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Linen Club is one of the top manufacturers producing pure linen fabric for over six decades. This pioneering brand has over 200 exclusive stores, more than 7000 multi-brand outlets, making them India’s leading linen brand. They approached VGC to help the brand expand their offering across the both fashion as well as lifestyle. VGC designed a new brand identity for them, let’s have a look!

Industry: Creative Advertising Agency

Services: Strategic Brand Identity, Packaging, Communication, Digital and Experiential Design

Brief

With a rise in competition and a surge in look-alike blended linen brands, Linen Club, the 60-year-old pioneer required renewed vigour and unique brand expression to reestablish their leadership position in the industry. Showcasing the natural origin of the linen and the proud legacy of the brand is essential for the brand’s identity and expansion. The premium experience of the product, the sophistication and luxury must be woven together to enchant the consumers and establish the brand in the fashion and lifestyle industries.

Challenges

The timelessness of the brand and its vast portfolio remained a challenge. It was essential to simplify the brand’s portfolio and restructure its brand architecture. It was also pertinent to stay unique and distinctive in the sea of sameness, this called for demystifying the pastels and limited colours associated with the category. The brand’s proud legacy and heritage must be showcased while paying homage to its European origin and natural characteristics of Linen.

Solution

VGC designed a new brand identity for the brand celebrating its rich heritage and legacy while imbibing the natural characteristics of linen. Packaging remained a crucial element in the rebranding process. To capture the sophistication and premium quality of the product while also honouring the brand’s European origin, VGC drew inspiration from the hues and shades of flax, thus introducing a vibrant colour palette for the brand.

Through an intelligent, comprehensive and robust navigation system, the brand’s identity was further enhanced through a hybrid brand architecture system as well as a navigation system for the various brand offerings. It was also pertinent to provide a strong presence in the linen ready to wear segment, and hence VGC geared the brand for its ready to wear offering which paved the way for Linen Club Studio.

Every year many exceptional design briefs are being answered with brilliant solutions by many talented designers. Some manage to reach the limelight through awards and other recognitions, but not all. And that is where the ‘DCS-01’ comes into the picture with detailed case studies highlighting the challenges, research, and the unique solutions to each obstacle faced in reaching these final design solutions. An inspiration and a collection of quality design projects created in India recently.

 

So, if you are creative freelancer, agency, studio, corporate or a design student, who needs inspiration and want to know the process of making great designs, then this is a must-have book for your collection. Order it today to reserve a copy of this limited stock book.

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We go through many interesting illustration projects each day and find them inspiring enough to be shared further. Projects which have the potential to inspire and spark multiple ideas. So, here are few selected one for this week’s illustration inspiration, enjoy!

Illustrations by Samyak Prajapati

Illustrations by Vijaya Aswani

Illustrations by Saajan

Illustrations by Petra Eriksson

Illustrations by Hricha Nilawar

Illustrations by Abhee Arts

Illustrations by Cyril Rolando

Illustrations by Luis Tamani

Illustrations by Bijay Biswaal

If you have any of your illustration project or someone else’s, which is equally inspiring for fellow creatives, then share it with us on contribute@creativegaga.com

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Fun. It’s what everyone wants. So why not give it to them? Incorporating this very insight in branding and packaging transforms a non-living object into a fun-filled experience, believes self-taught visual designer Sajid Wajid. More on how adding ‘fun’ can make for memorable and lasting designs.

Poster for CONTROL ALT DELETE 10
Branding for Poise
NH7 Weekender 2018
NH7 Weekender 2018
For Adidas Originals to launch the Pharrell Williams Pink Beach Collection

It’s all About Adding Value.

Things that look good are important for the environment; they define a particular space. Good packaging or branding can add a great deal of value to a product. It’s not just about improving the appearance but the overall product itself. Good packaging is easy to recall. That can be done by adding humour or a fun element to your design. Packaging and branding can also make a difference in the sale of the product. And that’s where the feel-good factor lies for packaging and branding designers!

Branding for The Cuckoo Club
Branding and Packaging
Album Cover for Eternal December
Branding and Packaging
Lala Hardoul, The Prince of Orchha
EAT IN HOME KITCHENS ACROSS THE WORLD.
Branding and Packaging
Knowmad Sounds, Gig Poster

The Trick is to be Practical and Impractical at the Same Time.

If you’re just going to play it safe, chances are you will become predictable and boring. Today, products should be fun rather than being somber. That’s what people expect. In today’s times, the audience is open to being surprised by being offered something different. Everyone wants to own something totally new. And the only way you can give them that smile on their face is by taking your designs beyond your comfort zone.

KURLA. Everyone remembers a good laugh don’t they?
Branding and Packaging
Popsplatter, Coverpage Illustration
Branding and Packaging

Branding for The Granfaloon
MUMBAI BHAI.
DELHI BELLY. Illustrations for adlabs imagicas ride wrath of God.

No One Wants a Car in a Car Company’s Logo.

Branding is a symbol that speaks for the company it’s made for. It’s a lot more than just a group of elements that relate to the brand. The concept of branding has evolved, where a logo is meaningful only after it’s used. Branding needs to have a story to it, an idea. It’s like problem-solving through design. Brand recall is imperative and many people miss out on that these days. It’s all about being different and standing out. How well you can tell the story and portray it in the most interesting manner makes all the difference. Absorb the brand’s personality and play a little game of Pictionary with yourself. Simply keep in mind, the person looking at the logo should be able to identify with it.

THE CASTLE OF FEAR.
Branding and Packaging
antiSOCIAL, Gig Calendar for May 2017
DELHI BELLY. Humor and fun is the best way to ensure branding will relate to the target audience as demonstrated here.
MERA DIL LE GAI OYE. For all those who own a Royal Enfield would know that their heart beat lies in this bike.
Branding for Turning Heads Production

No Matter What, There is Always a Limit.

Unfortunately, when it comes to design, a line needs to be drawn at some point. You cannot ignore the client or work without understanding the target audience. Imagine a Venn diagram, where one circle is you, the other is the client and the third circle is that of the target audience. The region of overlap between all three, that little area is where you work. That’s how much room you have to show your skills and creativity. That’s the challenge, but that’s the fun too.

CHEF CUPI D. This mascot for Kitchen Treasures tells the story of falling in love with your food.
THE SPIRIT OF COMPETITION.
Branding and Packaging
Sofar Bombay, Gig Poster
LEO (SUNSIGN). These eye-catchy hand drawn zodiac characters definitely work for merchandising.
GET CARRIED AWAY. Ratability can’t get better than using symbols of what people use every day in their life - public transport in Mumbai.

Published in Issue 21

They say not to judge a book by its cover. But they also say that exceptions are always there. There’s no doubt, branding and packaging are the faces of any business and product. They decide the way people will receive the brand; whether they will accept it or reject it. To understand and gain more perspective on this much-unsolved mystery, we invited many branding and packaging experts who throw light on the topic.

 

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Mira Malhotra
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Mira Malhotra distinctly classifies the nitty-gritty of Indian design, and the reasons why it is so different from design that comes out through most of the other parts of the world. To provide perspective, she uses the contrast of European art to display the difference in the two approaches.

Anything that is distinctly from the Indian subcontinent makes a design Indian. Motifs, forms, colours and or visual treatment; putting paisley on something, and so on, can make a design Indian. From colourful folk items of Kutchh to earthy colours of block prints, or to certain organic elements like depictions of lotuses, all constitute ‘Indian-ness’. Yet, it can be just the content that makes something Indian i.e. what something constitutes and not just the way it is represented. A broad example of this would be the many numbers of symbols that India has in its culture, and which represent this part of the world – such as the cow, the lotus, elephants, a little oil lamp and so on.

Illustration for JSW Forma

The most important thing to develop Indian design is to stop looking at design from the west, and instead embrace what we see around us. It will automatically translate into your work, and your work will ultimately feel more Indian because it is genuine, honest and truthful. We have a tendency to glorify design and art in the contemporary western world while overlooking the ancient and powerful design of our culture and history. It’s time to openly and consciously acknowledge their strength and impact, which have kept them eternally relevant.

It can also just be an approach. Art in India differs from its counterparts in the West greatly. European art (derived from Graeco Roman canon) is ‘perceptual’, and ours is ‘conceptual’. Both classical and folk arts in India (as it is in many other eastern countries) subscribe to this. For e.g. in Indian classical arts, the human figures were drawn as an ideal, rather than based in reality.

In rural and folk arts like Madhubani, the approach is less academic or rooted in studies of actual objects, and is purely based on the ‘Draw what you know’ approach, rather than the ‘Draw what you see’ approach of Europe.

Illustration for British Council India

Indian art pays little heed to perspective, regardless of whether is it is a one-point perspective; two-point perspective or other such devices that make drawings look ‘real’. And, a lot of Indian art is also non- representational i.e. It is more abstract than based in the physical world.

Personally, I feel that European and Eastern practices differ in what is quantifiable, the former focusing more on it, while the east does on what is not quantifiable, which is why, for Indians, developing the mathematical concept of ‘Zero’ was also easier.

Published in Issue 39

Indian Design Special! As the festivity is all around, every brand or business is trying to impress the Indian audience. But what really works for us Indians? What is an Indian design? And how we can make designs for India? To understand it, we interviewed some Indian creatives who are successfully creating designs for the Indian audience. Neha Tulisan, the founder of NH1 design, highlights to understand how we Indians live; how we grew up; and what moves us emotionally. Whereas Mira Malhotra, founder of Studio Khol, emphasises on the difference between Western and Indian Sensibilities. Also, we support keeping ourselves connected with Indian cultures, languages, history, aspirations and more, will help find the Indian context in everything we create.

 

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The colourful Mahabharata written by Kamala Subramaniam inspired the Italian artist Giampaolo Tomassetti to create the illustrative version of it and Art-Ma is presenting the collection through Virtual Reality. This exhibition take you to a soulful indulgence and leaves feel inspired and mesmerised. It is a gift to world, much needed in today’s chaotic and heavy times.

Indian Mythology

Before illustrating, Giampaolo visited India to have a better understanding of Indian Culture and Mythology. It also strengthened the bond with the practice of Bhakti Yoga and living a simple life. To understand the costumes, he also spent some time in the School of Drama. Tomassetti studied the Mahabharata minutely until he felt a connection to the feelings of the characters. All of this accumulated knowledge can see in his Mahabharata collection.

Art-Ma is allowing seeing these hand-made illustrations digitally through Virtual Reality, click the button to reach the VR room.

Indian Mythology
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