workshop, every one of them,
(27:11):
with no prior experience, they create masterpieces with the same
blocks we give. So yeah, it's just we have to
find ourselves sometimes through.
Speaker 3 (27:22):
Maybe I'll try that, maybe hand blocking my calling. Who knows?
So tell us India again, such a special destination on
this planet that so many people dream about. I know
I do, and you know have visions of visiting at
some point to experience its rich culture. What does it
meant to you to honor your culture and traditions with
(27:45):
something that is so beautiful?
Speaker 2 (27:47):
I mean definitely. For me, this business is more than design.
It's a way of honoring where I come from. And
block printing is one of India's oldest crafts and working
with me with it allow me to celebrate that history
while also reimagining it for so many homes globally. And
every time I see artisan's carving blocks, mixing dies and
(28:10):
just layering prints, I'm reminded of this. This isn't just
a product, it's a living tradition. Bringing that to the
world feels like both the responsibility and a joy. And
it's my way of saying, this culture, this heritage, and
this artistry matters, and it deserves to be cherished, shared
(28:30):
and carried forward. So I definitely feel very happy.
Speaker 1 (28:35):
I love that you're sharing that and just like you said,
bringing it forward. So it's not a skill that gets
forgotten either. Yes, definitely, Well, Swati, we like to close
out each episode of Boulevard Beat, what does your perfect
boulevard look like?
Speaker 2 (28:48):
Well, I am a romantic at hot and so my
boulevard would be something straight out of a Bollywood movie.
And where the boulevard would be a blend of India
and Clint with a picturesque cobblestone streets lined with shade trees,
but also bursting off hand block printed banners waving in
(29:11):
the breeze. There'd be cafes where people would linger over
tea and coffee, and little shops filled with like handmade objects.
Music would spill out into the air, children would be dancing,
and everything would just feel vibrant and unhurried. You know,
I guess just the perfect boulevard is the one which
(29:32):
celebrates scraftsmanship and community and a place where people would
slow down, notice details and just feel connected, you know,
which is what sometimes we all are missing.
Speaker 3 (29:42):
Well, that sounds like a Bollywood movie that we need
to to watch. What I'm curious In India, do people
eat popcorn when they go to the movies? Oh?
Speaker 2 (29:51):
Definitely, No, It's just like that's universal sack. Okay, we
have various flavors, well, cheese, like the whole thing. All
the good stuff. Definitely, all the good stuff. Yeah.
Speaker 1 (30:05):
And finally, what is the beat that keeps you going?
Speaker 2 (30:08):
It's the community. It's the craft community, you know, just
working with them for the last six years. Every time
I go to India, that's my happiest place. So that's
that's the hot beat. That's wonderful.
Speaker 1 (30:23):
And it's so sweet to hear your dedication to preserving
the craft while creating pieces that feel so timeless. So
thank you for joining us today.
Speaker 2 (30:31):
Thank you for having me. It's such a pleasure.
Speaker 3 (30:33):
Thanks Swatty. We loved hearing all about your beautiful craft
and we need listeners to go check it out at
soildstudio dot com.
Speaker 2 (30:42):
Thank you so much. Chris and I hope to see
you soon.
Speaker 1 (30:47):
Thank you for listening to this week's episode of Boulevard Beat.
Speaker 2 (30:50):
If you enjoyed this episode, please.
Speaker 1 (30:51):
Follow along and leave a review on Apple Podcasts, Spotify,
or wherever you listen so you never miss an episode,
And of course, follow your hosts on Instagram at Megan
bloom Interiors, at Chrissa Rossbund, and at Liz Legit. We'll
be back next week as we take a stroll down
another boulevard
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