The Rado DiaStar Original x Tej Chauhan marks the second collaboration between the Swiss watch brand Rado and the London-based industrial designer. In 2020, Tej Chauhan gave the Rado True Square his own colorful twist, while preserving its essence. But how do you do that as a “non-conventional” designer?
Text: Anja Van Der Borght
You’re known for various designs, but creating watches brought some unique challenges, didn’t it?
TC: “I’m used to working at different scales, including very small ones where I have to calculate down to fractions of a millimeter. But for Rado, we worked with microns. In the first project, we had to adjust our original hand design due to the thickness of some paint pigments!”
Was it worth the stress?
TC: “Throughout my career, I’ve been lucky to work on many collaborations, and I can say that working with Rado is one of my favorites. It’s the people who make a project successful. When you find partners who share your values and there’s mutual appreciation for each other’s skills, it becomes an exciting and natural process. I believe both parties bring out the best in one another. The Rado team is a perfect example of that.”
What inspired your new DiaStar Original design? What were the first images that came to mind?
TC: “My design language focuses on the ‘near future.’ Not so futuristic that it becomes polarizing or intangible, but more like a future that’s just within reach for the end user. For the DiaStar Original, an iconic watch known for its futuristic design since its launch in 1962, I looked at AI-generated future landscapes. I also happened to watch Ad Astra, a sci-fi film starring Brad Pitt, featuring a moon base and golden space helmets… That became the main inspiration.”
Can you describe the design process for this new Rado watch?
TC: “Once I receive the briefing, I ask myself: How can I make it different? How do I make it stand out? How can I create excitement among as many people as possible? And how do I tell a compelling, tangible, and authentic story for Rado? So far, I’ve been given full creative freedom; in this case, Rado only requested that the watch have a rubber strap. My mind immediately began finding ways to design that strap in an interesting way. I wanted it to invite touch. Once the foundation is laid, I begin sketching almost immediately — many versions, until the feeling is right. Then we discuss the themes and sketches with the Rado team and move into 3D development.”
Why did you choose that specific shade of blue for the dial?
TC: “It’s a continuation of my first project for Rado in 2020, the True Square. I remember wanting to add color to the dial during the sketching phase. I started sketching in that area because it felt like a good balance. I was already using color for the date and wanted to explore more color on the dial. At first, it was fairly random, but I then realized I needed justification for my choices. It’s not like me to add something purely decorative without function or purpose. But what I love about these collaborations is the freedom to be more expressive and decorative.”
What’s your favorite part of the new watch?
TC: “The gold! The strap! The dial! And the graphics!”
Were there any obstacles during the design process?
TC: “The initial concept included some unusual colors, including a very specific shade of green. Developing that color would have delayed the project, and that’s when we started exploring gold. So that green actually turned out to be a happy accident!”
What did you feel when you saw the final product for the first time?
TC: “We had developed the watch in two case color options: silver and gold, in case gold would be too polarizing. The silver looked great, but the gold really stood out. It might not be for everyone, but I just couldn’t look away. I know a design is ready when it gives me goosebumps, and the first time I saw the gold version, I knew it was right. For me, this model offers a fresh, progressive take on a gold watch.”
How would you describe yourself as a designer?
TC: “Honestly, others should probably answer that. I have to be careful not to go off on a tangent! But I’m a nice guy. I don’t think I’m extremely unconventional. My work is about helping people connect and truly stand out. But I always aim to do things just a bit differently.”
What inspired you to become a designer, and how has that inspiration evolved over the years?
TC: “As a child, I was always drawing—designing things. Creating machines and cars brought me joy and a sense of well-being. Whenever someone asked what I wanted to be, I’ve always answered: ‘a designer’ — even though it took years before I fully understood what that meant.”
What is your design philosophy, and how does it influence your work?
TC: “My work is about creating connections with a wide audience, regardless of brand positioning. That’s the core of my philosophy. Why does someone choose one product over another? It goes beyond aesthetics. I’m interested in discovering the triggers that drive emotional engagement.”
How do you come up with new ideas for your designs?
TC: “Intuition plays a big role. I always aim for differentiation — to make my work stand out in a way that’s both authentic and valuable for my client. A clear understanding of the project’s goal and end user forms the foundation, from which I move forward using instinct. When I think of designers, I’m reminded of the Castiglioni brothers. But I also draw inspiration from artists and pioneers like Stanley Kubrick. I grew up loving concept artists like Syd Mead — who did all the visual concept work for Blade Runner (1982) — and Ralph McQuarrie, the main concept artist for the original Star Wars trilogy. Many of my references are timeless. I often don’t even realize if they’re old or new — and I love that. It’s something I try to achieve in my own work too: creating something that’s fresh, accessible, and able to stand the test of time.”
How do you typically approach a new project?
TC: “I begin with research and analysis to clearly understand the brief and its objectives. It’s important to be well-informed before identifying the themes that shape the initial concepts.”
What’s your favorite part of designing a new product?
TC: “Those first moments when the brief is discussed — my brain goes into overdrive. More often than not, it’s those initial moments that define the final design, or at least the direction. No matter what I’m designing, it’s my favorite part because of the intense excitement it brings.”
What do you find most rewarding about being a designer?
TC: “That I can make a positive difference for the people I work with and those who will use my designs. A design should always improve and refine what existed before in some meaningful way.”
What are some of your favorite memories from your design career?
TC: “I loved my university years, my early jobs as a designer, and my time at Nokia. I enjoyed starting my own design studio. I have very fond memories of our first exhibition in Milan in 2008. I remember Eero Aarnio quietly walking by. But what I love most is meeting those special clients where there’s instant chemistry. There’s mutual trust, which leads to ease and productivity — that’s when the best and most fulfilling designs are created.”
You worked for Nokia for quite some time. Which models should we associate with you?
TC: “I designed all the wild ones. The Nokia 7600, their first 3G phone from 2003, which they called the ‘Mango Phone’. I also designed the ‘lipstick phone’ and the Nokia 7370, which became hugely popular. With those models, we got to experiment with materials, finishes, laser engraving, fabrics — all things that weren’t common in phones back then.”
Can you give an example of a personal experience that influenced a design?
TC: “A lot of my designs are based on personal experience. Our Nest Oven Dishes came out of the frustration of dipping my oven glove into the lasagna every time I pulled a dish out. The Hudl2 tablet was born from my fear of handling smooth, techy devices. The ColomboTwo phone was designed simply to bring joy into my home. And then there was my first visit to Rado’s headquarters in Lengnau, which inspired me to tell the story of Rado’s materials and craftsmanship through the True Square TC. It was the first time I’d ever visited a watch factory, and I found it absolutely fascinating. We heard an incredible story about high-tech material innovation, which sharply contrasted with the traditional skills of Swiss watchmakers. I find contrasts incredibly powerful — not only do they lead to compelling design, but they tell a story I love to express in my work. Back then, high-tech ceramic was often presented in silver or glossy finishes, which I saw as an opportunity for creative exploration.”
Is there a company or sector you’d rather design for?
TC: “Honestly, I enjoy it all. If someone asks me to design a toilet brush, I’ll be just as excited. And if someone asks for another watch, I’ll love creating something new. It’s about the thrill of the unknown. But one sector I’d love to explore is the automotive industry. The interior of vehicles is fascinating. I’d really like to design a motorcycle, scooter, or car.”
