HIRANYA BRAND AUDIT AAKANKSHA SIDHU // ISHITA DAS // RASHI THOLIA
Fashion Media & Industries Social Innovation & enterprise
Aakanksha Sidhu Ishita Das Rashi Tholia
Volume 1
ABOUT ASSAM
01 02 03 04
WHERE IN INDIA PG 8
ASSAM CULTURE PG 13
SILK ROUTE PG 34
SILK IN INDIA PG 41
Contents
05 06 07
TYPES 0F SILK PG 48
WHY MUGA SILK PG 61
WEAVING COMMUNITIES PG 66
01 Where in India
I n di a & S i n gapo re o n th e A si an Map
08
Where in India Assam is in the Northeastern region of India. It is a valley surrounded by thick and dense forest. Tribal communities who are known for their local handicrafts dominate it. It has a perfect climate for sericulture as it rains throughout the year. Assam is known for its world famous black tea. Due to its tribal dominated community, it has a dying cultural art.
02 Assam Culture
T ea far m i n Assam
T h e Mi sh i n g Tri be i n A ssam
13
Introduction The Assamese culture is a rich and exotic tapestry of all these races evolved through a long assimilative process. The natives of the state of Assam are known as Asomiya or Assamese, which is also the state language of Assam. The state has a large number of tribes, each unique in it’s tradition, culture, dresses and exotic way of life. Diverse tribes like Bodo, Kachari, Karbi, Miri, Mishimi and Rabha co-exist in Assam, most tribes have their own languages though Assamese is the principal language of the state. A majority of the Assamese is the Vaishnavas (a sect of Hinduism). Assam is majorly known for Weaving, Gamocha, Bihu and Tea Farming traditions and activities for generations.
Weavin g p r o c ess
Han dl o o m we avi n g
15
Weaving Weaving is one traditional craft that every Assamese woman takes pride in. The Assamese women produce silk and cotton clothes of exquisite designs in their looms. Assam is renowned for its exquisite silks namely Eri, Pat and the world famous Muga silk. Gandhi-ji complimented the Assamese weavers as artists who could weave dreams in their looms.
Weavin g t h r o u g h t h e mac h i n e
Go m ch a we avi n g
19
Gamocha Weaving is one traditional craft that every Assamese woman takes pride in. The Assamese women produce silk and cotton clothes of exquisite designs in their looms. Assam is renowned for its exquisite silks namely Eri, Pat and the world famous Muga silk. Gandhi-ji complimented the Assamese weavers as artists who could weave dreams in their looms.
H ar vest i n g c er emo n y
Tradi ti o n al B i h u dan ce
23
Bihu Bihu is the most popular folk dance of Assam. Young boys and girls perform Bihu dances during the Bihu festivities that represent youthful passion, reproductive urge and joy. Brisk dance steps and rapid hand movement characterize it. Dancers wear traditionally colorful Assamese clothing. Musical instruments like Dhol, Penpa, Gagana and Banhi accompany the dances. Though the origins of the Bihu dance is unknown, the first official endorsement is cited to be when king Rudra Singha invited Bihu dancers to perform at the Ranghar fields sometime around 1694 on the occasion of Rongali Bihu.
H ar vest in g t ea l eaves
Te a garde n s o f A ssam
27
Assam Tea Assam tea is a black tea named after the region of its production, Assam, in India. Assam tea is manufactured specifically from the plant Camellia Sinensis or Assamica. This tea, most of which is grown at or near sea level, is known for its body, briskness, malty flavor, and strong, bright color. Assam teas, or blends containing Assam, are often sold as “breakfast� teas.
03 Silk Route
H an Dyn ast y si lk t r ad e
S i l k Ro u t e
34
Precious Fabric Beginning in the Han Dynasty, silk was a major catalyst in bringing China out of isolation and a significant factor in the development of not only Chinese culture but in all of the cultures along the Silk Route including India, Persia and Ancient Rome. Because the Chinese guarded the secrets of silk for many centuries, silk was perceived as a miraculous fabric and everyone who could afford the material coveted it far above any spices or raw materials that could be found and traded during this period. Silk was so highly desirable that it was often used as currency with equal value to gold, silver and precious stones. Such was its allure that it managed to reach the furthest corners of civilization and solidified the trade routes between China and India in the East and Europe and Persia in the West. Because of the extensive trading of silk between these societies, this network of trade routes became known as the Silk Route. A fabric with a thousand years of history, silk is acclaimed for its smooth, lustrous texture that makes it comfortable to wear in both winter climates and warmer seasons.
C h in ese si lk w eavin g
A n ci e n t I n di a S i l k m ast e r s
36
The luxury Standard Since its beginnings silk defined a lifestyle of luxury attainable to only a few. In fact, when silk was first discovered, its use was reserved for the Emperor and the Royal Family. The supple, lustrous material changed the way people dressed, influenced the way luxury was perceived and paved the way for the Chinese to gain the upper hand in trading. While China held the monopoly of sericulture, silk fabric weaving and silk embroidery, they gained prominence with the economic powers that were already established in the West. During this period, which spanned centuries, China held the entire market of silk and set the standard for luxury in fabrics. Even in Europe and the West, silk was a fabric available for only the most affluent members of society due to the high costs and only the most skilled of seamstresses and embroiderers were employed in creating garments and textiles that were made from silk.
04 Silk in India
Rear i n g t h e S i lk
S i l k we avi n g i n pro du ct i o n
41
Introduction Silk has a long history in India. It is known as Resham in eastern and north India, and Pattu in southern parts of India. Recent archaeological discoveries in Harappa and Chanhu-daro suggest that sericulture, employing wild silk threads from native silkworm species, existed in South Asia during the time of the Indus Valley Civilization dating between 2450 BC and 2000 BC, while “hard and fast evidence” for silk production in chine dates back to around 2570 BC. Shelagh Vainker, a silk expert at the Ashmolean Museum in Oxford, who sees evidence for silk production in China “significantly earlier” than 2500– 2000 BC, suggests, “people of the Indus civilization either harvested silkworm cocoons or traded with people who did, and that they knew a considerable amount about silk.”
S ar ee w eavin g
S are e we avi n g i n pr o ce ss
43
India is the second largest producer of silk in the world after China. About 97% of the raw silk comes from five Indian states, namely, Andhra Pradesh, Karnataka, Jammu and Kashmir, Tamil Nadu and West Bengal. In Tamil Nadu, mulberry cultivation is concentrated in the Coimbatore, Erode, Tiruppur, Salem and Dharmapuri districts. Hyderabad, Andhra Pradesh, and Tamil Nadu, were the first locations to have automated silk reeling units in India. It is also the largest consumer of silk in the world. The tradition of wearing silk saris for marriages and other auspicious ceremonies is a custom in Assam and southern parts of India. Silk is considered to be a symbol of royalty, and, historically, silk was used primarily by the upper classes. Silk garments and saris produced in Kanchipuram, Pochampally, Dharmavaram, Mysore, Arani in the south, Banaras in the north, and Murshidabad in the east are well recognized.
05 Types of Silk
Mu ga S i l k
Mu l be rry S i l k
P at S i lk
E r i S il k
48
Introduction Assam silk denotes the three major types of indigenous wild silks produced in Assam—golden Muga, white Pat and warm Eri silk. The Assam silk industry, now centered in Sualkuchi, is a labourintensive industry.
Weavin g o f er i sil k
E ri S i l k t h r e ads
50
Eri Silk Eri silk is made by Samia Cynthia Ricini that feed on leaves of Castor oil plant or Ricinus Communis. It is also known as Endi or Errandi silk. Because manufacturing process of Eri allows the pupae to develop into adults and only the open ended cocoons are used for turning into silk, it is also popularly known as non-violent silk. This silk is soft and warm and is popular as shawls and quilts.
Mo t ifs w eaved o n p at sil k
A u th e n ti c pat f abr i c st o l e
52
Pat Silk Silkworms known as Bombyx Textor produce Pat silk. They feed on mulberry or Morus leaves. It is usually brilliant white or off-white in colour. Its cloth can dry in shadow.
Mu l b er r y S il k fab r i c
Pro ce ss o f m ak i n g m u l be r r y si l k
54
Mulberry Silk Mulberry silk is the highest quality silk available for purchase. The unique thing about Mulberry silk is how it is produced. Mulberry silk has its history in China, where local farmers grow mulberry leaves for silkworms to feed on. The resulting cocoons are spun into raw Mulberry silk fibres.
Weavi n g mu g a S il k
A u th e n ti c m u ga S i l k
56
Muga Silk Muga silk is the product of the silkworm Antheraea Assamensis endemic to Assam. The larvae of these moths feed on Som also known as Machilus Bombycina and Sualu or Litsaea polyantha leaves. The silk produced is known for its glossy fine texture and durability. It was previously reported that Muga silk cannot be dyed or bleached due to “low porosity�, but this is incorrect. Muga takes dye like any other silk. This silk can be hand-washed with its smoothness increasing after every wash. Very often the silk outlives its owner. This golden yellow colour silk is prerogative of India and the pride of Assam state. These silkworms feed on the aromatic leaves of Som and Soalu plants and are reared on trees similar to that of tasar. Muga culture is specific to the state of Assam and an integral part of the tradition and culture of that state. The muga silk, a high value product is used in products like saris, mekhalas and blankets.
06 Why Muga Silk?
Yo ung wo men lear n in g mu g a w eavin g
Pro ce ss o f we avi n g m u ga
61
Why Muga We selected Muga Silk for this project because Assam is the only place in the world where the purest form of this silk is found. The durabilty and the quality often out lives the owner after every wash. It can be hand washed with cold water. This silk in particular is dying out because it is finacial intensive and because of a lack of awarness for the product, less commercial businesses are investing in it.
07 Weaving Communities
Mo t i fs o n fab r ic
S u l ak u ch i C o m m u n i ty S i l k We avi n g
66
Sualkuchi It is a census town in Kamrup district in the Indian state of Assam. It is situated on the north bank of the river Bhramaputra about 35 km from Guwahati. Sualkuchi is a block of Kamrup District. It has large number of cotton and silk industry engaged in handloom, for which it is also known as the “Manchester of Assam”. This is the textile center of Assam. Muga Silk and Pat silk along with Eri silk and Endi cloth from this region is famous for its quality. Mekhela chadors and Gamosas made from this indigenous materials is in demand throughout Assam as well as other parts of India.
Weavin g o f mu g a
D e m aj i m u ga we ave r s
68
Demaji It is the headquarters of Dhemaji distrcict, Assam, India. It is one of the remote districts of Assam. Dhemaji is located to the north of the river brahmaputra. To its north lies the Arunachal himalayas. To its east is the state, Arunachal Pradesh and to the west is Lakhimpur, a district of Assam. It has many big and small rivers flowing through it. Some of them are Jiadhal, Gainodi, and Cemen. The river Subansiri flows by its western border. The muga silk weaving is done by the communities here because of the geographic conditions which makes it very sustainable. We will be working with this community for our project and helping them for a better living standard and to help keep their art of weaving muga alive and make it a source for a fruitful living.
Volume 2
RESEARCH
01 02 03 04
PROJECT AGENDA PG 8
PROBLEM PG 13
PURPOSE PG 34
SOLUTION PG 45
Contents
05 06 07
WHY SINGAPORE PG 54
CHILDREN’S WEAR PG 61
BUSINESS MODEL CANVAS PG 70
01 Project Agenda
T h e Wh i te S h i rt Pr o j e ct
08
Project Agenda This is a social innovation project where we will attempt to connect with a community closely to be able to impact them positively. As we are all from India we felt that it was best to connect with a community and the cultural arts of India and discover a link to connect it to the Singapore market. As per the module guide this brand has to be based in Singapore and appropriate for the Singaporean consumer. Thus, we decided to connect the two communities and make the connection between the Indian and Singaporean populations stronger. One of our group mates is from Assam, and thus knows the value of silk and weaving. Alongside the social innovation umbrella to our project we will also attempt to establish a connection between the weather conditions of Singapore and conceptualize the white shirt as a base to our projects research.
02 Problem
S i lk C o mmer c i ali zat io n
S i l k I n du st r y
13
Commercialization Due to commercialization and globalization, people of India living in the rural parts are migrating to modern towns and cities for a better living as the salaries and quality of life is higher. Assam is no exception to this scenario therefore the children of silk weavers and many of the weavers have left their weaving job and moved in order to find commercial jobs for hotels, restaurant and malls.
S p r ayin g o n t h e t ea g ar d en s
Pe sti ci de spray pr act i ce
17
Pesticides Few years back in Assam, the silkworms were dying out due to the use of pesticides, which is sprayed on the plants. Phages Virus is a virus created by a group of scientists in order to prevent silk worms, caterpillars and cocoons from dying. This was executed by spraying the virus on the plants so that the disease washes away and the plants are available for the silkworms to feed on. Even though this solution has helped it needs to be closely watched, controlled and further improved on a larger scale.
z oo med i mag e o f t h e sil kw o r ms
C l i m ate ch an ge af f e cti n g th e h ar ve st i n g
21
Climate Change Extreme weather events are destroying the silkworms that produce Assam’s famous golden silk. Unfortunately silkworms are highly sensitive to climatic conditions since they are grown outdoors. Recently unpredictable rainfall patterns, a rise in temperature and persistent floods has endangered Muga cocoon production across the state. The Dhemaji district in northern Assam is a major Muga growing area. About 98% of the people of the district live in the rural areas and agriculture is the principal occupation for more than 85% of the people. These families are also engaged in Muga cultivation. Muga cultivation is a labor-intensive activity and almost all the family members of the household are involved in silkworm rearing, silk reeling and weaving. Unfortunately for the farmers of Dhemaji floods are destroying the basis of this industry.
Aft er t h e c o c o o n s ar e b o i led
B o i l i n g th e co co o n s
25
Financial Intensive Muga silk is a very difficult silk to rare, as the cocoons have to be alive while boiling to get the silk thread. Therefore lot of money is involved and there is always a constant need for large investments, as Assam is the only part where the purest form of silk is found.
Go ma ch a w eavin g b y mast er w eaver
We avi n g h o u se
29
Problem Conclusion We are a village of weavers, and learning to weave took precedence over everything else. Today, as the cost of living is high, it’s a different scenario. Children here prefer to take a job in more moneymaking fields instead of becoming weavers. Climate change also affects as floods destroy our farms making it even more financially difficult for us to weave this silk successfully and rare it by ourselves. This lack of interest is leading to the loss of the culture of weaving in Assam.
03 Purpose
Pro ce ss o f h o w we avi n g i s co m pl e t e
34
Preserve & Promote the Muga weaving heritage One of our most important goals is to preserve the silk weaving heritage in Assam. By establishing a brand based in a global platform like Singapore the weavers will receive a fare wage for the products they make. They will also be able to learn new and conceptual designs for the silk. This in turn will also encourage the weavers and their children to stay in Assam and preserve the art of weaving Muga and enable the silk economy of Assam to grow prosperously.
A ssam e se wo m e n we avi n g m u ga
38
To empower women weavers Assam and other Northeastern states in India do not face gender discrimination as gender roles of men and women are seen as interchangeable and equal. Women are pushed to work, therefore weaving becomes one of the their main jobs among the villagers. For sericulture, soft hands are required to rare the silk threads. It’s important to keep this tradition alive and empower them even further.
Weavi n g t r ai n in g ar ea
Han d l o o m trai n i n g ar e a
40
Establish weaving training centers We want to establish good weaving training centers in the village where these communities engage in silk weaving and sericulture. It can be an after school activity center of the weaver’s children and other children who will be interested in taking up this career in the future and preserve the dying art.
04 Solution
Desi g n er C o l lec t i o n
Ge o f f re y B e e n e
45
Inspiration Geoffrey Beene born as Samuel Albert Bozeman was born on August 30, 1927 and died due to cancer on September 28, 2004. He was an American fashion designer. Beene was one of New York’s most famous fashion designers, recognized for his artistic and technical skills for creating simple, comfortable and dressy women’s wear. All net profits from Geoffrey Beene products are donated to philanthropic causes, such as cancer research, Alzheimer’s research, domestic violence prevention and response, Save the Children, and educational programs, including scholarships for students majoring in fashion and related disciplines. In 2007, The Geoffrey Beene Foundation formed a strategic alliance with the FSF YMA Fashion Scholarship Fund to further the mutual goal of expanding support for students seeking careers in the Fashion Industry. The foundation has donated to the FSF in excess of $5 million committed through 2016.
Mo t ifs w eavin g
S i l k we ave r s
47
Solution In order to keep the art and culture of weaving alive in Assam we will teach skills of weaving to the children of the weavers to make money to allow weaving to become a feasible career choice in their city so that these children are not afraid of pursuing weaving. Singapore is a great fashion global platform for the product that the weavers make. The weavers of Assam would feel confidence because of being able to achieve a fare wage for the products they make. Working for an International platform like Singapore and providing products to a brand there will give them pride to work even harder. There will be weaving training centers, which we will establish after we make money from our children’s wear label for weaver’s children. It will be an after school activity for the children to learn and take this culture and heritage forward. We wanted to focus mainly on children because there are very few good Asian brands with an ethnic touch. Children often drop food on their clothes and this silk can be easily washed by hand. Children need to be safe and Muga silk does not catch fire, which makes it ideal.
C o n ce pt m o o d bo ar d
49
Concept Commercialisation and climate change became the leading cause for the decrease in the cultural art of weaving in Assam. Muga silk, also known as the ‘Golden Fibre’ of Assam has become a dying art and to preserve this art we want to establish a reliable platform for the sale of products made from this silk. Singapore being a fashion hub for Singapore and weather that allows this silk to shine was an ideal platform for a children’s clothing brand that uses the traditional motifs created by Assamese weavers and translates it to contemporary white shirts for girls and boys between the ages of 6-10. Taking inspiration from the the everlasting sunshine in Singapore, the purity of the white shirt ‘Hiranya’ is a children’s wear brand for innocent and playful children of Singapore. ‘Hiranya’ meaning directly translates to the ‘Golden Deer’.
05 Why Singapore
S i lk c o ll ec t io n p h o t o sh o o t
S i n gapo re sk y l i n e
54
Why Singapore It’s a Singapore based label and the reason for its establishment in Singapore is due to the following reasons. Singaporeans have high spending power because it is financially developed. People of Singapore invest in luxury products. As Hiranya will be catered to parents and customers who want their children to wear designer clothes, which are not as expensive as Burberry and Gucci but are not as affordable like Zara and H&M. Singapore does not have variety of designer labels for children except Château de Sable thus adding a new brand serves the customer and the producer. Singapore is dominated by three prominent ethnic groups, which are Chinese, Indian and Malays. They understand the value of silk because the fabric used for making their traditional dress is silk. As Assam is the only place in the world where the Muga’s purest form is found, it will allow Singapore to get access to a new fabric.
Ge o ffr ey B een e c h i ld r en c o l lec t i o n
S u n n y S i n gapo r e
56
Climate The climate of Singapore is very similar to the climate of Assam. Both these region receive heavy rainfall throughout the year. Therefor the survival of the silk is possible for Singapore. Due to the humid climate of Singapore, Muga silk can survive because of the airy nature of this silk. Therefore the survival of Muga silk is possible in both climates hot and cold. It is perfect for the hot sunny days of Singapore as well as the airconditioned indoors.
06 Children’s Wear
C h i ld r en ’ sw ear c amp aig n
C h i l dre n ’ swe ar cam pai gn
61
Children’swear Children’s wear market is rising in Singapore. Singapore residents have known to have a high spending power in relation to fashion and clothing. There are very few Asians brands for children’s wear in Singapore even though the spending power exists. Nowadays, fashion designers are focusing more on making children’s wear. In Singapore there is less knowledge on having different cultural clothing.
Gu c c i ki d s
Ge i f f re y B e e n e Ki ds
63
Children’swear Competition Château de Sable’s story began in 2001 when Stéphanie Lemaire, an experimented French designer, decided to launch her own children clothing line in Singapore. She had worked in the past for famous French children’s brand and was ready to start her own. Her “French touch” and quality fabrics helped the brand to grow consequently in Asia for the start. Chateau de Sable has now 27 stores in 11 countries. Our designs are driven and inspired by the belief that “children should look like children”. The innocence and the vitality of children at play is their inspiration and they design healthy and comfortable garments. The best fabrics are rigorously selected for their benefits on the children’s sensitive skin.
B u rbe r r y Ki ds
07 Business Canvas Model
70
Social Business Model Canvas
Volume 3
HIRANYA
01 02 03 04
ABOUT HIRANYA PG 8
MOODBOARDS PG 13
PROCESS OF MAKING PG 34
PRODUCT DESCRIPTION PG 41
Contents
05 06 07
PRODUCT SHOOT PG 48
BRANDING PG 61
CAMPAIGN PHOTOSHOOT PG 66
01 About Hiranya
08
Our Brand HIRANYA, meaning “Golden Deer”, is a childrens’wear label offering hand woven contemporary silk white shirts for girls and boys between the ages of 6 and 10. Commercialization became the leading cause for the decrease in the art of weaving in the northeastern state of Assam in India. Muga silk, also known as the ‘Golden Fibre’ of Assam has become a dying art and to preserve this art we want to establish a reliable platform for the sale of products made from this silk. The white shirts have traditional motifs in white created by Assamese weavers used subtly over small portions of the shirts white delicate pearl and coconut shell buttons. As this fibre is airy and itch-free it is perfectly suited for children in Singapore. Through the sale of these products the brand aims to preserve the art of Muga silk weaving and provide a fare wage to the weavers.
08
02 Mood Boards
C o n c ept board
13
Concept Moodboard The images on our mood-board define the overall concept of our project. Assam is world famous for its tea. It’s a valley covered by thick dense forest. This is our social innovation project in which we will be working with the Dhemaji community. The Dhemaji community is known for its Muga silk weaving. Our children’s wear label will enable the weavers to increase their standard of living through a fare wage system. We will also be providing weaving centers for children of the weavers as an after school activity where they will learn the heritage and craft of weaving. The childrenswear collection will cater to innocent cheerful children and parents who believe in craftsmanship and tradition with a contemporary approach. Our brand will be all about giving back to the children of this community for a brighter future.
13
Details board
15
Detail Moodboard In our detail board as seen that the Assamese traditional dress is a two-piece cloth. Due to its layering, our children’s wear collection will be simple with delicate layering which will give an essence of the cultural background of Assam. These weavers weave different types of motif, which have various meanings. We will be weaving the motif in white, which will represent the purity of the brand and its essence.
15
03 Process of Making
B o ys sh ir t so u r c i n g fr o m h & m
Gi rl s sh i rt so u rci n g f ro m h &m
20
H&M Sourcing We went to source boys and girls garment from H&M Orchard. We decided to select few clothing for the collection. We looked for shirts particularly that represents Hiranya the best. We found good shirt designs for girls on whom we add the design details like minimal layering and delicate woven embroidery. We picked up few options for boys like a plain white T-shirt where we add the motif details. We even picked up shorts, to style with the shirts design. It was important for us to understand the secondary sourcing for designing and modifying the existing design details, which can represent our brand best.
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Mo t i fs fo r t h e g i r ls sh i r t
Mo ti f s o n Mu ga f abr i c
22
Materials (Motifs) We wanted to weave the motif into the garment to achieve an ethnic essence and feel. We selected few flower motifs from an existing Assamese traditional Muga dress known as the Mekhla Chador. We selected the panel layering for the boys shirt which we weaved into the Muga fabric itself while using Eri silk thread to blend the gold and white fabric. For the girls we selected a big flower motif, which will be cut and put into the Muga fabric, with minimal layering into the fabric at the back. Two of these design are minimal yet very powerful as it represents a culture without forgetting the contemporary essence of childrenswear clothing.
22
Mo ti f s f o r th e bo y s sh i r t
Det ail ed d esc r i p t i o n s fo r t h e sh ir t s
Pro ce ss o f se n di n g i t to I n di a
Wh i te S h i rt we avi n g
26
Silk Farm Weaving is a way of life and an integral part of the weaving community residing in the North Eastern Region. More than 50% of the total looms found all over India exist in this region. Assam silk and Muga not only holds an important place in the handloom sector in the national market but has also a great demand in the international market. The Dhemaji community has been into silk weaving and sericulture for generations. Due to commercialization, now days the childrenof the weavers are moving towards the city for better standards of living as the pay is higher.
26
Weaved Mo t i fs
Pro ce ss o f we avi n g m o t i f s
28
Above are the pictures of how they make the fabric from scratch. It is all handmade looms and nothing is industrialized because of which the traditions are intact and appreciated. It is important to understand this value among the children of the weavers to keep this heritage alive. The weaving steps for Muga are:– – Sorting of yarn – Dyeing where necessary – Winding – Warping – Fitting in looms for weaving
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Assam S i lk I n d u st r y
S i n gapo re Fash i o n I n du st r y
30
Market Potential There exists a great potential for Muga silk fabrics and garments in the local, national as well as international market. Care has to be given to upgrade the quality and design of the products in order to meet the international demand. Although there are a number of units in Assam, there is still scope for a few more units to come up.
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04 Product Description
In sp i r at io n fr o m S in g ap o r e su n sh i n e
C o u n try o f e te rn al su n sh i n e
Introduction Taking inspiration from the everlasting sunshine in Singapore, the purity of the white shirt “Hiranya” is a children’s wear brand.
Boys Shirt Made out of authentic Muga Silk, found only in Assam, India. The weaving of the white pattern on the cuffs and on the shirt is what makes the it contemporary.
Girls Shirt The simple weaved patterns on the collar of the shirt make it look playful and beautiful for the girl to enjoy wearing it. The details on the back of the shirt along with the pleats highlight that the silhouette is modern and child-like.
05 Product Shoot
06 Branding
Branding Concept The inspiration of our branding narrative comes fom our spirit animal of a baby deer or a fawn. We rwill try to play on the free and innocent movement of a fawn and represent through our branding how the golden color of the deer and our Muga silk is best seen in the sunlight like in Singapore. This deer is seen playing through the fields and trotting around just enjoying the sunlight. We aim to not only attract the kids to this fawn but also allow the customer, the children’s mother to remember the Disney character Bambi and feel a sense of nostalgia and remember the innocence of the character.
Collaterals Concept The business stationary and collaterals will follow through with the narrative while depicting luxury through embossing and high quality paper. The collaterals will consist of business cards, envelopes, CD and CD covers, letterhead, packaging and hang tags for the garments.
Packaging Concept The packing will continue to depict the playful innocence of the brands narrative with having two three layers to open up the garment. There will be an outer box, with a cloth packet inside. Inside this cloth bag will be the garment wrapped in butter paper to have information of the garment that can be read on it.
hiranya
Logo Concept The logo as can be seen is of a geometrical fawn with its body and head facing different directions. The logo is geometric to allow it to fit our concept of innocence, as geometric shapes are more easily understandable and more relatable to children which still being able to portray to the children’s mothers, in other words our consumer of the narrative behind the fawn.
Collaterals Mock-up The mock-up shows a rough idea of the outcome of our collaterals with the logo placed. We have used the concept of an orange-pigment golden with white to remind our customers of firstly the product that is golden with white motifs and also of the golden deer with white spots.
07 Campaign Shoot
Lo o k 1
Lo o k 2
Lo o k 3
Lo o k 4
Lo o k 5
Final Outcome