Sthuthi Ramesh

Sthuthi Ramesh is an independent designer and creative director who's recently started her own studio, All Around Design, a transcultural design practice shaping brands with global vision. Sthuthi's career has taken her across continents, industries, and life chapters—from big-name agencies like Ogilvy and Pentagram to building her own practice while raising a family. Her journey is one of thoughtful evolution, shaped by curiosity, cultural depth, and a commitment to staying true to her voice as both a designer and a mother.

With experience spanning India, the UK, and Germany, Sthuthi has worked on everything from art direction and identity design to culturally rich exhibitions and branding projects. In this conversation, she shares how she carved out her own space in the creative industry, what it's been like balancing motherhood with running a practice, and why embracing the process — not just the outcome — is where the real magic happens.

Can you tell us about your early career and what shaped you as an emerging designer?

I graduated with a Bachelor of Fine Arts, specialising in Applied Arts, and my first job was at Ogilvy in Bangalore, India — a global advertising agency. Working there for four years was an incredible experience where I learned so much about campaigns, art direction, and and filmmaking. After a few years, I felt the need to grow further and sharpen my skills in typography, graphic design, and design systems, so I decided to do a postgraduate course at the University of the Arts, London. It was an eye-opening experience that exposed me to world-class design and its history, significantly influencing my creative approach. Since then, I’ve been lucky enough to work with some amazing design studios like Pentagram, Browns Design, Wieden + Kennedy, and Made Thought. My journey has also taken me across India, the UK, and Germany, and the mix of cultural and creative exposure has been a huge part of my growth as a designer.

You went freelance after becoming a parent. How did you find this experience compared with working as an employee and how did you find clients?

I would have loved to continue my full-time job, but my salary as a designer couldn't cover my child’s nursery fees. Freelancing offered more flexibility, especially when my child was unwell, which made it a more practical choice.

Working as a freelance designer for studios came with its own set of pros and cons. On the positive side, I had the privilege of collaborating with some of the best names in the industry, such as Pentagram, Made Thought, Koto, and Wolff Olins. However, the challenges included constantly adapting my design style to match each studio's unique approach and meeting the expectations of various creative directors. Freelancers often handle short-term projects with tight deadlines, which can make the pace intense and exhausting. Unlike full-time roles, there's little time to truly immerse yourself in the projects.

On the other hand, I eventually began working directly with clients, which was incredibly rewarding. These relationships often started with small projects, and as trust was established, they led to larger opportunities. This gradual growth allowed me to establish my practice as an independent designer.

Why did you eventually decide to set up your own independent practice?

After working on my first client project — Jhaveri Contemporary’s brand identity and website — it gained significant press coverage. This experience highlighted a gap where I could develop a non-stereotypical visual language for South Asian-related projects. However, I was mindful of not being confined to the label of a "South Asian designer." To maintain versatility, I’ve expanded my portfolio to include projects and clients across various sectors, which has been both refreshing and creatively fulfilling.

How has becoming a mum impacted your career and how do you manage your work and family life balance?

This is a much longer conversation, but to keep it brief, my career has taken a trajectory I never could have imagined. Becoming a mum for the second time has brought new challenges, especially when running a small practice. Unlike a traditional job, you can’t fully step away or switch off during maternity leave — closing the studio isn’t an option. Balancing work and motherhood has been incredibly busy, but I have to admit that running my own practice provides a level of flexibility with my time that the design industry often fails to offer, which is essential as a mum.

Interestingly, becoming a mum gave me the push I needed to take the risk of starting my own practice. I’m incredibly proud to be both a designer and a mum. After investing so much in my education and career, I never wanted to walk away from it — and I don’t think mums should feel forced to stay at home simply because the stress of balancing a career seems overwhelming.

You have worked on some wonderful projects during your career, can you tell us about any that particularly resonated with you?

I particularly enjoy working on projects that are culturally relevant like Jhaveri Contemporary, the South Asia gallery and the Design Museums Offbeat Sari exhibition.

We'd love to get an insight into your process and how you approach a new project? Has this changed during your career?

When I design, every outcome is driven by thoughtful intent. I begin by identifying the problem we need to solve. Once that is clear, I immerse myself in research — this is my favorite part of the creative process because it's where so many ideas and answers come to life. From there, I explore contextual visual language, craft, materiality, and different mediums.

When I first graduated, I focused more on the final piece rather than enjoying the journey of exploration and research. But I've learned that magic really happens when you embrace the process — it’s what leads to truly fresh and exciting ideas!

What challenges have you faced as a woman of colour working in the creative industry during your career and how have you overcome them?

When I started my career in London and Hamburg, there weren’t many brown designers — at least not in the large agencies I worked for. It wasn't until 2016 that I began meeting more designers from South Asian backgrounds. The design industry can be quite cliquey, and at times, it felt isolating.

Now, however, I see a different challenge. The industry has embraced "brown-washing" to appear politically correct, often pigeonholing my expertise as a South Asian designer. I'm sometimes invited into spaces only when diversity is a trending topic, which makes it difficult to tell whether the intention is genuine or just for show. 

How do you think we can encourage greater diversity, equality, and inclusion across the creative industries?

First and foremost, diversity efforts should be driven by genuine interest in hiring the right person, and inclusion efforts should not be merely about filling gaps. Encouraging diverse leadership teams ensures that everyone in the industry has a fair opportunity to succeed. Additionally, mentorship and training programs can be key to encouraging underrepresented students to pursue careers in the creative industry. 

Do you have any words of advice for women and gender expansive creatives thinking about starting their own design practice?

If you're not yet confident about starting your own practice, consider gaining experience at a studio you admire. Absorb as much knowledge as possible. Establishing clear values that set your practice apart is essential. Additionally, connecting with clients whose work and values align with yours will help your practice flourish. Promote your work on platforms that maximise your reach and visibility.

allaround.design

@all_around.design

Written by Helen Tong