Designing a Holistic Brand Experience

for​ revival of IKAT

Rudrani Santape
MD16MDES11014

Guided by Dr. Prasad Onkar

A Thesis Submitted to
Indian Institute of Technology Hyderabad
In Partial Fulfilment of the Requirements for
The Degree of Master of Design

Department of Design
May, 2018

1
 Acknowledgements

I would like to express my special thanks and gratitude

to my Professors Dr.Deepak John Mathew, Dr. Prasad Onkar,
Mr.Neelkantan, Mr.Delwyn Remedios for their support
and feedback which further helped me in
development of the Project.

The discussions also helped me in doing a lot of Research

and I came to know about so many new things I am really thankful
to them. Secondly i would also like to thank my parents
and friends who helped me a lot in finalising this project
within the limited time frame.

2
 Reviving​ ​IKAT
Building a brand identity and experience for​ IKAT ​through print, digital media
and experience design to position and market them alongside their
present-day competitors.

3
 Abstract
The Indian fashion industry is one of the largest contributors to the country’s economy. It is
also the fastest growing export business in the country. Although still at its infancy it has a
great potential to make a mark on the world stage.

One of the major business accelerators for the fashion industry has been the internet and social
media. As it is rightly called the era of information, the way people share, consume and
perceive information has dynamically evolved within a short span of time. Talking about the
retail and fashion industries, the internet has not only opened up the global market but has also
served as a platform for digital advertising. Companies that adapted to these rapid changes
with brilliant tweaks in their marketing/advertising strategies have used the social media as a
cost effective and time efficient tool for their benefits.

Amidst all this chaotic evolution there were these sects of people who believed in
conventional or rather traditional ways of developing art who were the most affected. Having
stuck to their ancestral techniques of handicrafts and handlooms competing with
well-established power loom industries have posed several challenges to their livelihood.
Furthermore, owing to the fact that these artisans are technologically handicapped, they have
had no means to market their works on social media, let alone E-commerce websites.

This thesis work is an attempt to help one such weaver group based in Telangana, a cultural
state in India - that works on IKAT weaving techniques. The user group and their work was
closely studied to develop the branding for IKAT products. Lastly, the brand image developed
was made to fit into different advertising mediums.

4
 Contents
1. Introduction ​7
1.1. The story 7​
1.2 Overview of Handloom Industry 7​
1.3 Handloom Clusters in Telangana 8​
1.4 Defining Scope of the Project 9​

2. Literature survey ​9
2.1. History of Ikat 9​
2.2. Demographics ​10
2.3. Types ​11
2.3. Significant Features ​11
2.4. Raw Materials ​11
2.5. Process ​13

3. User research ​14

3.1 Understanding IKAT and the weavers ​14
3.2. Developing an empathy ​15
3.3. The Questionnaire ​16
3.4. Design issues analysis and Observation ​17

4. Problem Identification ​20

4.1. Drawing design insights from user research ​20
4.2. Defining the problem statement ​21
4.3. The fashion industry ​21
4.4. Brand image and product commercialization ​22
4.5. Competitor analysis ​22

5. Stakeholder mapping ​24

5.1. Stakeholders ​25
5.2. Pain Points ​25

6. Setting the stage ​28

6.1. Design Decisions ​28
6.2. Different aspects and strategies involved ​28
6.3. Brand positioning ​29

5
7. Developing a brand image for IKAT ​30
7.1. Motifs and patterns ​30
7.2. Developing the look and feel ​31

8. Brandmark ​32
8.1. Brandmark ​32
8.2. Emotional Connections ​34
8.3. Brand Personality ​35
8.4. Aspects of the Brandmark ​36
8.4. Final Logo ​42
8.5. Font Explorations ​45
8.6. Colors and their significance ​46
8.6.1 Further Development of Motifs and Patterns ​48

9. Modern Commercialization ​49

9.1. Designing for different media ​49

10. Medium of advertisements ​50

Meeting print media requirements ​50
10.1. Packaging ​51
10.2. Design for Retail Experience ​56
10.2.1. Interactive Installation ​57
10.2.2. Use Cases of the Installation ​62

11. Conclusion 6​ 4
11.1. Holistic Experience ​64
11.2. Scope for future developments ​64

6
 ​Chapter 1

1. Introduction

1.1. The story

The first interaction with tribal artists was with ​Baiga tribes in a village near Bhopal that
worked on ​Godna tribal art. Their motifs formed a symbolism through which they
communicated emotions that were mostly artistic in nature. Their works in the recent times
have come to the limelight through art appreciators and collectors residing in the urban cities
like Bhopal, Mumbai, Delhi and Kolkata. Present day visual graphic designers too have
developed a profound interest in using some of the Godna typefaces for their works calling it a
culturally oriented project.

It was soon evident that there are many such artforms in different corners of our country who
are working on otherwise unknown art forms and crafts that most people are unaware of. This
is primarily because of these artisans that choose to work in a closed community and usually
don’t come in touch with the outside world. These cultural or at times religious art forms are
ancestrally acquired by the community folks and the knowledge has been passed down
through generations for many centuries.

1.2 Overview of Handloom Industry

The Handloom sector is one of the most important industries in India. It provides employment
to a large number of skilled and unskilled workers and has grown and evolved by transfer of
skill from one generation to another. The sector has a number of advantages – It is not capital

7
intensive, needs minimal use of power, is eco-friendly and can easily adapt to market
requirements.

As per 3rd Handlooms Census​1​, carried out in 2009-10, more than 43 lakh people are engaged
in weaving and allied activities. This has number has declined since the second handloom
census conducted in 1995-96 which showed 65.5 lakh active weavers. There are 23.77 lakh
looms of which 20.66 lakhs are in rural areas. There are 38.47 lakh adult weavers and allied
workers in the country of which 77% are women and 23% male weavers. The approximate
man days worked per weaver per annum is 234 days.

1.3 Handloom Clusters in Telangana

The state has close to ~ 120000 weavers​2​ and about 10,000 GI tagged looms and is home to
world famous weaves like Ikat, Gadwal, Naryanpet, Gollabama & Siddipet. The literature
study about the crafts in Telangana state gave an insight about the different kinds of weaves
and the process of making the fabric in various corners of the state.

In the initial phase the research started off by understanding the craft of Ikat in Pochampally
village.​ 3​Ikat is most well-known in India, Indonesia and Japan and even has traditions
existing in various countries across Latin America and parts of Europe, owing to Dutch,
Spanish and Portuguese colonialism in Southeast Asia from the 16th century. The intricacy of
the double ikat technique requires the most skilled and experienced artisans, thus it is only
produced in India, Indonesia and Japan, where the craft has existed for millennia.​ ​The word
‘Ikat’ is derived from the Malay-Indonesian word ‘mengikat’ which translates to ‘to tie’, but
rather than applying the pattern to cloth, it’s created earlier by wrapping bundles of yarn
before they’re dyed. This is also what gives ikat its signature blurriness as it’s very tricky to
line up the patterned yarns perfectly on the loom – the more precise the pattern, the greater the
skill of the weaver.

8
1.4 Defining Scope of the Project

The Pochampally Ikat weave was thoroughly studied in order to understand the pain points of
the weavers and several other issues by which the Handloom Industry is buffeted. The
primary idea is to uplift the craft and provide them an identity so as to align it with the modern
consumer needs. To strategize and build promotional content which represents the core values
of the craft. Various ways in which the content could adopt different forms was thought of.
The journey started with exploring the graphic representation of the craft ikat, by studying the
core attributes of the ‘ikat weave’ and bringing the same essence into visuals. Which further
could be extended to the print, digital and tangible media of interactions.

Chapter 2

2. Literature survey

2.1. History of Ikat

The research began with ​IKAT ​and its origin. Etymologically it is an Indonesian word. It is
believed that ​IKAT​ made its way to India by Silk route and now is found in various regions
4​
Ikat is most well-known in India, Indonesia and Japan and even has traditions existing in
various countries across Latin America and parts of Europe, owing to Dutch, Spanish and
Portuguese colonialism in Southeast Asia from the 16th century. The intricacy of the double
ikat technique requires the most skilled and experienced artisans, thus it is only produced in
India, Indonesia and Japan, where the craft has existed for millennia.

9
Andhra Pradesh and, subsequently, the separated state of Telangana, are celebrated as the
place of birth of Indian ikat. The most distinct ikat of Andhra Pradesh is the ​Telia Rumal,
which is characterized by the obscure process of oil treating the yarn. The Nalgonda district,
which is now part of Telangana state, has been the perpetual hub for ikat production. Weaving
continues to occur in the ​Pochampally, Puttapaka and Choutuppal ​areas of the district where
the skilled weavers continue to reside.

2.2. Demographics
The demographics of the Pochampally village was also studied that included primary
occupation of the villagers and how they perceived this art of weaving. The weavers were
interviewed regarding the different processes involved in making of ​IKAT ​fabric. There are
daily wage workers, master weavers and some take up this craft as a part time job.

5​
Pochampally, a cluster of 80 villages, has traditional looms, whose pattern and designs are
centuries-old. Today this Silk City, which is more of a cottage industry, is home to more than
10,000 weaving families in 100 villages. The fabric is marketed through the cooperative
society, many other linked organizations, the master weavers and the business houses in
Pochampally​. ​Ikat is primarily ​made in ​Bhoodan Pochampally​, ​Yadadri Bhuvanagiri district​,
Telangana State​, ​India​. They have traditional geometric patterns in ​Ikat style of dyeing. The
intricate geometric designs find their way into sarees and dress materials.

10
2.3. Types

There are three styles of ikat, each categorised by how difficult they are to weave. In the
simplest method, only the warp yarns are wrapped and dyed while the weft yarns are a solid
colour. With this technique, the pattern becomes apparent on the loom before the weft yarns
are even introduced. In the second variation, the weft yarn carries the pattern which only
appears during the weaving process. The third and most advanced is double ikat, where both
warp and weft yarns are resist-dyed. Indeed, this method is so difficult it’s only produced in
three countries: India, Japan and Indonesia.

2.3. Significant Features

The ikat weave is characterized by intricate, geometric patterns. The detailing is minute and
captivating. The fabric is weaved in both cotton, silk and sico (mix of cotton and silk).
Traditionally the colours used are natural and yarns are dyed with these colours. The motifs
over Pochampally sarees are usually inspired by nature for example, birds, elephants, floral
patterns and geometric abstract figures. The motifs are interspersed with geometric grids.

2.4. Raw Materials

The primary raw materials used are yarn (cotton, silk etc). Rubbers for resisting the dye. Dyes
are generally derived from flowers and other natural products. Besides this the handloom is
used to weave the fabric.

11
Fig. tools shot during field visits (Yarn)

Fig. Spindles

12
2.5. Process

Several steps are involved in weaving a piece of the fabric. The process starts by tying
together the bundle of yarns. Certain areas of the areas to be resisted are tied up to achieve the
desired pattern. The yarn is left to boil for dyeing. Once the dyeing is done the rubber bundle
is removed to see the pattern. The degree of complexity rises with intricate patterns and more
number of colours.

Fig. Bundling yarn with rubber to resist certain areas while dyeing

13
 Figure. Process of Dyeing yarns

Chapter 3

3. User research

3.1 Understanding IKAT and the weavers

Pochampally is well known for handloom and IKAT weaves. The word ‘Ikat’ has origins from
the Malaysian word ‘mengikat’ which means to tie. It is a traditional tie and dye resist
technique for creating pattern over textiles. It is a complicated process and weavers put in lot
of efforts in making of this beautiful fabric. The unique weave is characterised by signature
blurriness, feathered lines, vibrant colours with block motifs. Generally these are inspired
from the nature like birds, elephant, florals and also intricate geometric patterns. These
patterns see a repetitive usage on ​IKAT ​textiles. It is the interplay of threads and patterns

14
giving it a lovely human touch. The objective is promote and to sustain the craft and keep this
traditional handmade craft legacy alive.

The history of ​IKAT ages back to 450 years in time that was brought to India through silk
route and is known by different names in different parts of the Country. However, life of the
weavers is not easy. Long hours of hard work on handlooms, patience and investment
sometimes doesn’t fetch them the real value of the product. Several reasons like rise of
Powerloom, lack of reachability in market and share/profits made by middle men to sell their
products that ultimately fetch them a very small amount to sustain. What we see as a final
IKAT ​product in hand is an outcome of collaborative efforts right from dyeing of the yarn,
making spindles and then comes the woven fabric out through the frame.

The younger generations don’t want to pursue this profession due to challenges confronted in
this business for example not fetching enough livelihood, proper value for their products,
inability to sell products outside their confined zone, to place their brand globally. There is a
dire need to educate people about the value of this craft. A strong Identity which tell a story
about this weave.

3.2. Developing an empathy

Before starting to design a system for IKAT, knowing the financial trouble of these weavers
and also verifying if there was a demand for IKAT cloths in the market were important. Both
of these could be answered by the weavers themselves. Following are the set of questions
asked.

15
3.3. The Questionnaire

A questionnaire was drafted to know more about the craft, problems encountered by the weavers, economic
conditions and what do they expect in future. The interviews gave an in-depth insight about their family
background, how do they perceive weaving as a profession.
Current market and loopholes. Which furthermore helped in synthesizing and bridging the gap

16
 Figure. Interviewing weavers

3.4. Design issues analysis and Observation

An extensive research was carried out at Pochampally village. Interviewing weavers gave lot
of insights about their lives and how closely it is associated with the craft, what significance
does it hold for them, the legacy of the craft, the challenges they face in this era and what do
they expect in future and for their upcoming generations.

The following insights on their hierarchy and social structure were gathered from the
interviews with the weavers:

17
 1) Weavers talked about marketing their products in existing scenarios and need for
recognition in markets across the country.

2) Master weavers are the ones who provide their hand looms a support with raw
materials to wage workers. They also are the main point of contact for many markets
while outsourcing most products to stores outside.

3) Besides weavers and master weavers there exist Cooperative Societies, Pochampally
Handloom Park who, NGOs as mediators who are involved in exports.

Their sales and marketing strategy was not very different from what was initially anticipated.
The following are the present strategies they use:

1) They hold exhibitions for promotion of IKAT fabrics in urban cities nearby like
Hyderabad and Secunderabad.

2) This is where they sell most of their products. They sell their products in fairs,
handicrafts alongside other Indian handicrafts in such situations.

3) They also hold several activity planning in their community to discuss other methods
of sales and marketing and demand and supply issues.

The research also helped in understanding IKAT. The observations were synthesised and
organised to chart out the core attributes of IKAT.

18
Fig. Ramdas wants his products to be viewed in exhibitions which serves as a platform to connect, network people from
all around the world. They want to see their products all over India and also international markets.

19
 Chapter 4

4. Problem Identification

4.1. Drawing design insights from user research

One of the most important design insights that came out of research was that Indian
handicrafts need global positioning and branding to realize full potential. There is an immense
need for marketing of products. The artisans are unaware of the modern platforms for
marketing and the various aspects of branding, packaging and retail experiences.

The artisans spend most of their time working on the garments that they are left with no scope
of interaction with the design trends of the outside world. They have stuck to the traditional
and now outdated designs that would only affect their sales.

The weavers are keen to communicate the story about their craft. They want their customers to
know about the value of the product, where each garment is made by interweaving a design
with traditional and contemporary motifs.

The need of showcasing the products catering to the present day consumers was realised by
adopting new mediums and experiences in order to communicate the craft’s story.

The various aspects of branding, packaging and retail experiences where the essence about the
craft could be communicated through medium of design:

20
 I. Digital Media ( Content for digital displays and social media)
II. Print Media (Packaging, tags, posters, Informative pieces)
III. Experience Design Space (Exhibitions, fairs, physical stores, Fashion shows)

4.2. Defining the problem statement

Narrowing down to the final problem area and solution to focus on for the thesis it was
decided that work was to be done to re-design content for promotional activities for ​IKAT​.

‘In other words, the problem statement was to build a holistic brand
experience for the buyers of Pochampally IKAT through print media and
digital media and help the weavers compete alongside their competitors.’

4.3. The fashion industry

Talking about the fashion industry today a lot goes into marketing and branding. It consumes
about 60% of the company expenditure and eventually adds to the product price for the end
user.

The design trends are set by the leading designers of these companies and are displayed to the
public seasonally. We see it at different platforms such as fashion shows, celebrity
ambassadors’ presence at Oscars and filmfare awards and other such gatherings.
For a more consumer level garment lines most designs are displayed either in the retail stores
or at the E-Commerce websites and company websites like fabindia, Nicobar, Raymond,
Rawmango to name a few.

21
4.4. Brand image and product commercialization
Every company has its own design language set that have been strictly followed for decades at
stretch. The design language has eventually found its way to form the core USP of any
company.

On the other hand, this design language is chiefly controlled by the type of clothes that the
company uses for majority of their products. If you take fabindia as an example, then you
would see that the logo and the colors are inspired by Indian ethnic wears that relates directly
to their designs and products that are in turn influenced by cotton fabric printing methods and
techniques. Whereas international brands are more liberal about their branding styles as their
products are not usually specific and contain a variety of materials for their products.

4.5. Competitor analysis

Wills ​IKKAT​ collection
Competitive studies were also made by observing how high-end fashion / lifestyle stores are
promoting Ikat/ Ikkat. Wills recently introduced water collection. The significant
characteristics of ikat weave was identified and further explored in different forms. It was also
inspiring to see the influence of indigo (colour) in their seasonal collection and how it weaves
the overall story considering the key aspects of the craft.

22
 ​fig. Story re-spun by Raymond, Will’s Ikkat Collection (left to right)

Story Respun by Raymond is also an example of how the storytelling helps in connecting
consumers to the world of handlooms. ​Conceptualised and developed in-house, the new TVC
portrays the transformation of Khadi as the ‘Fabric of the Nation’, to becoming a new-age
fashion ensemble, synergizing deep rooted Indian-ness and craftsmanship of Khadi. Madhu S
Dutta, Head 6​​ Marketing, Raymond, says, “‘The Story Re-Spun’ is a delightful narrative, a
pledge by Raymond to help rejuvenate the traditional Indian craft by collaborating with
artisans and designers, to create products that are relevant and compelling for consumers of
today. ​The ways adopted for showcasing the products helped further in development of the
brand.

23
 Chapter 5

5. Stakeholder mapping

5.1. Stakeholders
The following is a list of major stakeholders:
A. The labor, daily-wage weavers
B. The master weavers
C. Part time weavers who are involved in various other processes related to weaving
D. The middlemen who connect them to the retail stores and customers
E. The exhibition and handicraft fair organisers, NGOs and other such organisations
F. The end consumers/customers

All these stakeholders are equally important. The other way to design and connect to all of
these stakeholder needs is to work on branding and value addition to the products so that
people see it as good as any product bought from the branded companies.
User - centric design approach was followed in order to tailor the optimum experience for the
end consumers. Various personas were considered while designing experiences.

24
 Fig. Stakeholders

5.2. Pain Points

As discussed in the above sections to summarise it all the following are the pain points of the
weavers:

25
26
27
 Chapter 6

6. Setting the stage

6.1. Design Decisions

The further ideation was based on different design parameters and design areas. The design
focus areas are as follows:

1. Patterns and motifs identification and isolation

2. The symbol of the brand
3. Product packaging and labels
4. Advertising mediums:
digital and print media
5. Branding strategies and sales strategies
Retail Experiences

6.2. Different aspects and strategies involved

The following areas are the most interactive places where the consumers/customers come in
direct contact with the product advertisements.
1) Exhibition Area: Digital Displays
2) Interactive Installations
3) Promoting Ikkat Collection at Stores/ Malls
4) Online Promotions: Facebook Pages, Posters etc.

28
There were some of the Brand related touchpoints that were to be investigated:
The shape of the label, product packaging, brochure, printed posters, advertising media highly
contribute to the overall experience of the primary product.

These “touchpoints” are very important (Budelmann et al., 2010, p. 194) because their tactile
and visual qualities (such as type of paper, images, and colours used) and the way the brand
“feels” at the point of interaction speak volumes about who the brand is (Chua & Illicic, 2007,
p. 10). Building on their perceptions, preferences, dreams, values, and lifestyles. Identifying
touchpoints—places in which customers interface with the product or service. Using brand
identity to create sensory magnets to attract and retain customers.

6.3. Brand positioning

In order to gain consumers’ attention and also adapt to the changing ways of consuming
information the need for branding using new mediums was realised in order to appeal
consumers. Creation of promotional content for applications such as digital Standees, Posters,
backdrops, elements for various digital and social media promotions. As we know attention
span of people is decreasing due to saturation of brands available around.

Contemporizing Marketing strategies and trends would appeal and be more able to connect
with the modern era consumers. In order to achieve response the content has to be engaging,
connecting, should give the feeling of authenticity and bring the awe factor.

29
 Chapter 7

7. Developing a brand image for IKAT

7.1. Motifs and patterns

The mood board was created on the basis of observation during field visits to keep the
emotions of the buyer connected to the Indian villages and art forms. This was to serve as a
constant reminder of the beautiful environment in which these weaving is done and the
process itself.

Patterns found in the products were explored as shown in the images here. The patterns looked
like pixel art since these are not printed but rather woven textiles. These are the only patterns
possible through weaving. But the pixel-like blocks could itself be arranged in an aesthetic
form exploring designs that are more subtle and modern.
Because most dyes used are bright and with intense hues, these patterns could be placed
amongst huge chunks of white spaces (negative spaces) to bring out the contrast in a softer
sense. On the other hand, there are dyes that have deep colors as well like black and dark blue
that is commonly used in IKAT. These colors too could be used in place of an otherwise white
negative space. Either way, it does convey the IKAT style of art as show in images that follow.

30
While isolating the motifs the negative spaces were ignored and only the high contrast pixels
(positive spaces) were chosen for all the digital branding requirements. These, when placed on
a white background was enough to convey that they are elements taken from IKAT.

Amidst the pixel like explorations for isolating the motifs individual threads came forward as
an individual element because that is what goes into the loom. It was observed that these
threads too have intermittent dying done on them on a base color. Thus a separate exploration
was done to see if something interesting could come out of this but it all ended up like a
barcode label and nothing more. This was then set aside for future explorations.

Inspiration was derived from the elements found in their photographs of the products, village,
raw materials, colours, yarns, the process of making, how a form/ pattern is made right from a
sketch on a graph paper to how does it look on a textile.

7.2. Developing the look and feel

The visual language of the Ikkat is borrowed primarily from the Pochampally Ikkat product
itself. The geometric intricate patterns, pastel shades (inspired from their natural
surroundings), diamond motifs, irregular weave, earthy essence, blurry jagged lines and
significant ikat weave’s elements were attempted to bring into the visual language.

31
 Fig. Ideation

Chapter 8

8. Brandmark

8.1. Brandmark
Exploration of the Brandmark was done around various lines considering symbolic, motifs,
pattern driven, image driven, logotype and other possible traits which signifies ikat.

The main objective was to create a brandmark which reminds consumers and give the feel of
ikkat and most importantly they could associate the product with it. The idea was to adopt a
symbol which carried the essence of the handloom product, the story of the product, reflect
the core philosophy of the community and to be able to connect with it emotionally.

32
Fig. Explorations I

33
8.2. Emotional Connections
As discussed earlier Ikat is a symbol of status, wealth, power and prestige.

Figure: Significant Ikat features

34
8.3. Brand Personality
In the same way that a person can be described so can a brands personality; through
demographics, lifestyle or human personality traits 7​(Aaker, 1996, p. 142). Considering the
Pochampally context and if the ikkat was human then on the basic of the characteristics
personified it as: Blending with Society.Giving these attributes helped me realize the
customer’s perception and what they would feel about the brand.

1) Identity ?
2) Who needs to know?
3) How will they find out?
4) Why should they care?

35
8.4. Aspects of the Brandmark
While selecting the typeface/font and the designing the logo the same sharpness was to be
kept intact. The following images show the iterations done keeping the pixel like explorations
alive.

There were few ideations done on the thread-like or rather barcode like designs that gave a
feeling of weaving in progress or just weaving itself. Customers who are aware of IKAT
would immediately relate to the logo/typeface/brand to something woven in a loom. Building
a character using these styles was made possible using the nature inspired patterns that the
weavers already use.

36
Fig. Initial Explorations

37
Fig: Block like motifs, inspired from patterns of Double ikat

38
Fig: Type Explorations

39
 Figure: Iteration 1

Fig. Inverse Application

40
41
 Fig. Other graphic elements

8.4. Final Logo

The symbol is an abstraction of the f​loral patterns ​which the weavers use in motifs. The
blooming flower is a symbolic of earthiness, elegance and poise. Out of all the iterations this
particular symbol *figure resonated most with ikat and with the values of the craft.

While selecting a symbol it was seen as an expression and reflection of Ikat. Various aspects
were visualized so that fits well and becomes adaptable on different platforms. Simplicity and
scalability was one of the primary concerns. As it becomes easy to recollect while
identification of the brand.

42
Fig. Inverse Application

44
8.5. Font Explorations
Borrowing the traits of Ikat weave and its origin various fonts were explored. The type were
explored which aligned well with the brand. Also, the message is clear and understandable.
While choosing the font various characteristics like geometric, elongated and ikat’s
characteristics were considered.

Fig. font explorations

45
8.6. Colors and their significance
The palette reflects the hues of traditional double ikat saree. It also represents the earthiness
and prestige. Most of the colors we see in Ikat are obtained naturally using vegetables, fruits,
shells, etc. Vibrant orange in silk, yellows, golden threads and pink could be seen
complimented with blue and cooler hues. I picked a color palette inspired from the place,
natural surroundings and colors used in their products. The motifs are generally inspired from
nature like birds, animals (elephants, peacocks etc), florals.

46
8.6.1 Further Development of Motifs and Patterns

Fig. ​A pattern isolated from the IKAT product and developed for Branding:

48
 Chapter 9

9. Modern Commercialization

9.1. Designing for different media

Applications Explorations

Not just confined to print design, the various other media were though around like web based
applications for example, UI elements, iconography, banners, social media imagery, online ads
etc.

Several media onto which the visuals would come over were carefully thought in order to
ensure scalability of the visual and also how a material would contribute to an entire brand
experience.

49
 Chapter 10

10. Medium of advertisements

Meeting print media requirements

Media such as paper, digital displays, informative posters, packaging were considered in order
to add to the aesthetics and message conveyed through visuals. I wanted to bring in branding
as an interface between end consumers and weavers. Visuals played an important role at an
intangible level whereas I also identified an opportunity to give a more personal feel to the
brand by bringing material experience in tangible products like tags and those used for
packaging, stationary materials like business cards, physical posters. Thus, keeping in mind
the nature of the Pochampally craft a textured material was chosen which also gave a feel of
earthy, tactile and more handcrafted touch to the brand as a whole.

As we not only see Pochampally just as a saree but weavers are also working on new range of
product lines like contemporising products, different applications of this traditional craft.
Creating a unified identity which makes them recognizable as they belong to same family was
crucial.

50
10.1. Packaging
Packaging provides a tactile experience and hence could be utilised to bring up an additional
experience to the overall product experience. The bag in which the products are contained
were visualised so that it carries the essence of the product.

The essence of this traditional craft was considered and hence the branding concept revolves
around the patterns and significant motifs used in Ikat. The interpretation of this craft
combined with colours, typography and tone proposes Ikat as a brand that knows its buyers
well and communicates the message by establishing an authentic relationship.

It was ensured that the brand carries a history provokes it’s age old cultural values but also
blends well with the modern society. The result expected out of the brand is the new
contemporary look infused with traditional values and culture.

The motifs are placed and graphically oriented to do the much of the talking of the brand. It is
not only designed to be a hang tag but also carries the story of the makers (weavers) which
talks about the efforts which goes into making of the product. Acknowledging weavers gives a
recognition to these weavers and this connection helps buyers establish trust in brand.

51
Fig. Packaging Box

52
Fig. Label

53
Fig. Posters for Exhibition

55
10.2. Design for Retail Experience
Designing for a delightful and shopping friendly experience makes a brand stand out and
gives a buyer more meaningful and enjoyable experience while shopping. The content is not
just confined to the print and digital but overall thought around the experience of the
handloom in a holistic manner.

Understanding the consumers behaviours and psyche in Indian context. What would appeal to
them, how would they react to the experience was challenging. The idea was to come up with
an experience and design strategies in shopping experience.

10.2.1. Interactive Installation

"Fabric Speaks" which lets the user interact with the fabric in a much more engaging and
acoustic way. The idea behind the installation is as the viewers come in the vicinity they
would interact with it and touch the fabric. The moment a person touches the cloth it triggers a
sound. The 8 different clothes hung in the installation trigger different sounds.

Look and Feel

The aesthetics (warm color palette) and composition/orientation were carefully crafted.
Material like wood was selected to hang the hangers, which gave an earthy and natural feel
and since it also aligns with the handloom characteristics.

Working
To achieve the final result, the 12-pin Bare conductive touch board was used. It was connected
with the (conductive) aluminum hanger using wires. The hanger was further wrapped with
aluminum foil to increase the area where actual cloth would come over. This would let the

56
current to pass over a larger area. Later the fabric was put over the hanger. The aluminum foil
was spread underneath the fabric carefully. The aluminium foil acts as a capacitance and the
moment the user is at a threshold proximity the difference is mapped and sound is triggered.
The moment the fabric senses the touch it triggers the sound and on interacting with different
fabrics it triggers different sounds which are fed into the pins of the touch board.

Fig. 12-pin Bare conductive touch board

57
Fig. Making surface interactive

58
Fig. Foil extended over the fabric

Fig. Setting up Ikat fabrics I

59
 Fig. Setting up Ikat fabrics II

Fig. Testing the installation with small set of users

60
Sound
The music piece was carefully chosen to sync with the look and feel of the fabric. Different
kinds of musical instruments were explored. For example Sitar, Guitar, Harp, Sarod and
primarily vibrational string instruments. Thereafter, Sitar was the most connecting of all. As it
is also a plucked stringed instrument used in Hindustani classical music. The music has a
striking resemblance to the vibrations of Sitar which also resonates with wavy and rhythmic
Ikat patterns.

Fig. Sitar

61
10.2.2. Use Cases of the Installation
The installation could be imagined in various use cases, where it would serve as interactive
piece of installation to attract consumers and dig deeper to know more about the story of the
craft, serving as an ice breaker. As people would remember it as an experience. In present day
scenario, malls where the handloom fabric is sold provides great opportunity to utilise the
installation. We generally observe small entities which binds the story of the collection and it
adds a touch of demographics of the fabric, it’s natural environment, the primary raw
materials used in its making. Examples in fig. above

Handloom Exhibitions
Exhibition areas are one of the spots where people would enjoy just not the handloom fabrics
and products but also experience the various aspects of the fabric in different ways.

62
Fig. Poster describing the Installation

63
 Chapter 11

11. Conclusion

11.1. Holistic Experience

On designing an overall experience for ikat, along with brand creation and strategies there is
an immense need and opportunities for the entire system to be evolved holistically so as to
uplift these crafts. Right from traditional media to new media.

11.2. Scope for future developments

The elements have been carefully chosen thinking about the probable applications and across
different applications to bring up the same in tangible media (like product packaging, physical
brochures, leaflets, tags etc.) as well as intangible assets. Which creates a value for their
products. Thus ultimately making a valuable experience for the end consumers who will
invest in the products and which would eventually help the weavers to keep this craft alive,
sustain and adapt with the modern needs.

64
 References

1​
Government of India Ministry of Textiles NOTE ON HANDLOOM SECTOR 30th December, 2015
2​
Department of Handlooms & Textiles – Government of Telangana
3​
https://strandofsilk.com/journey-map/andhra-pradesh/ikat/history​/​https://www.toa.st/magazine/the-story-of-ikat.htm
5​
"Facilitation of IPR Protection through Geographical Indications: Pochampally"​. Ministry of Textiles, Government of
India. Retrieved 2015-04-21.
6​
https://www.vogue.in/content/raymonds-new-collection-khadi-revival-initiative-titled-story-re-spun/#s-cust0
7​
Aaker, J. L. (1997), "Dimensions of brand personality", Journal of Marketing Research, Vol. 34 No. 3, pp. 347-56.
https://www.pentagram.com/work/graphcore#14985

https://www.logodesignlove.com/logoarchive

https://www.underconsideration.com/brandnew/archives/new_logo_and_identity_for_airbnb_by_designstudio.php

https://design.google/library/designing-span-2017/

https://www.youtube.com/watch?v=CRce4Ws9qQA&app=desktop

https://www.logodesignlove.com/logoarchive

https://researchonline.jcu.edu.au/44325/1/44325-chalmers-1993-thesis.pdf

https://www.anitadongregrassroot.com/blog/hello-new-york/

https://brand.mastercard.com/brandcenter/mastercard-brand-mark/downloads.html

https://www.curbed.com/2017/5/2/15519608/frank-lloyd-wright-schumacher-textile-fabric-patterns

https://www.behance.net/gallery/276451/City-of-Melbourne

https://www.unilever.com/about/who-we-are/our-logo/

https://www.pentagram.com/work/philadelphia-museum-of-art

65