Products people don’t have to think about, and the AI agents that build them.
Finance & lendingKwikCash and Elevation Loans (US lending platforms) · the QikCash lending admin · dealer credit, invoices and payments at JK Tyre
Selected work
I’m Parveen, a product and design leader. I led UX at Jabong, the apps JK Tyre’s dealers run their business on, and a marketplace I founded that sold to 20+ countries. Today I design and ship with an agentic workflow: I set the problem, the design language and the bar; agents research, build and test; I review every screen before it ships.
The app JK Tyre’s dealers run their business on, rebuilt around one question: what can I order today? The full case study, a working prototype and a 30-second film.
Handcrafted, art-led phone cases. The brand, the product photography, the storefront and the copy, run end to end on an AI-first pipeline with a human hand on every release.
Birthdays, anniversaries and festivals on one calendar, and the right gift from every store, on time. A website and a phone app from one design language.
A working prototype of a lending admin for a fictional lender: about a hundred legacy screens, rethought as one panel for the people who run the loans.
Tax and property calculators for Australia and New Zealand that show the working, date every rate against its source, and say so when a figure can’t be verified.
Sales kits for used-car dealers, made from the listing they already have: a brochure to take home, a phone edition to send, and a QR sticker for the window.
Thirteen projects from before the agents: WeaverStory and Giftipper, the KwikCash and Elevation Loans redesigns, campaigns, and the illustrations and paintings I make for myself.
Everything above, in order, on five pages.
I lead AI agents the way I’ve led design teams. The judgement stays human; the speed doesn’t.
The user, their one question, what success looks like, and what must never be published.
Agents gather and summarise; I choose the protagonist and the story the product has to tell.
Tokens, type, components and motion rules, set before any screen, so everything stays on brand.
Prototypes, case studies and films as real, running products, not static mock-ups.
Every size, every error, the data and the privacy, checked by me. Then it goes live.
How I work, as a film: four agents map their own flows, drift, nap and get nudged, then wire into one product; I set the brief and review every step. Built in code, not edited.
Every step started as a note. Eleven of them, drawn by the agents and me: the brief, the sound, the characters, four tries at the world, the notes, the joke, the bug and the ship.
