Fashion Communication Dept., New Delhi NON COMPOS MENTIS 2010
Š 2010 Fashion Communication Dept., NIFT, New Delhi. All rights reserved. No part of this publication may be reproduced in any form or by any means, electronic or mechanical, including photocopy, recording or any other information storage and retrieval system, without prior permission in writing from the publisher. The view expressed in the document are only of the authors and in no way represent the views of National Institute of Fashion Technology.
Concept ideation and actualisation: Ms. Dimple Bahl Publication design and compilation: Ms. Renee Singh Copy editing and text compilation: Ms Anupreet Bhalla Dugal Published by Anamaya Publishers
E-Mail: anamayapub@vsnl.net
www.noncomposmentis.in
now playing NCM Language defies reason and defines it, a continuum divides space and time, walls close in to make more room, the loudest sound comes from the greatest mime, when equilibrium so sane loses to an imbalanced rave, non compos mentis shall live on beneath its grave.
Foreword from Director General Education plays a fundamental role in the development of any nation. History is witness that nations not recognizing the importance of education lost out while education played a key role in the success of the developed societies. An emerging country like India faces many challenges relating to education. Some of these challenges are: how to better the educational opportunity, and to find ways to deal with educational dilemmas of Indian students. National Institute of Fashion Technology has been playing a pivotal role in envisioning and evolving fashion education through a network of professionally managed Centres. Today, NIFT has spread its wings across the country and has emerged as a unique learning institution of Design, Management and Technology. Laying emphasis on modulating the curricula in sync with the needs of the modern day industry, NIFT has been spearheading fashion education and academic leadership for over two decades now. Aligning itself with the vision of NIFT is the Department of Fashion Communication, striving to instill creative and critical thinking skills; intercultural competence; and social & global awareness within its students. It is that time of the year again, when another set of young professionals is ready to step out to rekindle the quest for ‘new’. It gives me great pleasure to congratulate the graduating Class of ‘2010 from the Department of Fashion Communication, New Delhi Centre. With the second edition of ‘Non Compos Mentis’ – a compilation of Colloquium Papers of the Class, the faculty and students from the Department have yet again confirmed unparalleled potential to delve into advanced research relating to issues concerning the communication industry.
Rajiv Takru Director General, NIFT
Foreword from Director Having taken charge rather recently, the concept of fashion education and its community has faced me with brilliant orchestration of young minds. National Institute of Fashion Technology-New Delhi, powered by knowledge and industrial practice, provides the right impetus to foster the growth of well-rounded professionals in Design, Management and Technology. The Department of Fashion Communication puts forth a balanced understanding of the industry – a stimulant to building a complete professional. The cognitive pedagogy lays foundation to creating the ‘right product’ for the ever-changing fashion world. I congratulate the faculty from the Department for their concerted efforts. The intended reader is presented with ‘Non Compos Mentis’, a compilation of student Colloquium Papers from the Fashion Communication Department, New Delhi. This is the culmination of advanced research undertaken by the students and is intended to give students an opportunity for self-initiated thinking, research techniques and introspection. The tools of education have long served a single purpose, that of transmitting knowledge from people to people. I hope that the young graduates forward their learning to every entity of Design, making this world more worthwhile. My best wishes to the class of ‘2010.
Rakhi Gupta Bhandari, Director – NIFT, New Delhi
Address from Dean National Institute of Fashion Technology, a Centre for excellence and innovation in Fashion Technology constantly strives to create a cohesive, stimulating environment of opportunities for young minds. The institute lays emphasis on imparting a wholistic educational experience so as to instill multi-dimensional capabilities in young professionals that are integral to the dynamic world of Fashion. To meet the diversified needs of the Fashion industry today, the department of Fashion Communication provides its students with a competitive edge by juxtaposing teaching methodology with Fashion Business. It is with pride that I congratulate the graduating Class of 2010 from New Delhi Centre. A group of 29 students with all the requisite professional skills are ready to pursue successful careers in the Fashion industry. I would like to congratulate the faculty and staff from the Department of Fashion Communication, New Delhi, who have yet again enabled the process of carrying forward the vision of NIFT. My best wishes to the graduating class.
Prof. Banhi Jha Dean – Academic
Address from FC Chairperson The ever-changing world of Fashion makes the work of the young communication designers more challenging. They have to be always in search of their creative best. With the market overflowing with multifarious Fashion brands, it is important for each one of them to reach out to the consumer in the right way. This makes the Fashion Communication students most important and relevant in the present scenario. At the Department of Fashion Communication, the analytical ability and creative aptitude is nurtured in great detail. A Fashion Communication student is trained to cross multiple phases before reaching the final stage where the Graduation Project is undertaken in the chosen area of interest. ‘That’ makes the graduates of this Department well rounded professionals. And, no wonder they are the most sought after in the Fashion industry. I wish the students success in their area of specialization. I sincerely hope that the quest for new and the desire of achieving the best stays with them forever.
Vijay Dua Chairperson Fashion Communication
introduction For literary buffs, its familiar territory. For those not inclined towards the printed word, it is still interesting. We present to you the Macguffin. It is a plot element that draws the viewers’ attention or drives the plot. So do we have yours, already? At the fashion communication department, chaos works. The noise generated by chaotic ideas bubbling through creative brains is the soundtrack of our annual presentation, Non Compos Mentis. It is our annual Momentary Lapse of Reason. A celebration of the creative cacophony that is our daily life. A tip of the hat to our MacGuffin, the Chaos that orders our ideas into something cohesive, something others won’t merely label ”Art” and be done with it. So, at the risk of repetition, we present to you, fresh off the oven, another edition of the Department of Fashion Communication’s Non Compos Mentis. WE decided to give it a bit of an intellectual twist, to find the order that is so difficult to find in chaos, and after drowning in a sea of ideas, we surfaced with the Macguffin. There were the vortexes that threatened to capsize the whole project (a clash of ideas armed with egos can be quite dangerous), but what has emerged, slightly bruised and battered, yet glowing with the sweat and toil of creation, is spread out in all its glory in the following pages. We hope we have been able to make some semblance of order from the reigning chaos. We trust that our momentary lapse of reason will give you enough food for thought to try and understand the method behind the madness. We fervently pray that it will spur you to try and see what further lapses of reason on the part of those responsible for the content of the book can do, specifically for you. Enough said, take a deep breath and let loose.
Dimple Bahl Assistant Professor - Design Center Coordinator Fashion Communication Department National Institute of Fashion Tecnology
now playing NCM
Vijay animator Dua Dimple overall Bahl Preetha inspired Hussain Pika organizer Gupta Anupreet journalist Dugal Renee graphic Singh Special Role: Ms. Neenu Tekchandani
undertrail?
* the sky won’t fall
case #01
NON COMPOS MENTIS 2010 National Institute of Fashion Technology
Fashion Communication Dept., New Delhi
poornima sardana Storytelling in the age of pluralities Design Philosophy: Design is directly proportional to living, each task is therefore a hyper reality in life, with kaleidoscopic views, experiences, explorations, and perceptions as held in that instance of space and time.
Experience:
Interests:
Contact:
Dragonfly Innovations; Katha; Happily Unmarried
Narratives, Illustrations, Comics, Toys, Games
poornimasardana@gmail.com
Storytelling in the age of pluralities Its past, present and future Narrative is a form that will exist as long as the human race does, because it is a deeply rooted inheritance of the human mind. It is basic human psychology to arrange events in a narrative set against history, geography or culture. It is the satisfaction of the “I” in each, be it the author/narrator/artist/designer/audience. One can find one’s place in the narrative (role-play, catharsis, choice, solutions) by either placing oneself in the narrative or observing it from outside, and at times both.
In a basic plot, the narrative can be imagined, manipulated, and interpreted by each successive storyteller, depending upon the context. Creating fantasies, de/re-construction of beliefs, instilling inquisitiveness, manipulation and mobility of other times and places, replacing one phenomena or one sign with another, narratives are ever evolving. What started as an oral mode of communication (expression, information, sustenance, tradition, entertainment, education), with the advent of travelling troubadours, the varying concepts of entertainment and aesthetics, community and culture, storytelling gave birth to folk Art/s and theatre that banked on it as their lingua franca. Innumerable genres, styles and media emerged, and it is today
omnipresent through multiple sensorial experiences, be it virtual or real. In this paraphernalia of Advertisements, Museums, Exhibitions, Events, Restaurants, Games, Installations, Interfaces, the narrative form is being employed in both tangible and intangible forms for its ability to engage the audience and to inform or educate with individual perceptions and intimacy. The use of signs and symbols, the creations of myths, building new constructs, understanding existing ones, following the author or exploring with the narrator, solving or participating, the characteristics of stories are ultimately defined and deciphered relative to the context of the audiencesociological, psychological and physiological.
As a form of storytelling, a medium that has since its advent (an example: Kaavad from India) been a part of the popular culture and is considered one of the most intimate, interactive and experimental forms, is ‘The Comic’. From comics to graphic novels and web comics, where the context, the engagement, the interplay of words and pictures are played with for a more defined purpose, they have had a long journey of evolution with changing times and needs. It could range from an expression of fierce emotions to education in chemistry; from entertaining children to addressing adults. A catalyst to their increasing popularity is also the internet, which is today the new community centre, the new society, which creates virtual spaces for people to meet, read, create and share. The world of narratives is there... enter as you can and wish to.
Then which direction will this medium now take, having already brought about a pop cultural renaissance around the world? Will there be more interaction or is it just a playful gimmick? Will comics and graphic novels aid in the increasing mobility of societies around the world? Creative common licenses, revival of folk Arts and Crafts, awareness on education, rights to means of learning, this wave of freshness is very well evident in the print media too, where post-post modernistic influences, interaction, techniques, montage and juxtapositions are to be seen.
emerging and will grow with the advent of transmedia and multimedia storytelling. Every Communication can have a past and a new present. What had a meaning yesterday, will continue to have so today, if seen in light of its original context. However, if a narrative/ story were to survive its present local or global environment as belonging to it, then it would have to evolve. In this age of co-existence, comics and graphic novels seem to have indeed gained their space besides their literary and artistic contemporaries. Perhaps Dali’s prediction did come true!
Having faced discrimination for long as a medium for children, issues ranging from politics to rash driving are dealt with in comics and graphic novels today. We live in a world that is like a constantly organic and mobile capriccio, and to comprehend any narrative from its kaleidoscopic and multidimensional presence to being narrowed at a given place and time, we in our minds build the context around it that alienates or connects it with the many others. There are different universes of stories that are
01/29
Storytelling across varied mediums
NON COMPOS MENTIS 2010
food for thought
case #02
NON COMPOS MENTIS 2010 National Institute of Fashion Technology
Fashion Communication Dept. New Delhi
tania jain Emotion & Design Design Philosophy: Communication needs to be effective, whether that means bringing the message upfront, or making the user go round and round to understand the final meaning. What does not change is subjectivity towards the desired perception, and the person involved, that is, the consumer.
Experience:
Interests:
Contact:
Creea Design; McCann Erickson; Design Bar; Dev Kabir Malik Design
Branding and Publication Design
ainat.2503@gmail.com
Emotion & Design Understanding the connect Rise in technology has left little attachment between the consumer and the product. With the increase in emotional insecurity among today’s consumer and availability of products with similar attributes with the only truly differentiating factor for them being the aesthetics of the Design; the feelings that connect have become most important. This leaves us with an interesting insight to gain about how emotional incorporation can affect different aspects of our life. Probably the most direct meaning of ‘Emotional Design’ is, incorporating emotions in Design.
That is, Design does not need to be only a logical and functional solution to a problem, but also attract feelings and emotional reactions from prospective users, either overtly or sub-consciously. Emotions of the designer also reflect on the final product. ‘Co-Creation’ is one of the strongest points that this field of Design advocates. Having your user tell you exactly what he needs and expects from your Design helps reduce the possibility of the Design being rejected at the end. Speaking of people-centric design, organizations like IDEO have made huge leaps in terms of strategies such as personalization of products and services. This makes users connect to the Design at a sub-conscious level, thereby making them want to keep the product with them as long as possible. This prevents users from
replacing products from time to time. Design thinkers feel that adding this emotional value, hence, can contribute towards a more sustainable lifestyle. According to Dr. Donald A. Norman, author of books like ‘Design of Everyday Things’ and ‘Emotional Design-Why we Love or Hate Everyday Things’, there are three levels at which human beings are affected by a Design. These are-‘Visceral Design’ catering to the appearance of things; ‘Behavioral Design’ pertaining to the performance of a product in use and ‘Reflective Design’ is relating to the emotional meaning that a certain product holds for the user. The implementation of Emotional Design to solve Design related issues can be seen in some recent methodologies. ‘Body-Storming’ is a design methodology where the designers get the product/design actually used in a
contextual situation by target consumers and fellow designers through role-play. The fact that the consumers are involved at the development stage itself helps identify problem areas and also improvise on the Design in the beginning only. Cognitive and emotive qualities are not only inseparable but also inter-dependant. To leave out one of these from a design process will be equivalent to stripping the consumer of a fundamental need. The truth is, people strive to express themselves as much as they can, and are attracted to everything that seems to understand their needs and desires. Fulfilling this requisite makes a design/product/brand/organization/entity or even an individual special; something/ someone that people want to be associated with. Hence, it becomes very important for designers to realize this potential of human
emotions and make the world a better place by careful use of this understanding. To quote Dr. Norman, “When something gives pleasure, when it becomes a part of our lives, and when the way we interact with it helps define our place in society and in the world, then we have love. Design is part of this equation, but personal interaction is the key. Love comes by being earned, when an object’s special characteristics make it a part of our daily lives, when it deepens our satisfaction-whether because of its beauty, its behavior, or its reflective component.”
02/29
Untitled, Pranoy Sarkar
NON COMPOS MENTIS 2010
face off
case #03
NON COMPOS MENTIS 2010 National Institute of Fashion Technology
Fashion Communication Dept. New Delhi
isha nagar Dilli Ab Door Nahin Design Philosophy: Design is made up of five senses, namely-smell, touch, sound, sight and speech. When you observe a particular Design, you can breathe it, you can hear it speaking to you, you can feel it as it dissolves in you. I relate to Design and drown in it.
Experience:
Interests:
Contact:
Karadi Tales; Happily Unmarried
Illustrations, Graphics, Photography
isha.nagar16@gmail.com
Dilli Ab Door Nahin Delhi’s Visual Culture Beginning with the word ‘culture’, it is agreeable that it can be related to many other terms such as traditions, customs or its Latin word “cultura” from which it is derived. It may consist of values of different religions; it may have originated from the various practices in different regions. Also, visuals are most easily registered in our minds with sounds and smells accompanying it. Thus, the visual culture of any place is considered to be the identity of the place, what we associate the place with and how we recognize it later.
It depends on various factors and entities such as the environment of the place, the people living there and all that includes the visual elements that exist in the place and have been an integral part of the society for a long time. We consider institutional, economic, political, social, ideological, and market factors. There are different media to represent the visual culture of a place such as graphics, advertising, photography, architecture, print, television, the web etc. It is the understanding of a Culture through imagery which is relevant and selfexplanatory. Speaking of Delhi, its culture is a very composite one and complicated to understand. It presents to us a very varied landscape of numerous visual elements which are present all over the city. Delhi is a cosmopolitan, cross-cultural hub of people,
languages, dialects, colors, sights. Delhi’s historical past can be traced back to the times when the city had seven different names before becoming Delhi. Today’s Delhi lies amidst the traditional street culture and the runway showings. Hence, there needs to be a system which can serve as the identity of the entire city of Delhi, which means to compile the whole visual imagery of the city to form one identity which is self explanatory and explains Delhi visually through one style of image-creating. For this, an initial study of the Indian customs, traditions and handicrafts was a necessary step to have the basic knowledge about the scenario being looked at. Moreover, considering that images can be categorized into two, namely the religious and the social, a study of both aspects of the city was a requisite. It was then concluded
that the city’s identity must reveal its strong cultural background such as the Art and Craft. Taking into account the revival of Indian traditional Craft in contemporary Design and its growing popularity, a need to direct the potential to the right path arises. The outcome of the study is a promotional kit and a common visual identity for Delhi based on its culture. The basic idea behind the deliverables was to bring people closer to what exactly Delhi is, to the very soul of the city which everyone can connect with. Hence the title, Dilli Ab Door Nahin. It is targeted to the tourists and the local residents. To summarize, one can point out that Design and Culture exist in cohesion. Design can be related to culture broadly and culture can be designed in a manner which suits people.
Illustration: Isha Nagar
03/29
NON COMPOS MENTIS 2010
sinful delight
case #04
NON COMPOS MENTIS 2010 National Institute of Fashion Technology
Fashion Communication Dept. New Delhi
kashish mathur The funny & the catchy Design Philosophy: “Humour in advertising is like a gun in the hands of a child. You have to know how to use it. Otherwise, it can blow you up�. - Miller
Experience:
Interests:
Contact:
JWT
Copywriting
kashish_mathur@yahoo.com
The funny and the catchy Humour in advertising The world of advertising has inflicted upon tremendous amounts of emotions in each individual that it reaches to, through its various mediums with which it strives for attention and seeks publicity. Beginning with the influence of emotive elements in advertising, I delved into studying the practice of using humour in ads. Emotion-based advertising speaks the primal tongue. It communicates through design and color, motion and stagecraft, music and tonality. Many of the most memorable ad campaigns that have been created tend to be funny. Audiences like to be entertained, but not pitched. The key to funny advertising is assuring the humour is appropriate to both product and customer. Humour in advertising tends to improve brand recognition, but does not improve product recall, message credibility, or buying intentions. One of the major keys to a successful humourous campaign is variety. Once a commercial starts to wear out there's no saving it without some variation in the concept. The various types of humour include comparison, personification, exaggeration, pun, sarcasm, silliness and surprise. The impact of humour on advertising is unmistakable. It makes an advertisement memorable. Day-to-day products are considered to be most suitable for humour in advertising, since one does not need much information to buy these products, and they are not status symbols. A data analysis was
done through a survey with a sample size of hundred people within the age bracket of 15-70 years, and their social stature varied from semi-urban to urban. It validated the conclusions I arrived at. People were questioned to test the brand recall value of advertisements which were humourous. Most people remembered the brand of the humourous ads compared to those with a serious tone. The majority felt that humour left a bigger impact on them through advertisements, which in turn led them to test that particular brand. Moreover, there were no differences between the male and female responses whatsoever. Through the span of internship, I had the opportunity of implementing my research by creating a humourous version of each brief, I got as a copywriter in an esteemed advertising agency and eventually, all the humourous ads grabbed the attention of a serious client like Nokia.
These ads were meant for the masses and appealed to the needs of a common man through simple humour. A hint of surprise was included with the comical situations. Husband-Lakshmi suno to... Wife-Kya baat hai? Husband-Hum tujhse kuch kehana chahte hain... Wife-To bolo, Husband-Hum kah rahe the... ...naaraz to nahi hogi na... Wife-Arre bolo to sahi, Husband-Hum kah rahe the kii...pakka naaraz nahi hogi ? Wife-NAHI! Bolo to sahi kya baat hai... Husband-Hum kah rahe the...ki ...Lakshmi, I love you, from the bottom of my heart. You are my soul mate and I want to be with you forever and ever. Ab angrezi mein patana hua aasaan, Nokia Life Tools ki education service jo hai hamare saath.
04/29
Untitled, Jaipur, Vidisha Saini
NON COMPOS MENTIS 2010
cause & effect
case #05
NON COMPOS MENTIS 2010 National Institute of Fashion Technology
Fashion Communication Dept. New Delhi
jyotsana singh Cause & affect Design Philosophy: It’s all about being aesthetic and functional. To me, Design must connect to the user/consumer. If it doesn’t, then it’s an opinion unheard.
Experience:
Interests:
Contact:
Ideo Sync Media Combine; MTV
Art Direction
sweetjyotsna.jyotsana@gmail.com
Cause and affect Public Service advertising and its influence Advertising is a powerful tool capable of reaching and motivating a large audience. The objective of the undertaken research is to analyze the impact of advertising when it is made a part of a social cause campaign. NGOs and other agencies that work for the social benefits, generally depend on the little time and space donated by the media. This donated media space often airs the ads at ineffective time slots and thus, the messages do not reach their intended audience.
Public Service advertising is defined as the use of commercial advertising techniques for non-commercial purposes. An effective Public Service ad is relevant to its audience, interesting or entertaining and leaves the audience with a message that can be summarized in a single declarative sentence. By looking at some recent ads, I could deduce that it is not all about the quality and price; an ad needs an excellent vehicle of presentation along with being for a good cause. To get the public perception of this advertising type, a survey was conducted and the results showed that using advertising to create awareness for social issues really affects people. When asked whether they remember any Public Service ad from the multitude of other ads on television, radio and magazines, the reply was positive. People generally respond to those advertisements which offer them
some tangible or emotional benefit. They pay more attention to Public Service ads as compared to the regular ones. Most people believed that the issues that need attention are environment or women emancipation related.
picture of a woman who is hung by a rope in her neck. The image was put up at unusual places like on a car door handle, bikes and tea-bag tags! However, the campaign was so disturbing that its impact was completelylost. As a result it was not as successful.
In a conversation with NGOs, it was found that although these organizations are keen on using advertising to promote their cause, they are forced to adopt economical ways. Through ad agencies it was inferred that social organizations with low budgets get less attention and sometimes unfair results.
Hence, I took the above case study further and created an ad campaign for the same issue. Considering the Indian scenario, if young, educated men are the prospective, target audience, then a change can certainly be catalysed through an effective ad campaign.
One of the social evils which most people think needs to be eradicated and for which, unfortunately, there are not many advertisements is, dowry eradication. Vimochan Development Society, a Bangalore based NGO issued some advertisements in this context. The theme of the campaign was “hung in public�. The campaign used a
05/29
Untitled, Pranoy Sarkar
NON COMPOS MENTIS 2010
on a roll
case #06
NON COMPOS MENTIS 2010 National Institute of Fashion Technology
Fashion Communication Dept. New Delhi
divya bhardwaj Homosexuality in India Design Philosophy: For long we have been trying to classify ourselves as textile, product or graphic designers forgetting the fact that a designer is not just a creator of objects, but is an enabler of experiences. According to me, it is this idea of experience that should be the starting point and focus of Design. It is time we no longer design for a customer but an audience-a viewer or a user and strengthen the humanness within Design.
Experience:
Interests:
Contact:
Happily Unmarried
Graphic Design, Illustrations
divyabhardwaj03@gmail.com
Homosexuality in India Celebrated or castigated? Human Nature is essentially a set of characteristics, including ways of thinking, feeling and acting, which all or most humans have in common. A lot of it is a result of the society we live in and the norms set by it which impacts every individual differently. On the basis of the impact the society has and the nature one is born with (determined by the genes), an individual tends to make his choices, his decisions and has a certain behavior. Sexual orientation of a person is one of such behaviors. Even though it is essentially a part of human nature, homosexuality and bisexuality are very strongly shunned in today’s times.
Studying different literatures, paintings and temple sculptures, helps one decipher the homosexual context and homoerotic connections in the same. In spite of liberal sexual attitudes in the past, in the modern times, Indian thought about sexuality and gender has been shaped by many factors, including religion and the influence of various ethnic groups. Secondary research reflected that under British rule in 1860, sodomy was outlawed in India. Section 377, introduced by Lord Thomas Babington Macaulay in 1860, punishes “carnal intercourse against the order of nature� with either imprisonment of upto ten years or life and a fine. In the year 2008, this Section was legalised. This Act by the judicial system of India is reflective
of changing ideologies and the changing dogma, and has marked the onset of a new era. The decriminalization of Section 377 was subject to a lot of discussions through out the country and had to face a roar of disagreement. Through the course of my study, I have made an attempt to understand the role I could play as an informed individual from the field of Communication Design, with relevance to this context.
were aware about homosexuality; though a set seemed to demean homosexuals; while there were a few who were concerned with the state of homosexuality in the country. The survey made it clear that the impression of considering homosexuality a disease or something abnormal stems from a clear lack of knowledge and ignorance. It is crucial to reach out to people, educate them that homosexuality is natural.
I conducted a survey, on a sample size of 100 people with an objective to assess their awareness and acceptance of homosexuality and also to assess their attitude towards them and their rights. The survey was targeted to the age group of 15 years to 25 years, living in the metros and tier two cities. The results showed that the audience
As a solution, I propose, a visually stimulating campaign focused on making the target audience feel at ease with same sex love and the idea of looking at it and having homosexuals around them. It is vital to take a step at a time and thus, first try and eradicate homophobia and eventually serve the target set of people with facts about the same.
06/29
Untitled, The Pink Boys, Vidisha Saini
NON COMPOS MENTIS 2010
oink?
case #07
NON COMPOS MENTIS 2010 National Institute of Fashion Technology
Fashion Communication Dept. New Delhi
romit roy Gaming for the next level? Design Philosophy: ‘Sound’ Design is schematic, sensitive and serves an end.
Experience:
Interests:
Contact:
Debenhams, Delhi
Visual Merchandising, Retail Space Design
romitnift_fc@yahoo.com
Gaming for the next level? Character illustrations in 3D In recent times, gaming has become a major source of entertainment for the youth. In modern video games, artists create Concept Art, textures, three-dimensional models and animations. Under the direction of an art director and game designer, the look of the character is designed through Concept Art and rendered to be integrated into the game. They are also responsible for designing the background, props and any other visual effects to be used in the game.
There are numerous game developing and publishing companies all over the world which produce extremely innovative games that use high-end technology. They have reached new heights in term of graphic details as well as in producing role-playing characters for the games.
games and characters most enjoyed by people in India, a survey involving a hundred people was conducted. The finding indicated that people like games with characters of Indian origin. More specifically, they find characters from Indian mythology the most intriguing.
Gaming in India is at a nascent stage but it is emerging strongly. Gaming is as popular in India as in any other country of the world. But, when it comes down to producing them, we lag far behind. Recently, India produced two games, Ghajini (based on an Indian movie of the same name) and Agni, which has a female lead character played by an Indian actor and model, Malaika Arora Khan.
The research led me to create characters that are inspired from Indian mythology and are relevant to the contemporary gaming scenario. The plot of the game will be an implication of the age old Indian mythological philosophy of ‘victory of good over evil’.
As a part of the research, I studied some of the latest international games like ‘Assassins Creed’ and ‘Resident Evil 5’ which are very strong and appealing in terms of characterization. To identify the kind of
Plastic & Us, Vidisha Saini
07/29
NON COMPOS MENTIS 2010
time tested
case #08
NON COMPOS MENTIS 2010 National Institute of Fashion Technology
Fashion Communication Dept. New Delhi
diya sahgal Communicating a Craft Design Philosophy: Design is not frivolous, nor superficial but a reality in this real world. Design, in my vocabulary refers to a process which consists of simplifying, organizing and structuring or restructuring given resources in order to elicit desired results.
Experience:
Interests:
Contact:
Platform Magazine; Fashion and You; Medcare India; Grafiosi; Saaj
Fashion Writing, Brand Management, Research and Documentation
diyasahgal@gmail.com
Communicating a Craft Parsi embroidery India, a country of diverse cultures and traditions, possesses a valuable treasure of textile crafts. Unfortunately, most of this industry remains unexploited and ignored till today. The textile crafts of India form a strong socio-cultural force that have the potential to drive the economic mainstream of our country. The problem, however, is that these precious crafts do not have the strength to sustain themselves against the face of urbanization and industrialization.
More often than not, our ignorance leads to the death of yet another Craft and the permanent migration of another group of craftsmen. This research paper explores the various ways in which Communication Design can play a role for the survival and revival of any Craft and then focusing on Parsi Embroidery. There are two distinct traditional Parsi textiles that are a part of their history; Tanchoi which refers to intricate silk woven fabrics and the Parsi Gara or Garo, which refers to a satin sari with its length fully covered in embroidery. An amalgamation of Indian, Zorastrian, British, and Chinese motifs, the embroideries form a precious documentation of this historic era.
the interest in Gara embroidery has been rekindled. While some have made the effort of restoring old borders onto new fabrics, some designers have revived the craft by replicating motifs with traditional techniques in their work. After having studied Parsi Embroidery, both, in its original context and in the current scenario, it can be concluded that although there has been a praiseworthy attempt to revive the Craft, it has stagnated over a period of time.
Based on the research and the gathered results, a promotion module was charted, beginning with the organization of the Craft by delegating authority, managing the craftsmen and setting goals & objectives. Unfortunately, over time Garas became Next, the basic objective of the strategy was cumbersome and inconvenient within the decided by choosing between the craft and changing world. This led to the gradual decline in their demand in the early twentieth the craftsmen. Often the two are understood to mean the same; however the craft and century. In the past few decades, however,
its craftsmen are essentially separate entities and must be treated differently. The need for contemporisation of Craft was identified. It is important to understand the degree of contemporisation that can be permitted before the distortion of the Craft. Then, the market segmentation was clearly understood. After going through the aforementioned processes, all that is left is idea generation, creativity, imagination, innovation and intelligent execution. Gradually, a selling strategy with a unique proposition, that appeals to the target customer and helps achieve set goals and objectives with regard to the craft, is developed and put to practice. The purpose or the ‘concept’ should try to offer the Craft in a new garb that is not only appealing, but also befitting in a contemporary setting, so that it can further survive and sustain itself through upcoming and even unforeseen socio-economic
changes in society. At last, the execution and practical application of the final strategy will speak for itself. And, in order to assess the degree of success, one will have to analyze the influence of the strategy and the positive and negative changes brought about by it. It is important to note that each Craft is distinct and may have to be treated differently, however a common strategy such as this will assist in achieving the first stage of promotional activity; of increasing awareness and of creating interest in the Craft. Parsi Lady Wearing a Gara 1
Parsi Lady Wearing a Gara 2
08/29
NON COMPOS MENTIS 2010
chew on this
case #09
NON COMPOS MENTIS 2010 National Institute of Fashion Technology
Fashion Communication Dept. New Delhi
surbhee gupta Unveiling Sanjhi Design Philosophy: I am a student of life. The science of stars and the three dimensions fascinates me. This propels me towards exploration and experimentation arriving at ‘Sound Design’.
Experience:
Interests:
Contact:
Ogilvy & Mather; Trident Exhibitions Pvt. Ltd.
Exhibition & Display Design, Visual Merchandising, Copy Writing, Research, Photography
surbheegupta@gmail.com
Unveiling Sanjhi The traditional Art of paper cutting Paper craft has been considered one of the most simple, yet beautiful and astonishing expressions of human creativity. Paper was invented in the 2nd century AD and gradually, paper products were used as ornaments, in celebration, and in decoration of homes. The designs depicted the beliefs, customs and lifestyle of the people. Sanjhi was traditionally used for devotional purposes, to make Rangoli in temples and homes. The context and meaning of Sanjhi has gradually changed over the years to adapt itself according to the modern market.
Though this has facilitated the survival of this Art form, it has also led to the Craft becoming more susceptible. Sanjhi is a ritualistic form of Paper Art which involves cutting stencils to make a rangoli, using coloured powder and flower petals. The Art originated in the towns of Mathura and Vrindavan along river Yamuna in north India; which is the legendary birthplace of Hindu Lord Krishna, around which revolves the concept of Sanjhi. There are three ways of making a Sanjhi-on a mud platform; on water (floating Sanjhi) and under water (submerged Sanjhi). In Mathura, which is the hub of the craft, there is only one family now which is practising the craft commercially, the Verma family. Lately, the craft has lost the respect it deserves from the local residents. The craft
documentation reveals that two decades ago, the Craft was faced with a crisis situation, wherein the families’ survival was threatened. It was the timely intervention of Craft Council of India and Delhi Craft Council that stabilised the financial condition of the craftsmen. They helped in marketing and branding the products to make the craftsmen as self sufficient. Sanjhi has undergone major transformations in every imaginable aspect. From being a work of Art produced with flowers and coloured powder, the stencil itself has become the main product. From being revered and used in temples, it has become an Art form that is largely decorational. The designs and motifs have undergone transformation to appeal to the sovereign design sense of the modern day consumer. Sanjhi stencils are sandwiched between
sheets of glass or acrylic, or laminated before being used. The products available in the market include coasters, serving trays, table tops, wall hangings, lamps, magazine holders, diary covers etc. In order to study the Craft and the craftsmen, to understand proper design intervention and the modern market and the future prospects, personal interviews of the craftsmen, design entities under the canopy of Craft type and end users was accomplished. This study indicated that the organisations believe that Sanjhi should be more open to changes in concepts, motifs, and materials. Others believe that it should revert back to being a little more grounded, as dilution will make the craft lose its identity. But, for the craft to withstand urbanization and industrialization, change is vital. Steps can be taken to uphold the
identity of the craft even with the changing aesthetics and demands, market threats and western influences. The consumers can be informed of the value of the craft by making them aware of its origin and manufacturing. Simplified stylization can also help reduce the cost in the low-end products. The intricacy and neatness of the craft can also be altered. Some steps which can be taken in this direction are registration of a trademark for being hand-made, organisation of workshops for the design sensitive community in the metros and collaboration with performing Arts such as shadow puppets. For a start, a small scale Sanjhi workshop for the children has been planned. This would be succeeded by workshops on a larger scale, with funding from interested Design and Non-Design entities.
09/29
Sanjhi Table Top (Amsoft office, Gurgaon)
NON COMPOS MENTIS 2010
pin point
case #10
NON COMPOS MENTIS 2010 National Institute of Fashion Technology
Fashion Communication Dept. New Delhi
vidisha saini Contemporary Indian photography Design Philosophy: Photography is a Visual Art medium transcending boundaries of normality and common vision to being a way of life and everything our lives revolve around.
Experience:
Interests:
Contact:
Bharat Sikka; Fairmail; Art & Deal; featured photographer on blindboys.org; recognition by FTV & FDCI; Group Shows (03)
Photography-practice, writing, education,research & curation
vidisha.saini@gmail.com vidishasaini.wordpress.com
Contemporary Indian Photography Its positioning in the art market ‘Photography’ has such a wide usage, that even though it demands a singular identity it cannot be well defined. A photograph is a singular piece of work with multiple characteristics, and while accepting a photo-graph you need to accept it as a whole. Photography is a simple thing; photographers are not. After a performance they tend to move it under a sub-heading, or a sub-sub-heading, some even further. Photographers also tend to take responsibility of how the viewer should react, or what should he perceive, it is like taking responsibility of what he wears or what he eats.
Photography has a history of around 180 years, with the number of questions increasing every time we have a new technology or a new photographer. Debates on whether photography is Art or Commerce, have died their own deaths about forty years back in the West. Whereas, Indian photography is the still not as well defined and then it fails to distinguish between vernacularism, amateurism and professionalism.
has gotten bigger not just in India but world over. There is a demand for conceptual Art in the market. It is a very crucial stage, but our foundation seems weak, therefore the lead of the Indian Art market over the globe may leave Indian photography having a very short life span. With the speed at which photography is growing all over the world, it seems as if the true essence of it in terms of photography itself will change, and also loose its own power. Ten years ago when digital was not a rage, then learning technicalities was a tedious, expensive and a long process; and knowing that was enough to make you a photographer that time. But, in today’s scenario, knowing technicalities is not enough. Creativity and conceptualization is important.
The history of Indian photography boasts of many successful photographers whose work was inspired by the nation itself. In parallel, there was another breed of photographers that was taking form, those who were studying the subject in western, mostly American Art Schools. Today, as the paintings have become more expensive, the collectors While we intend to build a stronger are buying photographic prints. Photography photographic culture, we also need to have
strong social and cultural influence on this visual Art medium. We need to concentrate on what is ‘Indian’ in Indian Photography. To study, our origin and the society we live in, our approach to things around us, and how we interpret them, I made a few children photograph their everyday surroundings. The age group varied from 4 to14 years, with the average age being 8years. The influence of cinema on its audience; impression of beauty; of relationships; childhood dreams; all was interpreted in the form of a photograph. It took them less than ten minutes to explain what they exactly wanted, and I handed them the camera. Being a witness to what, when, how and why, did the child take a particular photograph, amazed me. In such less time each one of them built a photograph which had a worthier concept, and also a very strong subjective force into it, which gave an incredible result. At this
Untitled, Unvoiced, Vidisha Saini
stage, Indian Photography is presenting itself alongside the works of contemporary artists from various other nations. We need to build a force which is Indian not only in its location or artist’s origin, but also carries with it the content originating from our cultural and social values.
Along with education, exposure, publication, if there is an intuitive approach towards photography, it could help us build a better, stronger and a more powerful photographic culture in India.
10/29
NON COMPOS MENTIS 2010
view point
case #11
NON COMPOS MENTIS 2010 National Institute of Fashion Technology
Fashion Communication Dept. New Delhi
pranoy sarkar From Pinhole to Pixel Design Philosophy: Designing is an automated programme which runs in me before pressing the shutter. It is an undefined conscious, not always to make something look beautiful, but to make it more meaningful. I believe in the butterfly effect, which keeps me going.
Experience:
Interests:
Contact:
Tarun Khiwal; Rajesh Pratap Singh; Manish Arora
Illustrations, Graphics, Photography
pranoy04@yahoo.com http. pranoysarkar.wordpress.com
From Pinhole to Pixel Innovations in the realm of Art and Photography The foundation of photography lies in the roots of an extensive history. Taking off from its initial years, photography has matured into an indispensable form of Visual Art. It saw the emergence of modern photography and then the advent of postmodernism. Considering the digitalization of photography, it can be stated that both, digital and traditional photography, complement each other, both having their own benefits and shortcomings, and the world of photography has room for both.
Art, a timeless and progressive entity, is subjective and there are innumerable ways of expressing it. Digital photography is merely a tool for modernisation and a testimony to the growth of photography. On studying and analysing the culture of photography in India, it was observed that even in the wake of the numerous explorations in terms of these styles and techniques, Art and Photography are still separated by a fine line of commercialization. A number of factors play a part in deterring the growth of photography in India. There are a few dark areas, still ignored, and mostly unattended in the framework of contemporary photography. One of the chief problems is the improper photography education, which in turn amounts to the lack of an in-depth study of its history and evolution. It seems incorrect to portray an image, without its complete understanding. Another issue that merits consideration is
the ever intensifying gap between Art and fashion photography. Fashion photography in India has commercialized in a manner which leaves little scope for Art and experimentation. The limited exploration with the styles and techniques causes stagnancy, which leads to monotony. This paper reflects the study on the scenario of fashion photography in India, which, over the years, has not grown influentially. In spite of a number of international fashion publications coming into India in the past few years, the circumstances have not altered remarkably. Even with the increasing availability of modern technology and resources, the experimentations have been minimal. With the digitalization of photography, it was expected that there would be manipulations in an aesthetic style. However, this does not seem to be the state of fashion photography
in India. Aesthetics and Art have taken a back seat, to make way for the growing commercialization. After a methodical study of the history of photography, followed by a primary research on Indian photography, a style of photography was proposed, in an attempt to blend Fine Art with fashion photography, while sustaining its commercial value. The various styles, processes and techniques that appeared in the course of technological developments aided in creating a series of photographs. These images are simply an example of one of the many possibilities of innovations in the realm of Art and photography. These photographs are essentially inspired from the age-old processes of gum bichromate and collodion, in addition to the vortographs.
Untitled, Pranoy Sarkar
11/29
NON COMPOS MENTIS 2010
light it up, burn it down
case #12
NON COMPOS MENTIS 2010 National Institute of Fashion Technology
Fashion Communication Dept. New Delhi
ambika joshi How I learned to stop worrying & love status quo Design Philosophy: Demystify design, blur boundaries between science, design, art, society and individuals. Have fun, learn new things. Be involved in work that engages people socially, politically and emotionally.
Experience:
Interests:
Contact:
AB DesignHabit & Co. Pvt. Ltd.; Comet Media Foundation; Seva Mandir
Design Research, Museum Design
ambikajoshi@gmail.com
How I learned to stop worrying and love status quo Critical Design and Design Practices in India We are constantly trying to make our lives easier. Looking to relax, and calm ourselves from stressful tasks of the day. We are living our lives through these objects and incidents-delegating the responsibility of consumption to another one-yet they seem nothing more than extensions of our own bodies. It is true that Design is meant to make our lives simpler, but at what cost? As designers are we accepting this interpassivity as part of life, and developing our concepts around that? Is this because we too are part of an interpassive world?
Interpassivity is where you delegate the responsibility of consuming an experience to another person or object. This is mostly done by mass media like television and newspapers that direct the audience to react in a certain way. The designer goes through the same phenomenon owing to the media. What is commonly forgotten among designers is the influence that they have on the visual and material culture of the consumer. It becomes important for the designer to be a little fearless and be able to challenge her/his brief. Anthony Dunne and Fiona Raby who coined the term ‘Critical Design’ state that it “uses speculative design proposals to challenge narrow assumptions, preconceptions about the role products play in everyday life”. Critical Design aims to make us think. Its agenda is to be provocative, questioning and
sparking debate through Design. Dunne and Raby believe that Critical Design is more of an attitude than a movement or style. A large part of the Indian Design community works in branding and advertising, and India is posed with the same dilemma as the West. It is perfectly comprehensible that as a nation with over a billion population, our needs and wants are far removed from the West. Mostly, the concepts and concerns that are raised by Dunne and Raby and other designers are of no consequence to designers in India. Yet, while participating in everyday social interactions, politics, corruption, ethical and moral issues, communalism, and regionalism are also part of our daily lives; which as designers we seem to be ignoring. While many students seem to understand the implications of the questioning and thought-provoking nature of
the work that Critical Design could produce, professionals seem to consider the concept detached from the Indian context, and specifically feel that it seems more like Art. Our nation’s fast-paced growth compels us to create systems and situations through Design that will support the demands of our complex culture, create awareness and curb animosity, involve the public in dialogues for social, economic and political empowerment, and address issues of disharmony, communalism, regionalism, corruption and other hindrances in our growth. At this stage, it is important to introduce designers to the idea of Critical Design. A platform is required for designers to discuss pressing issues and how they can be dealt with. And, most importantly to accept Critical Design as an alternative methodology for Design thinking, not considering it to be
Art. For this, a proposal was created, which would be an investigative study of various Design methodologies and approaches, understand them and present Critical Design as one of them. There will be three phases of the project; identification of practitioners of Design, visual representation of my understanding of each designer’s work, methodology, approach and philosophy, and then a common project will be picked, and each designer’s approach will be used to create solutions for the said project. This creates a comparable framework to understand each person’s approach to work. Within this phase an “insert” will be created which will be a non-obtrusive value addition to any given design approach or methodology. It will be mouldable to fit into anyone’s existing approach towards Design. The idea is that if the “insert” is a non-obtrusive value addition, it is easily adaptable to anyone’s approach, so the output is not only a solution for the client but also a contribution towards public discourse. A project on camera surveillance by PLACEBO
12/29
NON COMPOS MENTIS 2010
a type of authority
case #13
NON COMPOS MENTIS 2010 National Institute of Fashion Technology
Fashion Communication Dept. New Delhi
pooja saxena Devanagari Type Design Design Philosophy: Design is not about making things look good. I believe that it is not about adding the cherry on top of the cake, rather it is figuring out the recipe to the cake itself. It is an approach to thinking, which can only be materialized when one works with suitable collaborators and co-conspirators. Most importantly, Design is not about users or consumers, Design is for people.
Experience:
Interests:
Contact:
Katha; Dev Kabir Malik* Design; Motif8
Type Design, Information Design, Research & Content Development
anexasajoop@gmail.com www.poojasaxena.in
Devanagari Type Design In search of a Design brief Typeface Design, like any other form of Design, is successful only when it is a creative solution to an existing problem. The paucity of good quality Devanagari typefaces is an obvious problem. The paper attempted to identify specific issues that a forthcoming typeface in the script could address.
First and foremost, Type was identified as an activity and form that represents cultural identity. The research began with a look at the past-studying and practicing Devanagari calligraphy and lettering, and recognizing the changes the script has undergone during two centuries of colonialism. From here, the research moved towards understanding the contemporary reader/writer of the script, who is now mostly bilingual in nature. To gather this bilingual reader/writer’s interest in Devanagari script, a survey was conducted. A pocket-sized questionnaire was designed with incomplete Devanagari letterforms that had to be identified by the respondents. The respondents were individuals with Hindi as their motherscript and/or tongue; their age ranged from primary school students to seniorcitizens. The survey tested their familiarity with Devanagari letterforms, and more importantly, it gauged their enthusiasm in wanting to get all answers correct.
focus shifted to the relationship of type with technology. Key to this phase of the research was pin-pointing FontShop’s online fontbuilding tool ‘Fontstruct’ for experimentation with modular Devanagari typefaces. This fascination with modular typefaces led to a vast formal exploration of Devanagari letterforms. The intent was to break away from the traditional wooden reed-pen used in Calligraphy and use unconventional tools to stretch the letters to the extreme limits of legibility. Many ideas from this exercise were valued worthy of further effort. The pursuit of these ideas became a parallel activity with the ongoing research. At the end of the research, two main issues were identified-the need for bilingual (or better still, multilingual) typefaces and the lack of comprehensive typeface families that cater to the Devanagari script. This led to the decision of working towards the conceptualization of a comprehensive Devanagari typeface family.
After establishing the interest of the readers/ There are two major categories of Devanagari typefaces-calligraphic and writers of Devanagari script in using it, the
monolinear (also called ‹sans› for the lack of better terminology). In both categories, typeface families only comprise different weights of a single typeface. The challenge was to create a type-family which was more comprehensive still, and made typesetting for publications easier. Martin Majoor’s design methodology of ‹two typefaces, one form principle›, which he developed during his work on the Scala type-family provided direction. The brief was delineated as «To design a Devanagari typeface family comprising of a calligraphic face, in different weights, as well as a monolinear typeface based on the structure of the calligraphic face, also in different weights.
Chaukor & Depot
13/29
NON COMPOS MENTIS 2010
dangerous liaisons
case #14
NON COMPOS MENTIS 2010 National Institute of Fashion Technology
Fashion Communication Dept. New Delhi
ashwinee kumar Eco friendly retail spaces Design Philosophy: Like bulb and rocket and car, good Design will always happen.
Experience:
Interests:
Contact:
Debenhams, Delhi; Fab India; Cantabil International
Visual Merchandising, Retail Space Design
preeyadarshee@gmail.com
Eco friendly retail spaces A study in the Indian context The world is shrinking; technology has brought us to the pedestal where nothing seems remote. With every second that passes by, mankind is unfolding the many ways that were not even considered good fiction about a decade ago. But there is another reason that is causing this shrink, our ability to burn oil, brew chemical pesticides that produce cheap plastic and alloys and generate vast landfills. All these are allowing us to support a lifestyle that is both more luxurious and more destructive than we could possibly afford.
With immense development in all sectors, the growing population has a thirst for well designed consumables, and designers are working towards fulfilling this through varied design solutions ranging from the product to the retail spaces where they are sold. Changes in the way we keep our retail spaces today correspond to the changing consumption patterns of the masses. Today, the retail spaces are a hub of a large number of products, which in turn produce all the waste that goes in landfills every year. On interviewing various eminent retail professionals in the country and studying the activities and management in retail stores, a conclusion was drawn that these stores require ecological solutions so as to minimize its involvement in the degradation of the planet.
Retail stores generate large amounts of recyclable materials, such as office paper and corrugated cardboard. They also throw away large amounts of plastic bags, packing materials and beverage containers. The change can start by educating the consumers and employees about waste reduction through methods like advertising campaigns and increased recycling options. The concept of ‘reuse, recycle and reduce’ must be encouraged. Reduction can be brought about by avoiding buying unnecessary items and by asking the vendors and suppliers to provide items without excess packaging. The vendors too, can be careful with the amount of packaging material that goes waste. Recyclable packaging is always advisable. Products must be repaired or used alternatively as much as possible. For retail stores, all the waste generated during store remodeling
and such activities can be reused for other construction sites. Estimation of all the waste that the store produces should be planned and tactfully recycled. Optimum usage of office supplies and energy saving measures in the store must be adopted. On the consumers’ part, awareness and responsibility are the most called for. Through well formulated guidelines and instructions for both the consumers and the retail stores, sustainable results can be successfully achieved.
14/29
Untitled, An Eventful Year, Vidisha Saini
NON COMPOS MENTIS 2010
four wheels & a star
case #15
NON COMPOS MENTIS 2010 National Institute of Fashion Technology
Fashion Communication Dept. New Delhi
shivangi sahni Fashion forecasting for multi brand outlets Design Philosophy: To me, it is most important to be passionate about the work one does. The only way to arrive at good Design is to have faith in it!
Experience:
Interests:
Contact:
FDCI; And; Percept H; Vogue
Fashion Styling
shivangi1@hotmail.com
Fashion forecasting for multi brand outlets Its scope & application in India Fashion plays an important part in everyone’s life; it guides us towards maximizing our assets and minimizing our flaws. The fact is that clothing does more than just conceal ones body. It has the ability to accentuate the figure, give the image of either professionalism or slovenliness, convey ones individuality.
When it comes to following trends, it definitely gives one some sort of security and peace of mind knowing that what one is wearing is within the agreeable style of fashion for a particular season. So, if fashion and trends are so important then why is it that the majority of our country seems oblivious to it and fails to follow it? By gathering an overview of the buying patterns of people in India through secondary research, it was established that there is lack of choice in retail outlets for the masses. There are multi brand outlets around the country with apparel of exceptional quality being sold at reasonable prices but the manufacturing houses which supply to their private labels do not follow any fashion forecast. Hence the styles, prints, and colors in the apparel section are not up to date, effecting their sales. Multi brand outlets in India have been one of the high retail growth segments in the past few years. With their growing number, it was important to do an in depth study of one of them-Shoppers’ Stop. Shoppers’ Stop is positioned as a family
store delivering a complete shopping experience defined by its mission, vision and values. After identifying their marketing strategy, a survey was conducted for the customers of Shoppers’ Stop to gain an overview of customers’ impression of the apparel in Shopper’s Stop. Through the conclusive findings, it was clear that the customers are fashion conscious but not brand conscious. They are happy with the quality and pricing of the apparel but feel that there should be more variety and the styles need to be more up to date. Most of the customers preferred silhouettes from the fashion forecast as compared to what the Store had to offer. Another survey with the same number of people but this time taking a wider age bracket was conducted to recognize the customers of Shopper’s Stop in terms of their style quotient. This showed that the majority of customers lie in the age group of 30-40 years; they are fashion conscious to a certain extent, open to experimentation and prefer subtle prints and subdued tones.
It was hence determined that the people who buy from multi brand outlets, majorly, the middle aged women belonging to the middle and upper middle income group, would want to buy fashionable garments, but are not being provided with the latest in fashion. This brings us to conclude that there is a need to guide the multi brand outlets, to lead them to better merchandise. This can be done by preparing a fashion forecast for women’s wear for multi brand outlets, covering specifically prints and colors keeping in mind the survey conclusions and preference of the customers. This would include colors and prints and four main stories with two sub stories under each including mood boards and storyboards to make it more comprehensible.
Fashion Photographs, Vidisha Saini
15/29
NON COMPOS MENTIS 2010
short fuse
case #16
NON COMPOS MENTIS 2010 National Institute of Fashion Technology
Fashion Communication Dept. New Delhi
parn kumar Social Advertising Design Philosophy: A picture as it turns out is not equivalent of a thousand words. I believe that every picture, visual or image depicts a lot and has many things to say. The new lingua franca of our global civilization is not English or other languages, it is the logo, the picture, the image and almost all of us wherever we live, speak this new language fluently‌
Experience:
Interests:
Contact:
Pataaka Design Studio
Advertising, Visual Merchandising
parn.cool@gmail.com
Social advertising Anti smoking campaigns Social advertising has been around for years, although it has been revived repeatedly with new definitions every now and then. It is usually perceived as what the nonprofit organizations have been engaged in. In a more appropriate sense, it’s about applying marketing and advertising principles to promote health and social issues and bringing about a positive behavioral change in the society.
Social Advertising represents ad formats that involve the social context of the user viewing the advertisement. The key objective of this study was to understand the current scenario of social advertising and the previously done work so as to acknowledge the scope of contribution in it. The term ‘Social Marketing’, first coined in the 1970s, refers to the application of marketing strategies as a solution to the social and health problems. However, over the years, there has been a growing perception that it is being confused with Generic Marketing especially recently with the advent of web based tools such as “social media” and “behavioral targeting”. The health communication has been rapidly changing over the past two decades. It has evolved from a one-dimensional reliance on public service announcements to a more sophisticated approach which draws out from successful techniques. While social marketing initially developed from a desire to capitalize on commercial marketing
techniques, it has in the last decade matured into a much more integrative and inclusive discipline that draws on the full range of social sciences and social policy approaches as well as marketing. Increasingly, Social Marketing is being described as having ‘two parents’ - a ‘social parent’ = social sciences and social policy; and a ‘marketing parent’ = commercial and public sector marketing approaches. A drop in the volume of print ads concerning social issues and increase in the television medium of the same was observed recently. This is believed to be a result of the overwhelming popularity of television and to an extent also a consequence of lack of issues that required immediate communication. Moreover, the government organizations as well as NGOs have increased ad spends over the last eight years owing to the then growing economy and literacy levels that have also boosted their work volume. This has caused a considerable increase in the number of
social advertising initiatives from the Ministry of Health and Family Welfare, Government of Assam, NACO and Government of Delhi. Another facet of the study was to procure data that minimises the effect of smoking in society as a whole. This included the number of fatal diseases caused by smoking, the statistical analysis of the population that smokes and the harmful components contained in a cigarette. An exhaustive list of facts was indicative of the need to take action against smoking. Understanding the various tools and concepts of marketing and keeping in mind the requirements of social marketing, a Campaign for anti-smoking comprising print ads was developed.
Mumbai Wall Project, Mumbai, Vidisha Saini
16/29
NON COMPOS MENTIS 2010
technically edible
case #17
NON COMPOS MENTIS 2010 National Institute of Fashion Technology
Fashion Communication Dept. New Delhi
sheel damini Sustainable Design Design Philosophy: Design indicates human intention.
Experience:
Interests:
Contact:
Mudra; Lopez Design Studio; AB DesignHabit & Co. Pvt. Ltd.
Branding, Illustration, Lettering, Paper Engineering
sheel.damani@gmail.com
Sustainable Design Understanding the materials economy, August 2008 - October 2009 The world is going green. Then there is a new entrant to the popular terminology of this phenomenon, sustainability. Designing for the long run with continuity in mind is the essence of sustainability. With the popularization of the term, there are many myths associated with Sustainable Design.
All the products that we use come through a chain of processes: extraction, production, distribution, consumption and disposal. Together, they form the material cycle/ materials economy. With human interaction and play of currency at every stage, the linear process gets complicated resulting in the exploitation of various resources. Primarily, eco-efficiency means “doing more with less.” There has been a need for sustenance since the industrial revolution. The resultant solutions came out to be the 4 Rs-Reuse, Recycle, Reduce and Regulate. Modern manufacturing is based on ‘cradlegrave’ Design. Here, every process has a source and a sink. Source provides for the raw materials and the sink bears the brunt of wastes and by-products. We need a new strategy of change that brings a cyclical chain to our processes. This theory is called ‘cradle-cradle’. Here, everything taken from the source comes back to it, facilitating a balanced growth of economy and ecosystems. Another Design flaw that prevails in our modern system is Universal Design Solutions as one of the leading strategies.
Designing for the worst case scenario means Analysis of awareness about Sustainable Design among design students in New Delhi its effects on natural environments are not gave the conclusive result that students are considered while developing the product. aware of the term “sustainable” as green and eco but do not understand its aspects. The first step to clean our material cycle is However, there is a strong belief among to get rid of hybrids. The goal is to eliminate the community that Design can change products that process many materials chemically which are difficult to disintegrate. the situation for the better. Also, there is a unanimous feeling that sustainability is a ‘Cradle-cradle’ theory believes that all constraint for good Design. To counter this, products should be manufactured either one can state that sustainability is not a as complete biological nutrient or technical compromise; it is a way of life that grows in nutrient instead of a hybrid. We need to harmony with the environment. bring about a change from degenerated to regenerated systems where our processes There is a need of awareness among design become cyclical and infinite making our students and educators to understand planet safe and “green”! the deeper aspects of sustainability. A sustainable path proposed for this is India has a rich, diverse cultural heritage ‘demonstration’. Administrative system of that goes back several thousand years in institutions tends to use paper largely for time. We have followed certain traditions that indicate the seed of sustainability. Many their communication purpose. Hence, an initiative taken by this project is to optimize traditional Crafts indicate the presence of paper usage at administrative department/s using old material and making a durable of a Design education institute, product with it. Hence, these emotional demonstrating the idea of sustainability. aspects should be brought back to the country which wants to follow the path of “consumption-driven” model.
17/29
I Was Once an Assignment at NIFT, Sheel Damani
NON COMPOS MENTIS 2010
an apple a day...
case #18
NON COMPOS MENTIS 2010 National Institute of Fashion Technology
Fashion Communication Dept. New Delhi
tarkeshwar singh Lights, stores & shopping Design Philosophy: An idea with a purpose...
Experience:
Interests:
Contact:
Ed Hardy
Visual Merchandising
isha.nagar16@gmail.com
Lights, stores and shopping Impact of lighting in retail spaces Lighting is believed to be a marketing tool with a big future. It is transforming retail areas into rooms for experience; making brands and messages the centre of attention, and establishing a relationship between the product and the consumer. By changing its intensity, colour and direction, light meets trends and needs.
Indian organized retail market is growing at a fast pace due to the boom in the Indian retail industry. The growth in the Indian (organized) retail market is mainly due to the change in the consumers’ behavior. The range of goods and the sensitivity of consumers are increasing at the same pace. The overall retail sector has attained an astonishing growth in the past ten years. Multi Brand Outlets (MBOs) and Departmental Stores are introducing more and more flexibility in their marketing strategy and hence, need to cope with the newest techniques and ideas of lighting. This study closely examines the effect of lighting in a retail environment and formulates solutions for the MBOs in lighting the stores. The convergence of lighting with Visual Merchandising in terms of technological implications as well as from a business perspective was observed. The aim was to identify and observe the considerations for the proper lighting, implementation according to the store, cost effectiveness, productivity and the future trends.
Through the study it was realized that the scope of books and literature on the subject is quite limited. There is no significant research dealing directly with lighting in the retail sector in India, limiting the availability of established facts. To learn how lighting affects the behaviour of consumers, a survey was accomplished using a sample of hundred people from New Delhi. The outcome made it clear that goods presented in the right light, ensure a lasting shopping experience. An up-to-date lighting concept is more than just light. Intelligent solutions optimize lighting quality and energy efficiency. They create the perfect atmosphere; providing harmony between the shoppers, the goods on display, the environment and the retail interior. There are different kinds of lighting based on the purpose and physical aspects of the store and products. The application of right kind of luminaries at the right place in the store like windows, pathways, focal points, counters, branding places, staircases, lifts, lobbies and fitting rooms, has to be well defined. Many
retail outlets falter at this use due to lack of knowledge about the various lighting options and the technical details of each of them. This paper proposes the need for compilation of all the options of lighting elaborated with illustrations, to act as a guidebook for Multi Brand Outlets so that the importance of lighting is understood by the stores and the gap between the visual merchandisers and the retailers is bridged.
18/29
Tiffany & Co. Grand Opening By: Ethan Miller
NON COMPOS MENTIS 2010
bang on target
case #19
NON COMPOS MENTIS 2010 National Institute of Fashion Technology
Fashion Communication Dept. New Delhi
shachi kaul Involving to influence Design Philosophy: Design should influence, have a social impact, break traditions, be dynamic and be ahead of time. Concept based Design is what I believe in.
Experience:
Interests:
Contact:
Ogilvy & Mather; JWT
Advertising, Graphics, Art Direction (Space), Research
kaul.shachi@gmail.com
Involving to influence Interactive Advertising Traditional advertising in the form of posters, radio, TV, newspaper and leafleting has been around for centuries. It evolved with time and became more subtle and more intelligent, often adopting a conversational style. Of late, the continuous onslaught of advertisements tends to confuse the users as well as limit the brand recall. The need for more effective forms of advertising arises thus from here. An advertisement that is interactive lets the consumer be a part of it, allows to get physically and mentally involved. This works well for both the advertiser and the consumer.
Interactive advertising helps the advertiser to measure the response and gauge the behaviour of the consumer. This helps in altering the ad in accordance with the result which would prove beneficial in future promotions. Due to the greater involvement of the consumer, there is a far greater chance of brand recall. As interactive advertising constantly measures and collates response data (such as hits on a web link), it helps in creating large data bases, which further helps in selective targeting. This decreases the scope of irrelevant messages being sent across and thereby reduces costs significantly. It is the internet which is increasingly becoming popular amongst various marketers and advertisers, being the most effective medium for innovation due to its reach, open architecture, real
time interactivity, cost effectiveness and transparency. Costs of on-line advertising are considerably lower than print media where charges are based on circulation and ad-space. Online ad tariffs are generally fixed on the actual viewership. Usually, on-line advertisements allow product comparisons, again in an interactive form, i.e. customers can decide comparison indices such as product grades, features, prices etc. With the support of secured payment gateways it is now possible to convert on-line advertisements into immediate actual sales through a simple and guided menu. Thus, the gap between advertisement and sales in conventional forms is considerably narrowed. Through ‘The Interactive Advertising Model: How users perceive and process on-line ads’, a Journal by Esther Thorson and Shelly Rodger, some of the constraints of on-line
ads were acknowledged. After conducting a survey of hundred people, across varied age groups in Delhi, people’s perception of online ads was derived. It was clear that on-line ads do not attract consumers unless they are looking for something specific. Most of them find it unsafe to receive emails meant for advertising as they see a potential for deception. Interactive ads may also be annoying for website visitors because they distract and impede the downloading of content. The on-line advertisement industry in India is still premature, and advertisers have only begun to tap its potential. However, since advertising is the main source of revenue that keeps web sites going, we can be sure that it will evolve at an accelerated rate. Looking at the current scenario, when we still haven’t come out of the dangers of swine
flu, there are many other diseases such as Malaria, Dengue that prevail in different parts of the country and are as hazardous. After studying the various health plans taken up by the Health Ministry and National Medical Research Council (NMRC) in India, I realized that web as a medium hasn’t been explored at all to combat health problems. An innovative on-line ad would be created for NMRC and Health Ministry of India wherein, upon clicking the ad the viewer would be asked to answer certain questions. The main link will then guide to a page informing about the impact of diseases/health hazards and how they can help in the prevention plan by simply answering a few questions. This would let the Government agencies such as NMRC/Indian Council of Medical Research (ICMR) as well as NGO’s gather data about different regions where a particular disease has spread or is likely to spread. It will be cost effective as no money would be spent on organizing a survey, as well as authentic data would continue to come in regularly.
Mumbai Wall Project, Mumbai, Vidisha Saini
19/29
NON COMPOS MENTIS 2010
never a dull moment
case #20
NON COMPOS MENTIS 2010 National Institute of Fashion Technology
Fashion Communication Dept. New Delhi
garima singh Communication as a tool in political campaigns Design Philosophy: Solution-centric, methodology oriented, relying on research, mixture of spontaneity and derivative thinking, generating ideas that appeal to the target audience, the client, your boss and most importantly you.
Experience:
Interests:
Contact:
Femina; McCann Erickson
Advertising, Journalism, Film Making
garimasingh19@gmail.com
Communication as a tool in political campaigns Concepts & strategies “Political campaigns are designedly made into emotional orgies which endeavor to distract attention from the real issues involved, and they actually paralyze what slight powers of cerebration man can normally muster.” -James Harvey Robinson, American Historian (1863-1936)
As the Obama campaign was in its convention stage in August 2008, the Indian political parties were yet to begin their campaigns for the elections ‘09 slated for April-May. This highlighted problems such as lack of planning, foresight and mismanagement of time in the Indian political domain. Coupled with an aberrant line of communication, it spelt havoc for both the Party and the voters. This was the genesis of my colloquium paper. The BJP & Congress advertisements and promotions during February-March displayed an obvious change in the way the Indian political Parties market themselves. I was thrown slightly off track by the formulation of these campaigns. However, the shallowness of these advertisements provided fuel and motivation for my project. I studied the demographics of the NCR region in terms of the election statistics and studied different national level political parties to understand their ideologies and agendas. Along with the political parties, I studied the history of coalitions in the country.
Since 1990, the Indian electorate has consistently announced fragmented verdicts both at the state and national levels. This has led Parties with small (and sometimes fundamental) ideological differences to come together as a loose federation of parties to stake claim for power. After having studied the political scenario in the country, I chose to create my campaign around BJP. This was mainly because for that term Congress had already won the elections and it was thus appropriate to rework the campaign for BJP. On the basis of a survey which involved hundred people of different age groups from the NCR region, I concluded that my project would center around the same region and the urban audience in the age group of 18-25 years. The survey results pointed at the popularity of the 2009 Congress campaign, so it did not make much sense to rework their campaign. It also brought to light what the audience wanted to know, which were basically the Party’s plans and agenda. Almost everyone across different age groups wanted ‘change’.
I concluded that a challenger or an opposition Party tends to follow a strategy which focuses on attacking the record of opponents; taking the offensive position on issues; calling for change; emphasizing optimism for the future; speaking to traditional values rather than calling for value change; appearing to represent the philosophical center of the political Party. However, for BJP, the strategy should be modified to a certain extent. Attacking the record of opponents-should be done only if required and applicable. Taking the offensive position on issues is all right as long as there is a justification. Calling for change is important and so is emphasizing optimism for the future. Speaking to traditional values rather than calling for value change is a definite part of the strategy not as an addition but as the core value of a nationalist Party. This culminated in creating a multi-level campaign which explains the activities the Party should engage in to get the vote out.
20/29
Indian PM Votes As Assam Goes To The Polls By: Daniel Berehulak
NON COMPOS MENTIS 2010
a heartbeat is a long time
case #21
NON COMPOS MENTIS 2010 National Institute of Fashion Technology
Fashion Communication Dept. New Delhi
akanksha srivastava Designing out crime Design Philosophy: While the “kiss principle” talks about eliminating unnecessary complications, my design philosophy revolves around keeping things clean, simple and clear. A clean line, a simple statement, a neat layout, simple colors not only make things easier, but also makes a designer and his client’s job simpler, to understand and apply.
Experience:
Interests:
Contact:
Images Business of Fashion; Harper’s Bazaar India
Fashion Writing
akanksha08.nift@gmail.com
Designing out crime Traffic signage system in India Design as a tool to fight crime is not a new concept, it has been around in the form of systems of security and identification designed to keep away crime. Road safety is another issue that needs Design intervention. According to studies across the world, the road fatalities are now called an “epidemic” that is dreaded to become the world's fifth killer by 2030.
The growing traffic and increasing number of road accidents each day forces one to question the road safety measures, of which the traffic signs form an integral part. Lack of clarity of these signs for people indicates a need for their modification. This paper studies the problems in India with the current traffic signs and possible changes to be implemented for the better.
that people are not even close to being well versed with them. This can change if an effort is made to raise consciousness among people about the matter.
As an outcome of the study, two significant actions to reduce the road accidents in the country can be adopted. Firstly, changing/ altering the traffic signs and symbols to make them unambiguous, considering the literacy rate and the diverse languages of A concept called “Design Against Crime” challenges designers into creating products, the country; secondly, making the traffic signs more appealing to an extent. Following services and environments that factor the principles of Interaction Design, four security into their work and make it visually steps must be undertaken- identifying needs pleasing, as well as crime-proof, I derived and establishing requirements; developing its need in India. It is alarming to see that alternative concepts; building prototypes India ranks second after China, among all countries in road accidents, in which majority and lastly, evaluating the Design. Further, the signs must be ergonomically sound are due to breaking traffic rules. In an ideal for better comprehensibility. This includes system, one needs to pass a test in order spatial and conceptual compatibility, physical to get a driving license which leads us to representation, frequency, standardization, believe that everyone who drives must be singular functionality and visibility. fully aware of the traffic rules and signs. But, in a more realistic scenario, it is evident
After studying the comprehensibility of the traffic signs through a survey, it was revealed that the forms and colour story of these are still in sync with their meaning, but the graphic symbols are ambiguous. The sample set could only judge the signs from memory; the signs had nothing to do with it. Therefore, the signs need to be effective and efficient enough for a person, who, while driving need not look at the sign twice to understand it, nor must he need to think as to what the sign could mean; it should convey the meaning at once. The need to memorize these signs will also be eliminated. A useful graphic language in the traffic signage system shall be the answer to reducing road accidents in the country.
21/29
Untitled Jaipur, Jaipur, Vidisha Saini
NON COMPOS MENTIS 2010
zip code
case #22
NON COMPOS MENTIS 2010 National Institute of Fashion Technology
Fashion Communication Dept. New Delhi
shivani rawat Comics in education Design Philosophy: The key to keep growing is never being satisfied with your work.
Experience:
Interests:
Contact:
Livingetc; Harper’s Bazaar, India
Fashion Styling
delacour.shivani@gmail.com
Comics in Education Its scope & outreach The educational potential of comics is yet to be fully realized. In the area of language instruction, teachers are constantly searching for new and innovative materials to enhance learning in the formal classroom environment. While some consider the use of comics as enforcing lazy reading, many others recognize the unbridled potential to ensnare the attention of young readers, and those with no interest in reading at all.
The world of comics is humungous and varied and the definition must encompass all these. So, in the words of the guru of the genre, Will Eisner (1990): “In its most economical state, comics employ a series of repetitive images and recognizable symbols. When these are used again and again to convey similar ideas, they become a language, a literary form. And, it is this disciplined application that creates the ‘grammar’ of Sequential Art.” The concept of teaching through sequential illustrated stories or comics for better understanding is old. Its origin can be seen in the form of ancient murals and reliefs portraying sequential art. Many of today’s teachers use comics to encourage the very abilities. Some educators in the 1940’s feared it would squelch reading and imagination. The educational establishment has shied away from comics for incidental,
historical reasons rather than deficiencies within the medium itself. In fact, upon close examination, several strengths of comics as an educational tool emerge as themes within the literature. According to Katharine Hutchinson who conducted an American students’ survey, comics have converted non readers to a hardcore readership base, hence motivating students to read. Being a visual medium, it can serve as an intermediate step to difficult disciplines and concepts. The visual permanence of comics is the greatest factor for comics as a better teaching tool. A study was undertaken to compare comics to textbooks with the help of a survey of hundred people across varied age groups. It was found that comics’ visual quality increases learning. In the test, people were asked to answer questions based on a visual
and then, on a piece of text. A strong trend in the favour of comic format was indicated by the result. People relate more to simple comical illustrations than a photograph or a realistic drawing of a face. Remembering a new piece of information in text is difficult for them. Hence, a comic book project was developed to realize the concept of learning through comics. An idea for the same is that of a ‘Grammar Man’, who is the supposed “lead” character of the story which will be centred around his adventures in crime fighting. ‘Grammar Man’ is very strong but his brains do not match his brawn, a fact that is not part of his public perception. His secret identity will unfold in the later chapters (while learning past tense). And his portly side-kick, is the real hero of the story with an uncanny knack of sniffing out bad grammar from anywhere.
Picture Reading - Madhuri Purandare
What is a girl What is a boy- kamla bhasin
22/29
NON COMPOS MENTIS 2010
walk on the wild side
case #23
NON COMPOS MENTIS 2010 National Institute of Fashion Technology
Fashion Communication Dept. New Delhi
arun baghel Rendering an idea Design Philosophy: Design is not for philosophy, it’s for life.
Experience:
Interests:
Contact:
United Colors of Benetton; Uni Style Image; Happily Unmarried
Graphic Design, Tattoos
arun.lal.baghel@gmail.com
Rendering an idea Implementation and scope of Concept Art Concept Art is defined as capturing the feeling and spirit of an ‘idea’. It is a form of illustration where the main goal is to convey a visual representation of a design, idea and/or mood for use in movies, video games, animation or comic books before it is put to use in the final product. The idea is first sketched on paper and then rendered using appropriate software. This paper aims at understanding Concept Art and its implementation in the world around us. I began with learning about the Concept artists, materials, themes and styles. The changes and growth from traditional to modern media were taken into consideration. The technological aspect of the subject was carefully studied to judge the scope of the Art. This involved looking at the various techniques of illustrations. The play of light, texture and colour produces a range of varied effects. Working with a human body is yet another intriguing issue. Playing up a certain form in the body gives the illustration a different meaning. On continuous evaluation, I could gather that it is most important to practice. All media and objects must be explored. A revolutionary tool is the digitizing tablet which has enabled artists to develop work in the digital form as conveniently as they could on paper.
The initial study of the subject revealed that Concept Art is commonly misunderstood to be less valuable and serious, since it is the unimplemented Design and only finds its true existence once put to use in a product. The strength of this form of Art is constantly neglected. Thus, attempts must be made to bridge this gap between the “unimplemented” and the “existent” form. A survey with a sample set of about hundred individuals showed that the audiences like new and unique concepts and characters. They appreciate movies and relate to them the most. Hence, introducing Concept Art in a new light through a popular medium and experimenting with it to churn out more interesting concepts, can add meaning to the Art form and make people aware of its magnificence too.
23/29
Hybrid Foot Soldier, Arun Baghel
NON COMPOS MENTIS 2010
who moved my cheese
case #24
NON COMPOS MENTIS 2010 National Institute of Fashion Technology
Fashion Communication Dept. New Delhi
vishu raj e handbook of apparel silhouettes Design Philosophy: To me, designing is fun, its an image of my own self and its the art of making a difference in this world.
Experience:
Interests:
Contact:
Studio B; Fabindia; Uni Style Image Pvt. Ltd.
Visual Merchandising; Graphic Design
rajvishu2004@gmail.com
e handbook of apparel silhouettes a concept study Trends keep on changing due to development of markets for fashionable clothing and newer styles. Majority of students of fashion & clothing have felt the need to know this changing fashion, and gathering this information in traditional way means going through forecast books and services and various Fashion magazines.
To keep oneself updated and to know the answer to a question “what is the origin or fashion cycle of a particular silhouette”, a solution is needed. The ‘e-handbook of apparel silhouettes’ is proposed as a website which provides information on a silhouette cycle and its evolution through the years. Further, it deals with the details of the garment. This paper entails a research by studying silhouettes of last five years concentrating only on women uppers, and then tracking back the silhouettes cycle through the years. And then, it further studies the other attributes related to silhouettes which a student needs to know, i.e. fabric details, nomenclature, garment details, different types of neck, sleeves, pockets etc. Through a survey of a hundred students from different Fashion Schools in New Delhi, it was observed that most students wanted to know about the silhouettes and the concurrent fashion cycles. There is also an inevitable academic need for the subject in
various fashion courses. Students generally use forecasters, web sources and magazines to gather information about the silhouettes and its details. The result of the survey also made it clear that students would prefer a thorough web source providing information on silhouettes i.e. proper names, details and its historical reference. As per the above analysis, it was concluded that designing a web site which will provide the information on garment silhouettes is the answer to the students’ problems. This website will even provide a fabric glossary that will help the students understand the fabric names given with the silhouettes. It will work as a search engine. For example, if one is searching for trench coats in 2010, then the various styles of trench coats in 2010 will come on the list as well as it will have the links in the form of a timeline which will show the origin of the trench coat i.e. 1914 its details and changes, which through the years came in the trench silhouette up till 2010.
Fashion Photographs, Vidisha Saini
24/29
NON COMPOS MENTIS 2010
fine print
case #25
NON COMPOS MENTIS 2010 National Institute of Fashion Technology
Fashion Communication Dept. New Delhi
varghese mathew ‘Litera scripta manet’ Design Philosophy: To me, Design is effective function!
Experience:
Interests:
Contact:
Gopika Chowfla Design; Design Differrence; Metamorph Designs; Millionaire Asia; Reebok; United Colors of Benetton; Sisley; Playlife
Typography, Identity Design, Branding and Photography
varghese2k@gmail.com
‘Litera scripta manet’ The written word remains Typography is concerned with the structuring and arranging of visual language. Both Type form and Typography are designed to convey a message. This aspect places Typography firmly at the root of the broader disciplines of Graphic Design. Letter forms whether carved, handwritten or printed have always reflected the spirit of their times, being constantly renewed by individual scribes and type founders, and not least by techniques of typesetting. Type is much more than questions of legibility or readability.
Fashion and technological changes are just part of the back drop. What makes Typography fascinating, and an essential element for anybody involved in Design, is that this activity is a manifestation of our search for greater efficiency and greater power in the written word. Type is everywhere and most of us take it for granted, yet, successful Type Design is one that does not distract the reader. Over time, the involvement of Typography has grown more than just being Graphic Design. One needs to know the basics of Type so that one can communicate with designers to get what is desired and this will also help in thinking about the new possibilities of collaborating Type and their respective fields of work. There is much to know and learn about Typography in order to be well equipped to use it effectively. This includes knowledge
about the history of Type, its anatomy & terminology and various classifications. This information is scattered in different resources and it needs to be compiled into one according to the necessities and limitations of a young amateur graphic designer. Anatomy of a Type helps to tell one typeface from another. The differences can be subtle and difficult for the less experienced eye to see. Over the centuries, a nomenclature has evolved that identifies the various components of individual letterforms. By learning this vocabulary, designers and typographers can develop greater understanding and sensitivity to the visual harmony and complexity of the alphabet. In order to organize a list of typefaces, classifying them according to visual similarities produces smaller groupings
which aid both recognition and selection. This visual grouping can help increase awareness of the history and development of typefaces. Understanding Type classifications and anatomy can aid in the process of choosing the most appropriate typefaces based on purpose and audience. Historical and practical classification systems for typefaces help the designer accurately select typefaces that complement the Design. Because many of the typefaces we encounter in our daily lives were not originally designed for current typesetting systems, a knowledge of certain aspects of their Design and manufacture can help us appreciate the skills of their designers and can provide lessons about the disciplines that are still pertinent today.
Creation of a resource for the young students of Graphic Design would prove very useful due to the lack of availability of these in India. The process of compilation and creating a ‘study kit’ for the students would be a continuing process which would consequently also be a help in gaining more knowledge on the subject and to create better communication solutions.
24/29
Untitled, Jaipur, Vidisha Saini
NON COMPOS MENTIS 2010
stars and stripes
case #26
NON COMPOS MENTIS 2010 National Institute of Fashion Technology
Fashion Communication Dept. New Delhi
pranika khaitan A quest for order Design Philosophy: Colours. Shapes. Forms. Pictures. Type. Grids. Chaos. Music. Fashion. My world of Design is full of positive energy. It is quirky, fun, aesthetic and most importantly attractive. Inspired by my surroundings, Design to me is effective only if it is real. I believe in simple, comprehensive and orderly execution that is both, functional and fashionable, one which best satisfies the end consumer.
Experience:
Interests:
Contact:
Disha Foundation; WMW Metal Fabrics Ltd.; DNA; Crayons Ltd.; Small Design Co.; Grazia
Publication Design, Information Design, Public Relations
pranikakhaitan@gmail.com pranikakhaitan@blogspot.com
A quest for order Understanding grids Everything in this world exists because of order. And why is there a quest for order? That is because order helps us understand or look through things better. A more formal word for order can be Grids. A basic tool of Design, it can be simply stated as something that divides a page/ object/image into vertical and horizontal sub-sections to help capture the data better.
A Grid consists of a distinct set of alignmentbased relationships that act as guides for distributing elements across a format. They are used for clarity, efficiency, economy and continuity. Grids can be categorized into several genres but essentially, there are four kinds of basic grids-manuscript, column, modular and hierarchical that differ in usage and purpose. On exploring Grids in the print media, it was the magazines that seemed the most fascinating as they have an ever evolving Grid. After undertaking a comparative analysis of Grids and their function in different genres of magazines, it was gathered that every magazine follows different layouts according to their target audience, keeping in mind their demographics and psychographics. Hence, the Grid is modified in compliance with the designer’s and magazine’s informational needs.
be helpful for the readers/learners. As for the interactivity, fun and involvement, there would be a DIY (Do It Yourself) section comprising activities and projects, which teach the reader the application of Grids by giving them exercises to accomplish. Another important section would make the reader learn about a Grid by breaking it into various parts and understanding and identifying the same. Explaining lengthy sections by fragmenting them into flowcharts and pullouts will make the informational hierarchy interesting and responsive. All of these sections will be interwoven and The key attributes of the workbook were integrated to make the flow of information, decided—thorough on information, quick to learn from, fun and involving, and interactive. directional and straightforward. Hence, a book that not only talks about the Grid Taking these aspects forward, a handbook but also lets the reader/learner explore it. is intended, where the reader not only gets the basic understanding of Grids, but also its Using the information provided in the book can make the use of a Grid prompt and application and usage. The flow of content is uncomplicated and crisp, stating the need uncomplicated, even for amateurs. and importance of Grids; the definition of Grids; their application and execution in various areas and the different kinds of Grids. A clean and methodical look would Through the Survey, it was apparent that there is a lack of availability of research and referral material on Grids that teach an amateur the application of Grids along with yielding them with the basic insight on Grids and its various kinds. An immense amount of information on the theoretical knowledge about Grids was readily available but the opportunity for understanding its application and exploration was missing. Hence, the idea of an interactive workbook on Grids was conceived.
Grid and its application
25/29
NON COMPOS MENTIS 2010
oh F*@&
case #27
NON COMPOS MENTIS 2010 National Institute of Fashion Technology
Fashion Communication Dept. New Delhi
ravisha mall Ethics in journalism Design Philosophy: Design is a medium to an end, the end being the need to express oneself. A multi-layered term, Design for me holds its true worth in its high level of subjectivity and the complete lack of limitations. To me, Design inherently needs to be simple in form and style and yet should hold meaning beyond what is visible to a closed mind.
Experience:
Interests:
Contact:
Instituto Cervantes; Jungle Studio; FnL
Photography, Writing, Research
mall.hobbes@gmail.com
Ethics in journalism The current trends in News reporting As TV became indispensable to an average Indian household, its influence on the viewer increased. Directly proportional to the time people spend watching TV, is the amount of affect it has on their thoughts and opinions. It has come to become not just the source of information for the audiences; it also now lends certain trends to the life of the viewers.
Choosing TV as a medium of research, I have concentrated on the recently emerged trend of 24-hour news channels. While the West has had channels such as BBC and CNN since a very long time, India was exposed to the culture of ‘news at all hours’ relatively very recently. In a short span of time these news networks have brought about a change so big that it has altered not only the face of television forever, but also the influence TV exercises on its audience.
Concentrating on this aspect of mass communication and its grave effects on the life of the viewers, my research explores the consequences of the increasing control of television on the life of the Indian television watcher.
The objective of the research is to put together a tool which could bring the issue in an open forum. The need for discussion between the people generating the news and those consuming it is paramount. The absence of a platform for this to happen In spite of the strong viewership, the hampers any efforts being made at continuously multiplying news channels individual levels by the media watchers or have been criticized extensively for the deteriorating quality of content and coverage. other entities. The most pressing problem that demands immediate attention is the complete absence The first step towards tackling a problem is to understand its depth and nature by asking of any discretionary measures exercised those facing it. In case of the TV viewers, the while developing news content and the study involves a scope to understand what reporting of information without any respect draws them to watch these News channels shown towards the sensitivity of the issue in question; as could be seen in the case of the and what is the nature of change they wish 26/11 Mumbai Blast coverage or that of the to bring about, if any. Aarushi murder case.
Three questionnaires were developed targeting three sets of people—the students who don’t watch the News channels out of disregard for the content; those above the age of 25, who are ‘into’ them and finally those who are involved in the process of News-making or critiquing it. While the first one was more visual and highly objective, the latter provided more space for people to express their viewpoint in favor of the news channels as well. Most people throughout the three target groups pointed out that the sudden surge in 24-hour news channels did make them more aware of their surrounding and world events in general. The clear problem that could be deduced was a discontent with the ‘hyper-isation’ of non-issues and the phenomenon of the “Breaking News”. Also, the lack of reportage focusing on the culture of the country, or issues like education etc. which are being ignored largely, bothered people. The final online poll asking people if and how would they like to contribute to a movement
to bring about a change got very specific results as only a handful of the takers opted for both, being leaders and helping out in such a revolution, while more than half agreed to lending their skills for the greater good. Some even said they would like to help by discussing the issue in their peer circle and on social networking websites. After the research and the analysis of the public opinion, the most feasible action that can be taken is to plan an event that could bring together all the stakeholders of these News channels, their critiques and those who claim they can bring about a change in the current situation for the better. The significance of the event would be in building it up using print media like newspapers and magazines, which still retain a level of discretion in reporting, and getting the Indian masses involved in an effort to revolutionize News reporting on television, which now is an indispensable part of their lives. The focus of this event is to bring to the table issues like privatization of News channels; effective implementation of the existing code of ethics; desensitizing effect of News channels on viewers; understanding the need of the viewers and how to translate the same into better programmes and, the emergence of the voyeuristic in the Indian society and its effect on the content of programmes. It is also important to realize how and at what level this one event will build further into an issue of mass concern and how it could drive change.
Untitled, Eventful Year, Vidisha Saini
26/29
NON COMPOS MENTIS 2010
daily dose
case #28
NON COMPOS MENTIS 2010 National Institute of Fashion Technology
Fashion Communication Dept. New Delhi
dhirendra singh The advent of online advertising in India Design Philosophy: Design crafts around a purpose.
Experience:
Interests:
Contact:
Femina; Aaj Tak
Advertising, Graphic Design, Copy Writing (Hindi)
singh.dhirendra108@gmail.com
The advent of online advertising in India Its scope today and tommorow With the traditional advertising still saving a place in the future, new interactive forms of advertising are becoming an integral part of the communication mix. However, the creative sector is not troubled by the challenges of the internet age. The efforts needed to drive advertising forward in the era of digital technology are enormous.
Online networking is bound to create a revolution in advertising media production. According to the media experts, cross-media and advertising strategies are having an effect that is generating profound challenges in the culture and established structures within companies. Online advertising in India is not just evolving rapidly but also a promising sector where one can invest. Another prevalent phenomenon is that of the ‘ad networks’ which basically exists to bring together the advertisers and the publishers on a realistic platform where they get into relationships that are mutually beneficial. While the advertisers get their products or services promoted and make themselves available to their target customers, the publishers earn from their web traffic by getting a commission each time a click or impression happens.
increasing percentage of the total ad spends. According to some of the experts in this field, Indian ad network would soon take a good 15-20% of the total advertising spends in India. Through a survey involving hundred people, it was found that a large number of people in the country are getting in touch with the internet and are increasingly using this medium for different reasons. Be it professional or personal, communication or entertainment, Indians are using all that internet has to offer. With people not just from the metro cities but also from the rural sectors using internet, soon, it would be hard for Indian advertisers to avoid online advertising medium.
The survey confirms the realization that in coming years, our aim will be the same: giving communication solutions to people. The channels of communication may be new then, or a blend of those that exist today. We Since the arrival of online advertising in India need to ensure that we are better equipped to react more quickly and more efficiently. over the last couple of years, the various This invites a systematic approach towards forms of online media are slowly taking an
online advertising that should be taken gradually in a very well designed process. It is also important to consider marketing aspects here. At the same time, we must learn to synchronize and unify online advertising with traditional media more effectively. Agencies must guard themselves against underestimating the work involved, which usually requires consultants with extensive experience in channel and change management.
28/29
Untitled, Eventful Year, Vidisha Saini
NON COMPOS MENTIS 2010
uniform discipline
case #29
NON COMPOS MENTIS 2010 National Institute of Fashion Technology
Fashion Communication Dept. New Delhi
saumyaa naidu For the sake of convenience Design Philosophy: If a task well begun is half done, then the effort put in a concept decides the fate of the product. If the journey is more important than the destination, then the process is more critical than the result. And if it is simple to be happy and difficult to be simple, then simplicity is what one shall seek.
Experience:
Interests:
Contact:
Femina; Design Route
Copy Writing, Information Design, Research & Content Management
saumyaa.naidu@gmail.com
For the sake of convenience Successful Information Design With the growing complexity, the need to simplify information is increased. Be it the statistical analysis of the annual economic growth or the procedure to buy a bus ticket, handy information is always welcome. Information is a part of any cosmic process. Everything that exists has some information attached to it. Thus, there is information all around us in different forms and each piece of information is meant for a specific audience, time and situation. The encryption of information is to be done in a way that it is decoded by the right audience at the right time and situation. This is where Information Design comes into play. The need to design occurs from our pursuit of convenience. A page of voting instructions and procedures is definitely too important a piece of information to miss out on. And, to squeeze it within the attention span of the readers, it is important to present it in the clearest and simplest possible way. The book,’ Information Graphics - Innovative solutions in Contemporary Design’ by Peter Wildlour and Michael Burke defines Information Design as a “dedicated field for communicating complex data/information efficiently for any given audience.” It can be broadly categorized on the basis of information to be conveyed. These categories are organization of facts and data, process understanding or instructions and the design of control systems.
Information Design is a combination of research and design, where research is inclusive of the acquisition and assessment of information, study of human perception and the cognitive science. Every designer follows a methodology for the development of Design. For many, it is the simple procedure of understanding the problem, brainstorming, final ization of concept and lastly, drafting. Depending on the problem, this procedure can take different routes. So, when we speak of the process of creating Information Design, a specific path could be chalked out. This process comprises various phases and comprehensive steps within each of them. Also, these steps vary for Information Design in the print and web media. For effective Information Design, a balance needs to be struck between data redundancy and visibility of information. A survey involving a hundred people of varying age groups and social backgrounds
was employed to judge people’s perception of the commonly seen Information Design examples around us. On studying how people comprehend information, it was observed that Charts and Graphs are something that make people nervous. Thus, more interesting and less scary graphical formats are required. The interesting elements could be any relevant visual link that adds to the information. Pictograms and icons are the more friendly kind of information depictions. However, similar looking signs confuse people. Further, forms/formats relating to process understanding simply lack any sense of Design in the existing scenario. Water and electricity bills, tax forms, bank forms etc are some of the dreaded documents. What makes Information Design different from the rest of the fields is the fact that it prioritizes the clear depiction of what people need to know. Information Design is no less a responsibility than saving the world. It is a considerate field that is devoted to helping people.
29/29
NON COMPOS MENTIS 2010
CREDITS Guest Appearance: Amardeep Behl as God Himself Anshu Khanna as Networking Queen Anu Kaushik as Agent for change through make-up Ashdeen Liowala as Style Icon Harmeet Bajaj as Herself Nitasha Gaurav as Style Diva Manish Iyer as Paper Tiger PrabhuddaDasgupta as Camera God
Supported by: Ms Madhu Sharma Mr. Atul Semwal Mr. Vinod Kumar Mr. Arun Kumar Financial Support: Mr. Mahesh Chand
Prithviswar Sen as The ANSWER (to everything) Sarnath Banerjee as Master Mentor for all Vanessa Ohri as Queen of ideas
Emotional Anchors: Asha Sairam Saumyaa Naidu
Kapil Mathur as Nidip Mehta as Anupam Vibhuti as Architects of Knowledge Nupur Dubey as Tapan Chakravarti as
Spot Boys: Gaurangana Gauri Himani Ishani Juhi Kuhu Radhika Ritika Rohit Sachin
Ambrish Arora as Masters of Space Ankur Chowksi as Anay Mann as Ravi Dhingra as Photographers Par Excellence Vishesh Verma as
Special Thanks Mr. Ajay Kochar Xylem Papers
sumant jayakrishnan Sumant Jayakrishnan is a Scenographer, Designer, Installation artist and Theatre person. He was initially trained in visual communication at the National Institute of Design, Ahmedabad. He has since then been a constant innovator and has developed multi-disciplinary skills to express creativity in different fields. He has been a recipient of the Charles Wallace India Trust Arts Award in 1994 (a British Council Arts Grant), the Sanskriti Award in 2001, and the Fulbright Arts Fellowship in 2002.
has over time learnt about principles of Performance and Art, and related techniques within very different ranges of scale and professionalism. These inputs thereby now give a distinct edge to his work.
His first opportunity to broaden his horizons was through travelling and working in the UK, and in Europe. In 1994-5 he went to London study theatre design and scenic techniques at the Royal Academy of Dramatic Arts (RADA) and subsequently trained at the English National Opera, the Royal Opera House, the Royal Court, the Royal National Theatre, the Royal Shakespeare Company as also the BBC. He then went on to France in 1995-6 to train in Puppetry, Lighting design and Theatre Design. He subsequently went to New York in 2002 as a visiting installation artist at Eyebeam (a new media centre), and also as a visiting scholar at NYU. He
His recent projects include Deepa Mehta’s film “Water” (Art Direction), Tim Supple’s multilingual play “The Midsummer Nights dream” (Set and Costume Design – this play toured the US after successful runs in London and also at the Royal Shakespeare Company in Stratford Upon Avon), the scenography for the music festival “The Big Chill 2007” (both in Goa and at Eastnor castle in the UK) and India Fashion Week, for which he initially did all the venue and ambient design in the early years of its inception. He now works similarly with Couture Week in India.
He has worked with Swarovski on their conceptual Indian events such as the Trend Forum (Delhi, Nov 2007), Runway Rocks (Mumbai – April 2008) and Un-Bridal-ed (Delhi, Sep 2008). He was the site designer for Delhi’s first Public Art Event - 48ºC (Delhi, Dec 2008). He has also been the designer for the launch events of Steinmetz, Louis Vuitton, Chanel, Moschino, and Dior, in India. Sumant builds in various elements such as audio-visual, video, calligraphy, lighting, performance and other dynamic inputs within the mode of theatrical performance, whether for Theatre, Dance, Film, Fashion or the world of Events. He is deeply concerned with cultural issues related with the contradictions of Local Identity and Global Universality. He thereby attempts through his work to interpret and reflect on values and attitudes that currently dominate our lives.
23/90
Sumant Jayakrishnan
NON COMPOS MENTIS 2010
A Giant eye from Michelangelo’s David, embellished with Swarovski crystal and lit brilliantly.
A 3D camera shutter entry, with twisting silver ribbons on a metal frame for an event themed on James Bond
Payal Jain for Lotus Boulevard A Fashion show with fabric self lit lotuses suspended over a water ramp
Rohit Bal, Couture week 2008 Suspended Silver lotuses over a gold mughal garden ramp, with a giant lotus jali backdrop - both see through and on mirror
Manav Gangwani, Couture Week 2009. A dynamic ramp with a twisting frames backdrop and suspended moving stars
Shakespeares “Midsummer Nights Dream” directed by Tim Supple
Kitchen Katha - a Punjabi play by director Neelam Man Singh Chaudhry set in a kitchen The backdrop was a handpainted calligraphic rendition of many emotion related recipes in both gurumukhi and devanagari on tie and dyed back lit fabrics
The set was a giant wooden scaffolding covered in paper for the court scene which slowly ripped through the course of the show to become a shredded forest for the fairies.
DLF emporio “I take this opportunity to personally introduce DLF Emporio to you. Located on Nelson Mandela Marg, it is a shopping destination the likes of which has never been seen in India before. In fact I may go as far as saying that it is among the most luxurious shopping destinations in Asia. For the first time in India, you can enjoy the pleasure of viewing the creations of one hundred and eighty five of the finest luxury brands in the world. With over seventy four international labels and one hundred and eleven Indian designers, there is no place in the world that can offer you the unique variety you will find at DLF Emporio. From Jewellery and Watches, the largest collection of International Menswear, Women’s Designer Fashion, both ethnic and international, Bags and Accessories to Home and Lifestyle products, the range is breathtaking. The beautiful architecture and lavish interiors of DLF Emporio are designed to make shopping a pleasure. Generous spaces, Italian marble, soaring atria and dazzling chandeliers make a visit to DLF Emporio a true sensory experience.
To ensure your every need is taken care of, we not only offer valet service and very reasonably priced paid parking but also multi-lingual guest services and a concierge who will assist you with your queries, bookings and any other issues to make your experience complete. Please call The Concierge at +91 11 4611 6666 for any information you may require. Our daily shopping hours are Monday through Sunday from 11 a.m. until 9 p.m. and contrary to popular belief there is no entry charge!
crepes, sweet and savoury waffles, healthy sandwiches, fresh salads, cheese platters and coffees from around the world keep you energized when you shop. Zest, designed by the famous Super Potatoes of Hong Kong is a mega restaurant featuring six world cuisines, interactive kitchens, a walk in wine cellar, sommeliers and mixologist. A Terrace Café and a Spa will soon add to the attractions of the mall. USP
The Hub at DLF Emporio, features for the I invite you to come and discover DLF Emporio. I am certain you will find it is indeed first time in India, the dancing fountains only seen at the Bellagio at Las Vegas. It will soon Asia’s finest luxury destination. have an enormous 7 meters by 4 meters high resolution LED screen visible even in Food and Beverage daytime, being the best in the country, never seen before in India. Café E in the atrium offers world gourmet cuisine through the day. Delectable
DLF Emporio, Vasant Kunj, New Delhi
paper merchantz Print is one of the most used and common forms of communication. PAPER; THUS FORMS AN INTEGRAL PART OF LIFE. Even as we explore issues & consider options; one constant remains … Paper is here to stay The way we communicate is changing. Technology, economy, and even ecology are playing a role. And they are changing the way we think about paper. We will conserve only what we love. We love only what we understand. We understand only what we are taught. Sustainability is something we need to be taught and one step towards this is ‘green communication’. Paper has value – it’s personal & human; portable yet secure. Permanent. And yet most importantly – effective.
FINE PAPER has re-invented the way we communicate ... let’s take it ahead. We are a team of young professionals; who sincerely believe that we can add value to the paper merchanting business. Our focus is to be a value added partner to your progress following the 3 I’s... Innovation Integration And most importantly... IMPLEMENTATION. WE WANT FINE PAPER TO BE AN INTEGRAL PART OF OUR LIVES; IN THE WAY WE COMMUNICATE … paper MERCHANTZ Inc. pMI WILL FACILITATE THIS PROCESS.
lustra printers
daman ganga Daman Ganga is a Company engaged in recycling packaging products with a focus on environment friendly technologies. Recently, they have developed a unique process to recycle “difficult to recycle laminates“ We can recover and recycle practically any sort of packaging waste, pre or post consumer”. Daman Ganga Group has varied interests in the production of Paper Board, Paper Cores & Tubes, Paper Cones, Fibre Drums. The group has paper and board plants as well as conversion plants located in Vapi, Gujarat, India. The core business of the Group is centered around paper production and recycling. The Group has this experience since the last 25 years. Daman Ganga exports its various products to East African Countries, Middle East Countries, and Neighbouring Countries.
At Daman Ganga, the speciality lies in recycling of “difficult to recycle” packaging products. The Enterprise produces a range of recycled products including Paper, Core-Board, Cores & Tubes, Fibre-Drums, Roof Sheets, Partitions Boards, Insulation Boards, Acoustic Boards, Plastics composites, BioFuels, Recycled Lube Oils, etc. Daman Gandga has very strong capabilities to recycle all types of secondary and recovered post consumer packaging waste.
Printing paper for low speed printers
100% recycled soft tissues
Recycled collection bins
Unbreakable roofing sheet
anshu khanna
Goodword Communication is India’s founder PR agency in the realm of lifestyle. Anshu Khanna set up the agency in 1993. It set the rhythms of promoting and projecting people and products in this arena .The voice of couturiers, performing artist’s masters of fine art and retail leaders, the Agency was the culmination of Ms Khanna’s decade in journalism starting 1988. Over the past fifteen years the Goodword teams of young communicators have brought many creative enterprises alive. We have been part of many luxury and high street brand launches and have nurtured a goodwill network of opinion makers across the board. The agency enjoys long sustaining associations with clients, many spanning over a decade. Goodword has worked closely with many leading NGOs and social entrepreneurs with a focus on child welfare, animal protection, women’s rights and rural mobilization. The agency believes in taking that extra step to perfection. Goodword comes on board as strategic thinkers for the clients and we go beyond the predictable tools of communication to offer out of box ideas that
add the punch to the communication plan. We believe in leveraging both media and non media alliances cultivated over the years for the client’s communication mission. Infrastructure ▪▪ The head office in New Delhi. Branch office in Mumbai. ▪▪ A young, bright and efficient team in New Delhi and Mumbai. ▪▪ Affiliates in Bangalore, Chennai, Kolkata and Hyderabad. ▪▪ A complete press room facility with copy writers. ▪▪ Also has on board affiliate expertise in event management, graphic designing, printing facilities, visual merchandising and art installation. ▪▪ Recent foray into a content providing agency allows opportunity of
visibility overseas . The main domains of Goodword include: RETAIL: Handle brand launches, corporate imaging and sustained activity that ensures highest brand recall. Some of the clients we have worked in this domain are: The Body Shop Next Guess VLCC Forest Essentials Amrapali Jewels Debenhams Major Brands India Pvt. Ltd. Mango Aldo Nine West
Charles & Keith Promod Inglot La Senza
Sujit Sarkar Seema Kohl Satish Gujral
SOCIAL MESSAGING: Handle the publicity for fund raisers. Also highlight social issues before the media. Some of the clients we have worked in this domain are:
LUXURY BRANDS: Launch and sustain visibility in target segment through coffee mornings, in-store promos and product launches. Some of the clients we have worked in this domain are:
Khushii People for Animals Prayas Cry and Cadence Valaya Magic Foundation HOSPITALITY: Interface with food critics. Leverage events to highlight perfection. Some of the clients we have worked in this domain are: Manre The Metropolitan, Nikko Hotel Bonsai Athena Mosaic Hotel Fbar and lounge FIO, Garden of five senses CELEBRITY MANAGEMENT: Consult visionary industry leaders, designers, performing artists and stalwarts of art in their imaging. Some of the clients we have worked in this domain are: Vandana Luthra Rohit Bal Minisha Lamba
Zoya Hugo Boss DLF Emporio Casa Paradox Aigner Bvlgari H20 Baume & Mercier Toni & Guy Rosenthal ART: From Solos to thematic exhibitions have a good hold on the art frat. Some of the clients we have worked in this domain are: Apparao Galleries Art Indus Satish Gujral De Montage Arts Amitesh Verma
happily unmarried Happily Unmarried is in the business of selling fun, we do this by designing products which make people happy.We have been fortunate to work with a few students of NIFT and are really happy with the future of design in our country.
Mother-In-Law Dice
Truck Art Photo Frame
Dil Hi Chabi
Tiffin Dabba Cd Rack Rockstar Toothpick
Reference All reference and research material of each paper, comprising secondary and primary data, case studies, questionnaire database and survey reports, has been documented and is available for reference purposes with the Department of Fashion Communication, NIFT, New Delhi.
This end will hopefully mean the beginning for some very promising careers. If you see a hidden promise of employment in these pages, please do get in touch. Our students are ready to stand up to the rigours of employment‌to give them the opportunity, the details are as follows: Dimple Bahl Assistant Professor - Design Center Coordinator Fashion Communication Department NIFT Campus, Hauz Khas Near Gulmohar Park New Delhi Tel: 011 2654 2144 Email: bahl.dimple@gmail.com | fcniftdelhi@noncomposmentis.in www.noncomposmentis.in