THE PEN MAY BE mightier than the sword. But for Eric Blanchi, it is the humble HB pencil that holds sway. Meticulously sharpened, it becomes his weapon of choice — carving entire worlds with the precision of its graphite tip. As the creative director of Goyard, the world’s oldest luxury brand, the designer with Indian roots says his role is to dream. “I am always dreaming about the various creative things one could do. My job is to dream, while for many others, this is a dream job!”

Goyard, the Paris-based brand that traces its history to 1792 (when it was established as Maison Martin before being rechristened to Maison Goyard in 1853 after Francois Goyard took over the reins), is among the most discreet and selective maisons. Known for its deep-rooted traditions, tightly guarded design language, and retail strategies, as well as a global footprint of only 35 boutiques, Goyard doesn’t just hire a creative director; it appoints a custodian of its legacy.

Hence, Blanchi’s journey to the helm of Goyard’s creative studio wasn’t one born of ambition alone — it was shaped by roots, heritage, and a lifelong romance with art and design. And, perhaps, by chance!

SPIRIT OF ‘JUGAAD’

Born to Tamilian parents in France, Blanchi encountered the magic of drawing early on — one of his first memories was being mounted on his father’s shoulder as magic unravelled on a canvas. “On a simple white sheet of paper, I could make anything appear… it felt like sorcery,” he says with childlike amusement. “To this day, every morning and evening, I still begin with that same ritual: a blank page and a basic HB pencil.”

Blanchi’s parents were born in Pondicherry (now Puducherry). They subsequently moved to France, where his father served in the French military. Blanchi’s formative years were split between Germany and France, with frequent visits to India. Hence, India left an indelible imprint on his earliest memories. The visual richness of Puducherry and Tamil culture imprinted itself on his memory early on, as did the bright hues, intricate patterns, and ornate embellishments of his mother’s sarees and jewellery.

Pencil sketches and doodles of nature and various architectural marvels covered the pages of child Blanchi’s school notebooks. “Drawing was always my tool to question, to understand, to express,” he says. Though he excelled academically (“knowledge was everything” in his Tamilian household), Blanchi admits he had little idea where life would take him. “I truly didn’t know what I wanted to become,” he recalls with a smile.

He enrolled for civil engineering in 1997. But as boredom hit, he slipped into the world of doodles. Soon, he dropped out but cleared the entrance exam for the École Supérieure d’Art et de Design de Reims. Blanchi had found his true calling. That said, he credits his civil engineering days for his craft. “Twenty-five hours per week of technical drawing, advanced mathematics courses, geometry…a full year of intensive and interesting courses studying space and material. I managed to build some solid skills around technical drawing.” Blanchi was unlike a regular art student. When his classmates turned up with the paraphernalia typical of art students, he unapologetically wielded his lone creative tool — the beloved HB pencil.

In 2000, he joined the École des Beaux-Arts in Saint-Étienne to hone his skills further. There, Blanchi took part in a design competition. He presented a bag for Hermès but failed to win because the design was too complicated. But that didn’t deter his spirit. “My artistic instinct has always been raw and intuitive. I didn’t grow up surrounded by contemporary art, fashion, or luxury or museums and shopping,” he says. What he knew was the essence of creation itself. “Nature, materials, world of colours, tools, functionality, technique, logic, and the science of invention. I recognise this spirit as what the Indians call jugaad — the art of ingenious, resourceful creation.”

The next creative chapter unfolded in 2004 at Lacoste, the iconic French fashion house renowned for its sporty chic. “The story of Lacoste is a huge family saga, born thanks to one guy, René Lacoste, an engineer, an artist, and an inventor of a classic brand!” says Blanchi. Eight whirlwind years followed, during which he designed four collections of leather goods, belts, watches, and eyewear annually. “There I unlearned my initial design sensitivity to architecture and construction, and learned more…fabric, fashion, clothes, luxury codes, marketing, etc. It wasn’t something I studied on the art campus; I learnt so much more.”

By 2011, Blanchi sensed it was time to move on. A chance to work with iconic designer Karl Lagerfeld briefly surfaced but never materialised. Instead, fate led him to a pivotal introduction with Goyard’s reclusive owner, Monsieur Jean-Michel Signoles, the man who quietly resurrected the brand after acquiring it from the Goyard family in 1998. The buyout was born out of Signoles’ absolute admiration for the brand, including its elusiveness, which he diligently maintains to this day. Signoles represents the very essence of luxury restraint that Goyard stands for as he steers the brand with obsessive precision and an aversion to overt visibility.

The meeting with Signoles would alter Blanchi’s trajectory forever. No doubt, the thought of the meeting itself was nerve-racking. “I remember the way he spoke, his rhythm, his delivery of words, his slow and unhurried expressions [at the interview]…and I realised I had to adapt my sense of time immediately,” Blanchi recalls. But three minutes into the meeting, Signoles told Blanchi that he was “looking for someone for life”. “It was then I realised that such was his perception. This amazing man had made up his mind to hand me the job minutes before he announced it to me!”

THE GOYARD JOURNEY

Blanchi commenced his stint by immersing himself completely in the Goyard universe. “I consider myself more of an artist than a creative director. I spent months just learning.” From visiting factories to interacting with craftsmen, manufacturers, and customers, he was involved in sourcing the leather, canvas, metallic add-ons, and even packaging, manufacturing, and quality checking to ensure the “class and lux” of the final product. “Monsieur Signoles was always there, teaching and guiding me, but also giving me space,” he recalls. Blanchi never waited for responsibilities to be assigned to him; he seized them. Even after 14 years, the creative director says he never stops learning from Signoles. “He may not be familiar with the intricacies of designing, but with just one look, he could tell you whether it will work or not, or when and where to open our stores. He has a crystal-clear vision for the brand.”

Goyard’s mystique lies in its invisibility. Unlike other luxury brands, it prides itself on not advertising; there are no interviews or press conferences. It is e-commerce agnostic as well. “The less people see you, the more they dream of you,” Blanchi explains the brand philosophy. “It isn’t about numbers; it’s about soul, about curating objects that embody quality, timelessness, and modernity.”

Its merchandise may be beyond the realms of seasons and launches, but the brand does unveil newer varieties every year. “For the past five years, we have been telling a new story every year — India and its embroidery, burgundy forest, gardens, etc., along with the existing ranges,” Blanchi says. “Each year, we design special limited editions with different colours and textures and looks, and that’s the way we reach out to the market… and not through interviews or stars. Our stars are our products!”

Goyard sells in a controlled environment with limited stores worldwide. On top of that is the limited-edition merchandise — ranging from 20-50 pieces or even 100, with serial numbers. Then comes the special orders from elite clientele seeking exclusivity. “Those who are passionate about their requirements come to Paris for a meeting and make it a point to wait, as long as it takes, for the delivery of their special orders,” Blanchi says. This exclusivity brings in a loyal customer base. “Our customers are knowledgeable, discerning, and extremely attached to our brand. Their love for the brand is so deep that they even possess what their grandparents bought years ago. We’re classic and timeless,” Blanchi says.

But this pursuit of timelessness is a labour of time. “When dreams take the shape of designs on the tip of my HB pencil, the end products take more time before they are introduced.” Sometimes, it may take two years; sometimes, even eight years. But Goyard’s customers are willing to wait. For a brand so rooted in tradition, Blanchi’s Indian heritage is a wellspring of inspiration. “I was born in the Occident, so there’s the European side of me. But my Indian background adds an entirely different lens to my work. I’m proud of that blend. In fact, the variety of colours we have, you will not see in any other brand,” he says with a sense of pride. “I love India and I see a huge potential there and tremendous inspirations, too.”

Blanchi’s team is behind most of Goyard’s existing design range. “I am a firm believer in my team. They are talented and dedicated. Without them, my vision wouldn’t be translated into reality,” he says. The team never shies away from experimenting as they venture headfirst into the blurring world of gender-based perceptions. “For instance, the Saint Louis GM bag is essentially for women, but these days, even rappers and footballers carry it. Everything has changed,” Blanchi says. The internet broke when David Beckham effortlessly sported a Goyard trunk bag as a crossbody bag, and rapper and Rihanna’s husband A$AP Rocky was spotted with a Saint Louis tote.

So, who is his icon? Blanchi shares an anecdote. “Once a friend asked me to go with her to a cocktail party, and I was in no mood. Then, she said, ‘Philippe Starck (French industrial architect and designer) will be there.’ I jumped to my feet and tagged along.” When introduced, Blanchi told Starck, “I am your arrière petit enfant (great grandchild in French). There are two icons I always admired — one was Leonardo da Vinci and the other, you.” No doubt, Starck was flattered.

Blanchi becomes as discreet as the brand he represents when quizzed about future plans or on a potential India store. What he does share is his personal connection to his heritage. “I cook Tamil food for my kids on weekends,” he says. A proud father of three — two daughters and a son — Blanchi splits his time between the design studio and his home near Place Vendôme in Paris. Though separated from his longtime French partner, he continues to nurture his creative and familial lives with care and intention.

In a world where noise often overshadows nuance, Eric Blanchi is a rare creator: quiet, steadfast, and guided by passion rather than applause or visibility. Each workday is less a job and more a brushstroke in a larger artistic journey. “The less I try to ‘work,’ the more I create!” he says. His HB pencil nods in agreement.