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Imli’s a year old start up, based in new Delhi, we manufacture modern Indian ethnic wear for women. They produce Kurtis, dresses, trousers, plazos, dupattas, skirts and tops using Organic fabrics. Imli is a comfortable, durable and a trustworthy brand. Imli’s is a “GLOCAL” brand for a modern, liberated, elegant and urban girl/women. Imli marks it self’s as a modern, experimental, independent and confident brand in the market. Imli as a brand pays attention to details in the craftsmanship of their garments. It’s a brand that is constantly motivated and inspired by the current trends of the market. We reach out to our customers through a network of distributors, agents& retailers as our Channel Partners. Our USP is our focus on quality & finishing of the products and timely deliveries. Our manufacturing division is based in the heart of Delhi with capacity of producing approx. (12,000) garments per month with the staff strength of about 60-70 people.


Content 1.Creating the brief 2.Brand Research 3.Exploration 4.Brand Collaterals 5. Reflective note 6. References 7. Acknowledgment


Creating The Brief


Brand Research 1. Brand and its philosophy From the basic understanding of the brief I could figure out the following : a. It’s an ethnic wear brand for women.

b. They produce a cross verity of clothes.

c. It’s a clothing brand desiring to fit as a comfortable, durable and Trustworthy brand in it’s consumer’s eye.

d. Imli is looking for a visual identity which is both Indian (Local) and international (Global). Coming across as a Glocal brand in all its approaches.

e.The target group that Imli wishes to focus on starts from the age group of girls and women ranging from 21 to 45. Basically women looking to wear Indian ethnics yet modern in its aesthetics.


f. It is very important to understand and consider the fact that Imli is not selling something unusual in the market there are many potential competitors in market such as Grass Roots, Sampada, Avaasa mixn match and Rang manch etc., Therefore the creative identity and communications must speak about Imli’s personality that is very modern, experimental, independent and confident. Imli requires a symbol and a word mark which needs to look classy and must be legible across all variables of communications. Imli wants to cater to a wide audience through multi-brand stores like shoppers stop and pantaloons, therefore Imli must stand out amongst other brands.

g. Imli believe in delivering a very detailed and finished garment , which is result of a very focused craftsmanship. The quality of their products is very fine and the price range is justified in that manner, starting from 1,000 rupees and can go up to 7,000 rupees per piece.

h. They are currently looking for a Logo, packaging , stationary , company profiling and a look book.


2.Brand Competitors It is very important to understand and consider the fact that Imli is not selling something unusual in the market there are many potential competitors. To understand the market and other brand in the business I did lot of research on the brands that are currently dealing in the market on the same lines, looking at both their identities and what they are selling. Following Are some fashion businesses who are highly Selfaware of their identities both as Indians and as designers, and draw generously from their roots.


When Toronto-based Mriga Kapadiya and Amrit Kumar moved to Bombay in 2009 to delve into their Indian roots, they also drew their philosophies from the idea of time – “by appreciating the past, questioning the present and creating for the future.” As they traversed the country, they discovered many of India’s disappearing art forms, rendered obsolete in a mechanized era. With a view to reinterpret these ancient practices of textile design in a contemporary way that fell in line with their stylistic ethos, NorBlack NorWhite was born as an entity that is aware of the artisans who need patronage and make sure they give back consistently, even as they create garments that are a confluence point between their love for traditional Indian fabrics and contemporary sensibilities


Reinforcing Anita Dongre’s philosophy of fashion with a conscience, we have the Eco-conscious GRASSROOT, her organic clothing label that creates handwoven, sustainable fabrics that uses environment-friendly techniques and traditional crafts. Touted as India’s first organic line since its launch in 2007, it was hands down the highlight of the Delhi leg of Wills India Fashion Week where it made its debut. Replete with motifs of flowers and leaves and reflecting an evident fondness for organic cotton and vegetable dyes, it offers a versatile range of wardrobe essentials that are aesthetically pleasing and cater to the sensibilities of the socially conscious Indian woman. It’s uplifting to see the cause of the unsung craftsmen and the revival of dying traditional textile practices receiving the attention they have always merited in the country through pioneering efforts like these.


All cotton, natural vegetable and mineral dyes and wooden buttons, Mogra Designs a design label rooted in a passion for travel, crafts & easy style. The brand promotes a sartorial elegance alongside fair trade, and you can be guaranteed that the clothes feel as great as they look. For their summer collection, they collaborated with these three gorgeous women who inspired a collection for real shapes, sizes, skin-tones and personalities. Not only are the clothes crafted entirely from 100% naturally dyed, hand block printed cotton, the material itself has been responsibly sourced from Bagh Village (MP). Definitely designed for the real Indian woman.


Anokhi is one of the oldest brands that has been creating and pushing forward organic fashion for over 40 years now. A master at block printing with vegetable colour dyes, Anokhi blends contemporary styles with striking graphics and colours against a backdrop of commitment to ethical morals. This is an organisation that has really made waves with their driving ideologies. They hone relationships with artists and extend support to enable them to work from their homes in Jaipur. With steely ideals of conservation and development, the company is one of the best examples of an alternative role model for ethical business practices, especially with regard to the revival of traditional textile skills.


Reaching out to over 20,000 women and more than 15,000 crochet artisans, 40% of Mother Earth’s products are made by self-help groups which have shares in the company in a co-operative model. Rich traditional textile techniques of artisans across India take center stage with this brand that offers clothing, accessories, linens and home textiles that truly celebrate these practices. Store location are scattered over the country with Bangalore, Kolkata, Mysore and Mumbai already sporting Mother Earth stores, and with Indian retail group Futures Ventures already having picked up a majority stake in Mother Earth, an exciting future seems to be in the pipeline for this ethically sound fashion business.


Handloom saris, despite being worn by a large number of women in India, have long been perceived as an avenue with no room for further experimentation and Raw Mango is here to change that. Adapting simple traditional designs to make them contemporary in a sophisticated way, they’re creating a new aesthetic that’s refreshingly modern and indigenous at the same time. Raw Mango was created out of a drive to reinterpret fashion and design without any preconceived notions. Besides quality product, Raw Mango is also about a larger program that has created a new value for an existing and often overlooked product, managing ultimately to uplift an entire community in the process.


The idea is to given women from less privileged backgrounds an opportunity to acquire new skills and venture into the industry to earn on their own terms, with their own initiative. In a classic and powerful case of giving back the rural artisans their true power, Okhai Handicrafts creates special handcrafted apparel and lifestyle products employing talent from across the country. Exquisite designs in styles unique to their traditional culture and heritage are paired with modern processes and style sensibilities of today, to boost the self-esteem and entrepreneurial drive of these women so they can ultimately earn a livelihood.

Constituting ladies’ wear, men’s wear, home décor products and accessories, Okhai products use mirror work, patchwork and embroidery to reflect the vibrancy of the rural ways of life, an ode to their history and their rituals. Set up by Tata Chemicals Society for Rural Development (TCSRD), Okhai has supported several self-help groups in the villages of Okhamandal too, as a part of which members are trained in the processes of modern handicraft production. Currently 400 rural women have seen an upswing in quality of life thanks to the initiative, and the goal is to reach 5, 000 over the next three years. At the rate at which they’re going, we have full faith that they’ll outdo themselves in their commendable venture.


“This business is my Yoga� -Uma, Founder of Upasana

Their mission is to create conscious sustainable fashion where we are taking care of our environmental cost and not passing it on to the future. For us, design is creative, problemsolving. Any problem, be it post-tsunami trauma, farmer suicides, garbage littering, weavers losing their job, Upasana looks at social issues as a space to exercise for change. The company, is today a leading sustainable fashion business in India, was created in 1997 with an initial investment of Rs. 2000 and a lot of determination. Uma combined hand-loom fabric with her signature design vision to create stylish contemporary clothes and accessories. When thousands of cotton farmers in India committed suicide because of indebtedness and the agricultural crisis caused by Monsanto and GMO crops, Uma who had always deplored the conditions in the garment industry decided it was time for change. Upasana is unique because it actually applies the consciousness concept in a business setting and that too in a luxury sector like fashion. Consciousness begins with the integrity of the designer and people running the business. Upasana lives the message of social consciousness in the way the products are designed, leftover waste materials are used and how the villagers are empowered. It touches the lives of people involved so that they are nurtured and evolve along with the business too.


3. Brand Reference (Mood board) After understanding the brand and the potential competitors in the market it was then time to fix a aesthetic and visual language to the creative process, and what better way to make a mood board. As Mood boards are a collection of assets and patterns that eventually evolve into a style guide. They exist as a designer’s tactile and visual sandbox, a place where they can openly experiment with the different facets of a design. Mood boards allow creative people the ability to show clients and colleagues a proposed look without investing too much in a failed direction.


4.Survey and Target Audience After getting the aesthetics right it is very important to understand what your target audience wants and seek from the brand as a whole. The best way is to conduct a survey of your target audience as a surveys can help answer many questions a business has about their potential clients, make decisions with the help of objective information and compare statistics in time. A private survey, such as an Online survey, will let people open up and provide honest feedback.


5. Analysis Once the survey is done it was then time to analysis the results of it. Following are the points made after going through the survey based on each question.


1.HOW OFTEN DO YOU GO SHOPPING FOR CLOTHES? A. WEEKLY B. ONCE IN A MONTH C. ONCE IN 6 MONTHS D. ONCE IN A YEAR About 95 % of the girls and women I surveyed said they like to shop Once in a month, While for once in 6 months was 3% and for weekly and once in a year was 1% each. This gave me the idea of the buying power of my target audience. 2. ARRANGE THE FOLLOWING CRITERIA WHEN PURCHASING CLOTHES IN ODER OF YOUR PREFERENCE? Following are the percentage criteria People chose over one another: A. QUALITY: 25% people gave quality as their first criteria while they shop B. PRICE:

30 % people gave price as their second criteria while they shop

C. COMFORT: 10% people gave quality as their first criteria while they shop D. STYLE: 10% people gave quality as their second criteria while they shop E. COLOR: 10% people gave quality as third first criteria while they shop F. MATERIAL: 8% people gave quality as their fourth criteria while they shop G. ORGANIC FARE TRADE: 2% people gave quality as their Eighth criteria while they shop H. BRAND: 5% people gave quality as their first criteria while they shop


3.DO YOU WEAR INDIAN ETHNIC WEAR? A. YES B. NO Around 98 % of the people I surveyed said yes they do wear Indian Ethnic Wear. 4. IF YES, THEN DO YOU KNOW OF THE FOLLOWING BRANDS THAT SELL MODERN INDIAN ETHNIC WEAR? A. ANOKHI : About 95% of them knew about this brand B. FABINDIA : About 100% of them knew about this brand C. UPASANA: About 50% of them knew about this brand D. GRASS: ROOTS About 30% of them knew about this brand E. RAW MANGO: About 20% of them knew about this brand F. MOTHER EARTH: About 10% of them knew about the brand G. OKHAI: About 80% of them knew about this brand H. MOGRA: About 65% of them knew about this brand


5. TO THE BRANDS YOU HAVE TICKED HAVE YOU EVER NOTICED THEIR LOGOS OR COMMUNICATION? IF YES PLEASE GIVE A BRIEF IDEA OF HOW YOU LIKE ABOUT IT? A. YES B. NO About 50% of them said yes they do notice the Logo and communications of the brand they shop from. They mostly talked about their Logo type and the way they have set up their stores. 6.WHAT ARE THE THINGS MISSING FROM THE CURRENT MODERN INDIAN ETHNIC WEAR BRANDS, IN THE MARKET? Most of them only had one concern , which is either the current brands are making clothes which are extremely party wear or too casual , there is nothing inn between .Like something for a late evening dinner or a Brunch. 7.IS THERE ANY CLOTHING BRAND ON SOCIAL MEDIA WHO’S ADDS,VIDEOS, PICTURES OR ANYTHING ELSE YOU LIKE? Jaypore and Fabindia were the two brands that most of them talked about. What they liked about the Online presence was that how creatively they are marketing themselves. Which brought a very important point forward which was that my target audience seeks some creativeness from the brands they are shopping from or they are looking for that edge beyond clothes.


Brand Prism After the survey and analysis of the same it was time to structure the brand , and what better way to make a brand prism for the brand. As it treats the brand as a person and adds values ,gives characteristics, enhances both physical and internal attributes of the brand. After the survey and analysis of the same it was time to structure the brand , and what better way to make a brand prism for the brand. As it treats the brand as a person and adds values ,gives characteristics, enhances both physical and internal attributes of the brand.


Physique Modern Indian ethnic wear kurtis,dresses,trousers, plazos,dupattas,skirts and tops. 100% Cotton, pure Chanderi, viols and kota

Personality Experimental Independent Confident Modern

Urban

Relationship

Culture

Motivation

Traditional

Durable

“Glocal�

Respectful

No stereotype

Trustworthy

Simplicity

Revive

Reflection Creative Comfortable Clothing for modern elegant women. Liberated.

Self-Image Inspired Quality oriented Worth-it Powerful Experimental


Exploration


1.LOGO When I started with the exploration, towards the visual identity what I had in mind was something very usual and simple . Things like femininity, the word it self Imli, The form of the fruit from which the word is taken and It’s taste and nature (both fruit and brand).


EXPLORATIONS TOWARDS SYMBOL


Digital Explorations


My Second concept was inspired from the imli itself. The very basic shape of imli. Taking the visual in the most literal form, from the name.


My third concept was to explore alphabet i . As it’s the first alphabet in the word Imli and also it has got a humanistic form to it self, i felt a lot can be explored by this alphabet.


I


EXPLORATIONS TOWARDS TYPE


imli


EXPLORATIONS COMBINATIONS WITH COLORS


The few selected ones were taken forward and were place in some mock ups to see how are they coming across and what is the look and feel of the same.


After a lot of looking and judging the different kind of logos this logo was finally selected as imli’s identity , but a lot had to be done to refine the selected one.


After deciding the Logo, it was felt that the typeface selected wasn’t really going with the chosen symbol so i did some more symbol and typeface pairing to see, which typeface is doing justice with the symbol .


imli Imli

imli


imli

Imli

Imli

imli

Imli


imli


This typeface was decided with symbol, as it was humanistic in nature and balanced the Logo as a whole. But it had some alignment issues ,which i resolved.


Current type’s flaws

1

1 2

3 1. The height of first i is way more bigger than the other I. Giving the whole word Mark a very Improper look.

2. The space between i and m Is way more than any other Letter In the word mark.

3. Over all spacing is not even.


Corrected Word mark

2 1 4

3

1. The height of first i is now Balanced with the rest of the Letters now.

2. Now the space between i and M is even.

3. Over all spacing is now even. 4. The space and height between i And L is now balanced.


Before

After


Placement Research To see the correct placement of the word mark i did little research on the places that the brand aspire to open their store which are, khan market and Gk M block market. Also tried to explore the readability of the word mark in the most smallest point size.


After my research i got to know that Most of The brands use their Signage in horizontal form. Because of the space constraints and the readability Is more and recall value is also very high.


Vertical Placement The readability becomes a big issue here after a certain point. So ideally we should not place the word mark below the symbol.


Horizontal Placement The readability is way more in placing the word mark on the right center side of the symbol.


Therefore ,the word mark must be placed along the right side of symbol.


Logo Color After fixing type and over all balance issue of the logo it was now time to fix a color them to the visual identity, which will be the brand colors and will follow across all communications of the brand Following are some explorations and color options generated for Imli.


Finally this color combination was selected for Imli. As this color combination is very Indian and has a lot of vibrancy in it.


2. Visual identity As imli is a Indian ethnic wear brand and its consumer demands a lot creativity from the brand , so I thought to make some organic patterns for it. Following are some explorations for the patterns for Imli.


Brand Collaterals


Packaging


Stationery

Envelop


Paper tags

Back side

Back side


Paper Pad


Look Book


Brand Manual


Reflective Note This module gave me an understanding of How to Market and design a brand identity and most importantly how to deal with client. In this module i could learn about the aspects of creating a brand’s identity in the market and how customers perceive it. I did could things which i haven’t been able to do in other modules like Packaging, Company profiling, Look book and many other things. This project can be further taken and one can do a lot more in this project as it’s a live brand out there and there is always scope for innovation.


References WWW.YOUTUBE.COM WWW.GOOGLE.COM WWW. HOMEGROWN.COM WWW.PINTEREST.COM WWW.DESIGNINSPIRATION.COM WWW.FABINDIA.IN WWW.MOTHEREARTH.COM WWW.OKAHI.IN WWW.RAWMANGO.COM WWW.NICOBAR.COM WWW.UPASANA.COM WWW.ANOKHI.COM WWW.GRASSROOTS.COM WWW.MOGRA.COM WWW.NORBLACKNORWHITE.COM VOUGE MAGAZINE GQ MAGAZINE KYOORIUS MAGAZINE


Acknowledgment In the end I would just like to conclude that all my hard work and endurance that I have put in my work, is not just my achievement but also the toil of my parents, teachers, mentors, specially Urvi Khanna Nikita ma’am and Milly ma’am who helped me unconditionally by putting their best efforts in it and last but not the least, my friends, Srishti Jain and Riya who were always there with me at each and every step of my project and acted as support pillars in my journey through this module. Thank you so much!


Design Process For Imli  
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