Paying attention to aspects like functionality, materials and accurate drawings to guide the construction and other similar details is as critical as a good design in creating a memorable and effective retail experience.%% {{Beginning to Weave}}%% We are now at the midpoint in the design process: the ‘detail-design’ stage.$$ So far in the series, we discussed the ‘Defrost-Mode’ where initial impressions are analysed and a ‘Design Brief’ is generated. The brief is substantiated by Brand Studies, Consumer Touch-Point Mapping and Mindmaps; all of which culminate in a ‘Strategy Document’. Furthermore, ideas and approaches are assessed and a ‘Unifying Theme’ that encapsulates the brand promise is identifi ed. The theme is validated through a working mood board and quick renderings. %% At this stage, the designer, like a tapestry artist, walks into the studio with a beautiful theme playing in her mind and the mandate from the clients/ stakeholders, who in turn by now have become patrons. The designer also has all the ingredients in the form of programmed facts and data; and can now begin to do what she does best: Design. While in the previous stage machetes were prepared, now actual confi gurations with working details, down to the last tee are crafted. Having said that, for those who may feel that the realm of design for couture jewellery is all about ideas, programming and radical thinking, this stage is a reality check! At this stage, ideas are tested against real constraints of actual space availability, budget outlays, costs, lead times for materials, timelines, contractor capabilities etc.

{{Functionality First}}%% To begin with, all the relevant retail formats are listed for adaptation to the theme. These start with permanent formats like stores, semi-permanent formats like shop-in-shops and include temporary formats like exhibitions. Actual space availability in each format is listed. Where the space availability is fl exible, the ideal proportion is assumed. Next product numbers for display, footfalls and operational requirements for each format are arrived upon and hard-core space planning variants are generated. %% Upon the fi nalisation of the space-allocation, plans for each category, detailed sections and unfolded elevations depicting scales, proportions and material articulation are prepared. Kelvins of lighting are calibrated and fi tting types are specifi ed. Broad level allocations for MEP Design Indian Jeweller 60 February-March 2011 Design provisions for electrical, airconditioning, surveillance and fire-fighting are made at this stage. Compliance drawings for adherence to local statutory codes or those imposed by malls or fair architects are also made. Besides the unifying theme, planning principles that govern various formats are established at this stage. These vary from customer seating density to product display density. Nooks for relevant interaction modes: standing, sitting, lounging etc. are elaborated. Operations support areas are also earmarked. Idle seating zones and break-out areas for staff are created. %%Micro level planning is also done simultaneously. ‘Planograms’, keeping in mind optimum visual product placement and optimum commercial product displays are prepared. Classically, visual product placements are done using the following strategies: %%

1. Horizontal Display Strategy: The strategy is successful for small products where the unit price is not as substantial and/ or variety is the key to making a sale. Rings, earrings, bangles and pendants are usually displayed in this format. %% 2. Vertical Display Strategy: Here pieces are displayed in their designated compartments /zones and the respective zones are placed one above the other. The format provides for exclusive cones of vision for the product. Neck pieces, Bracelets etc. are displayed using vertical visual display. %% 3. Block Placement Strategy: These are exclusively used for showstoppers. The strategy is deployed for arresting the interest of a glancing customer or for showcasing a new line. %% Commercial product display allocations are based upon the collection structure, price points and fresh designs. Seasonal push in various categories is also considered in making these allocations. Allocations for wedding season are different than those for Valentines or Raksha Bandhan. Local customer biases are also considered. The decision on sizes for visual merchandising props and allocation for point of sale materials is made at this stage. %% {{Specific details: Design Vocabulary}}%% As discussed earlier in the series, the design vocabulary is unique to every project and encompasses all elements that go on to complete a design. We start building the design vocabulary by identifying specific details that will repeat themselves in spirit through various components. These comprise edge details, grooves, material articulation etc. So a wooden lap joint in a counter display is so detailed that the same can be adapted to the details in a door. Similarly upholstery piping edges in furniture are carried into edges of visual merchandise products. %% These details put together form a design language. The design language extends itself into choice of materials, lighting etc. This design language brings about uniformity in elements and goes on to relate, at an extremely micro scale, various components. The intention is to create synergy as well as a sense of identity. This synergy lends a distinct flavor to the consumer experience.%% {{Material board – final Sample}}%% The material palette exercise started at the inception stage is brought to a closure now. The final material selection is put together on board. Wherever samples are required these are prepared and the quality is benchmarked. Key suppliers are brought on board. Rates and supply lead times are negotiated. The process of closure on the materials board is transparent to all stakeholders. It is mutually agreed that no deviations henceforth shall be made, unless the designers find special merit in the need for a variation.

At this stage, key craftsmen and contractors are short listed. The clients may propose specific contractors as well. Once the short-listing is complete, all the parties are judged for technical competency. This is done by two means. Firstly, a qualifying criterion is set. The criterion includes parameters like commercial turnover; categories of previously handled work; background check through phone calls to the contractor’s previous clients. Secondly, a visit to the contactor’s previously handled sites is made. The process may seem stretched but is critical. The craftsmen translate the design into reality. Choosing the right craftsmen goes a long way to ensure quality. %% {{Detail Design}}%% The final leg in the process is the preparation of Construction Drawings. These drawings are the means through which the designers communicate their intentions to the craftsmen. Each and every element is detailed and dimensioned as per the design. In some cases the construction drawings are followed by shop drawings from the contractors. The shop drawings reflect the specific construction and procedural details. Alongside the drawings detailed specifications are prepared. The drawing and specifications lead to final bill of quantities, which in turn generate the estimates for the project. %% {{End Line}}%% A good design alone does not ensure a good result. The design has to be meticulously detailed out for the desired results to show. We have come to believe that there are three variables in the translation of designs for couture jewellery: Design, Quality and Time. The three variables are interdependent in the given sequence. If the design component is missing, timely delivery of a quality product cannot ever lead to creation of a retail experience. In the same vein, if the design is dealt with sensitively, but quality is not maintained: the experience thus generated does not go on to become transcendental. This brings us to the next part of the process, execution. Here we shall carefully study the impact of time and budgets on the designs.

{{Jasleen Bindra,}} an architecture graduate, specialised in Lifestyle and Accessory Product Design from NID, Ahmedabad. Having previously worked as a Jewellery Designer with leading Jewellery Firms across the country, she is now spearheading retail innovation through her Pune based Design studio, figments.inc. e-mail: figments.inc@gmail.com

Paying attention to aspects like functionality, materials and accurate drawings to guide the construction and other similar details is as critical as a good design in creating a memorable and effective retail experience.%% {{Beginning to Weave}}%% We are now at the midpoint in the design process: the ‘detail-design’ stage.$$ So far in the series, we discussed the ‘Defrost-Mode’ where initial impressions are analysed and a ‘Design Brief’ is generated. The brief is substantiated by Brand Studies, Consumer Touch-Point Mapping and Mindmaps; all of which culminate in a ‘Strategy Document’. Furthermore, ideas and approaches are assessed and a ‘Unifying Theme’ that encapsulates the brand promise is identifi ed. The theme is validated through a working mood board and quick renderings. %% At this stage, the designer, like a tapestry artist, walks into the studio with a beautiful theme playing in her mind and the mandate from the clients/ stakeholders, who in turn by now have become patrons. The designer also has all the ingredients in the form of programmed facts and data; and can now begin to do what she does best: Design. While in the previous stage machetes were prepared, now actual confi gurations with working details, down to the last tee are crafted. Having said that, for those who may feel that the realm of design for couture jewellery is all about ideas, programming and radical thinking, this stage is a reality check! At this stage, ideas are tested against real constraints of actual space availability, budget outlays, costs, lead times for materials, timelines, contractor capabilities etc.

{{Functionality First}}%% To begin with, all the relevant retail formats are listed for adaptation to the theme. These start with permanent formats like stores, semi-permanent formats like shop-in-shops and include temporary formats like exhibitions. Actual space availability in each format is listed. Where the space availability is fl exible, the ideal proportion is assumed. Next product numbers for display, footfalls and operational requirements for each format are arrived upon and hard-core space planning variants are generated. %% Upon the fi nalisation of the space-allocation, plans for each category, detailed sections and unfolded elevations depicting scales, proportions and material articulation are prepared. Kelvins of lighting are calibrated and fi tting types are specifi ed. Broad level allocations for MEP Design Indian Jeweller 60 February-March 2011 Design provisions for electrical, airconditioning, surveillance and fire-fighting are made at this stage. Compliance drawings for adherence to local statutory codes or those imposed by malls or fair architects are also made. Besides the unifying theme, planning principles that govern various formats are established at this stage. These vary from customer seating density to product display density. Nooks for relevant interaction modes: standing, sitting, lounging etc. are elaborated. Operations support areas are also earmarked. Idle seating zones and break-out areas for staff are created. %%Micro level planning is also done simultaneously. ‘Planograms’, keeping in mind optimum visual product placement and optimum commercial product displays are prepared. Classically, visual product placements are done using the following strategies: %%

1. Horizontal Display Strategy: The strategy is successful for small products where the unit price is not as substantial and/ or variety is the key to making a sale. Rings, earrings, bangles and pendants are usually displayed in this format. %% 2. Vertical Display Strategy: Here pieces are displayed in their designated compartments /zones and the respective zones are placed one above the other. The format provides for exclusive cones of vision for the product. Neck pieces, Bracelets etc. are displayed using vertical visual display. %% 3. Block Placement Strategy: These are exclusively used for showstoppers. The strategy is deployed for arresting the interest of a glancing customer or for showcasing a new line. %% Commercial product display allocations are based upon the collection structure, price points and fresh designs. Seasonal push in various categories is also considered in making these allocations. Allocations for wedding season are different than those for Valentines or Raksha Bandhan. Local customer biases are also considered. The decision on sizes for visual merchandising props and allocation for point of sale materials is made at this stage. %% {{Specific details: Design Vocabulary}}%% As discussed earlier in the series, the design vocabulary is unique to every project and encompasses all elements that go on to complete a design. We start building the design vocabulary by identifying specific details that will repeat themselves in spirit through various components. These comprise edge details, grooves, material articulation etc. So a wooden lap joint in a counter display is so detailed that the same can be adapted to the details in a door. Similarly upholstery piping edges in furniture are carried into edges of visual merchandise products. %% These details put together form a design language. The design language extends itself into choice of materials, lighting etc. This design language brings about uniformity in elements and goes on to relate, at an extremely micro scale, various components. The intention is to create synergy as well as a sense of identity. This synergy lends a distinct flavor to the consumer experience.%% {{Material board – final Sample}}%% The material palette exercise started at the inception stage is brought to a closure now. The final material selection is put together on board. Wherever samples are required these are prepared and the quality is benchmarked. Key suppliers are brought on board. Rates and supply lead times are negotiated. The process of closure on the materials board is transparent to all stakeholders. It is mutually agreed that no deviations henceforth shall be made, unless the designers find special merit in the need for a variation.

At this stage, key craftsmen and contractors are short listed. The clients may propose specific contractors as well. Once the short-listing is complete, all the parties are judged for technical competency. This is done by two means. Firstly, a qualifying criterion is set. The criterion includes parameters like commercial turnover; categories of previously handled work; background check through phone calls to the contractor’s previous clients. Secondly, a visit to the contactor’s previously handled sites is made. The process may seem stretched but is critical. The craftsmen translate the design into reality. Choosing the right craftsmen goes a long way to ensure quality. %% {{Detail Design}}%% The final leg in the process is the preparation of Construction Drawings. These drawings are the means through which the designers communicate their intentions to the craftsmen. Each and every element is detailed and dimensioned as per the design. In some cases the construction drawings are followed by shop drawings from the contractors. The shop drawings reflect the specific construction and procedural details. Alongside the drawings detailed specifications are prepared. The drawing and specifications lead to final bill of quantities, which in turn generate the estimates for the project. %% {{End Line}}%% A good design alone does not ensure a good result. The design has to be meticulously detailed out for the desired results to show. We have come to believe that there are three variables in the translation of designs for couture jewellery: Design, Quality and Time. The three variables are interdependent in the given sequence. If the design component is missing, timely delivery of a quality product cannot ever lead to creation of a retail experience. In the same vein, if the design is dealt with sensitively, but quality is not maintained: the experience thus generated does not go on to become transcendental. This brings us to the next part of the process, execution. Here we shall carefully study the impact of time and budgets on the designs.

{{Jasleen Bindra,}} an architecture graduate, specialised in Lifestyle and Accessory Product Design from NID, Ahmedabad. Having previously worked as a Jewellery Designer with leading Jewellery Firms across the country, she is now spearheading retail innovation through her Pune based Design studio, figments.inc. e-mail: figments.inc@gmail.com

Paying attention to aspects like functionality, materials and accurate drawings to guide the construction and other similar details is as critical as a good design in creating a memorable and effective retail experience.%% {{Beginning to Weave}}%% We are now at the midpoint in the design process: the ‘detail-design’ stage.$$ So far in the series, we discussed the ‘Defrost-Mode’ where initial impressions are analysed and a ‘Design Brief’ is generated. The brief is substantiated by Brand Studies, Consumer Touch-Point Mapping and Mindmaps; all of which culminate in a ‘Strategy Document’. Furthermore, ideas and approaches are assessed and a ‘Unifying Theme’ that encapsulates the brand promise is identifi ed. The theme is validated through a working mood board and quick renderings. %% At this stage, the designer, like a tapestry artist, walks into the studio with a beautiful theme playing in her mind and the mandate from the clients/ stakeholders, who in turn by now have become patrons. The designer also has all the ingredients in the form of programmed facts and data; and can now begin to do what she does best: Design. While in the previous stage machetes were prepared, now actual confi gurations with working details, down to the last tee are crafted. Having said that, for those who may feel that the realm of design for couture jewellery is all about ideas, programming and radical thinking, this stage is a reality check! At this stage, ideas are tested against real constraints of actual space availability, budget outlays, costs, lead times for materials, timelines, contractor capabilities etc.

{{Functionality First}}%% To begin with, all the relevant retail formats are listed for adaptation to the theme. These start with permanent formats like stores, semi-permanent formats like shop-in-shops and include temporary formats like exhibitions. Actual space availability in each format is listed. Where the space availability is fl exible, the ideal proportion is assumed. Next product numbers for display, footfalls and operational requirements for each format are arrived upon and hard-core space planning variants are generated. %% Upon the fi nalisation of the space-allocation, plans for each category, detailed sections and unfolded elevations depicting scales, proportions and material articulation are prepared. Kelvins of lighting are calibrated and fi tting types are specifi ed. Broad level allocations for MEP Design Indian Jeweller 60 February-March 2011 Design provisions for electrical, airconditioning, surveillance and fire-fighting are made at this stage. Compliance drawings for adherence to local statutory codes or those imposed by malls or fair architects are also made. Besides the unifying theme, planning principles that govern various formats are established at this stage. These vary from customer seating density to product display density. Nooks for relevant interaction modes: standing, sitting, lounging etc. are elaborated. Operations support areas are also earmarked. Idle seating zones and break-out areas for staff are created. %%Micro level planning is also done simultaneously. ‘Planograms’, keeping in mind optimum visual product placement and optimum commercial product displays are prepared. Classically, visual product placements are done using the following strategies: %%

1. Horizontal Display Strategy: The strategy is successful for small products where the unit price is not as substantial and/ or variety is the key to making a sale. Rings, earrings, bangles and pendants are usually displayed in this format. %% 2. Vertical Display Strategy: Here pieces are displayed in their designated compartments /zones and the respective zones are placed one above the other. The format provides for exclusive cones of vision for the product. Neck pieces, Bracelets etc. are displayed using vertical visual display. %% 3. Block Placement Strategy: These are exclusively used for showstoppers. The strategy is deployed for arresting the interest of a glancing customer or for showcasing a new line. %% Commercial product display allocations are based upon the collection structure, price points and fresh designs. Seasonal push in various categories is also considered in making these allocations. Allocations for wedding season are different than those for Valentines or Raksha Bandhan. Local customer biases are also considered. The decision on sizes for visual merchandising props and allocation for point of sale materials is made at this stage. %% {{Specific details: Design Vocabulary}}%% As discussed earlier in the series, the design vocabulary is unique to every project and encompasses all elements that go on to complete a design. We start building the design vocabulary by identifying specific details that will repeat themselves in spirit through various components. These comprise edge details, grooves, material articulation etc. So a wooden lap joint in a counter display is so detailed that the same can be adapted to the details in a door. Similarly upholstery piping edges in furniture are carried into edges of visual merchandise products. %% These details put together form a design language. The design language extends itself into choice of materials, lighting etc. This design language brings about uniformity in elements and goes on to relate, at an extremely micro scale, various components. The intention is to create synergy as well as a sense of identity. This synergy lends a distinct flavor to the consumer experience.%% {{Material board – final Sample}}%% The material palette exercise started at the inception stage is brought to a closure now. The final material selection is put together on board. Wherever samples are required these are prepared and the quality is benchmarked. Key suppliers are brought on board. Rates and supply lead times are negotiated. The process of closure on the materials board is transparent to all stakeholders. It is mutually agreed that no deviations henceforth shall be made, unless the designers find special merit in the need for a variation.

At this stage, key craftsmen and contractors are short listed. The clients may propose specific contractors as well. Once the short-listing is complete, all the parties are judged for technical competency. This is done by two means. Firstly, a qualifying criterion is set. The criterion includes parameters like commercial turnover; categories of previously handled work; background check through phone calls to the contractor’s previous clients. Secondly, a visit to the contactor’s previously handled sites is made. The process may seem stretched but is critical. The craftsmen translate the design into reality. Choosing the right craftsmen goes a long way to ensure quality. %% {{Detail Design}}%% The final leg in the process is the preparation of Construction Drawings. These drawings are the means through which the designers communicate their intentions to the craftsmen. Each and every element is detailed and dimensioned as per the design. In some cases the construction drawings are followed by shop drawings from the contractors. The shop drawings reflect the specific construction and procedural details. Alongside the drawings detailed specifications are prepared. The drawing and specifications lead to final bill of quantities, which in turn generate the estimates for the project. %% {{End Line}}%% A good design alone does not ensure a good result. The design has to be meticulously detailed out for the desired results to show. We have come to believe that there are three variables in the translation of designs for couture jewellery: Design, Quality and Time. The three variables are interdependent in the given sequence. If the design component is missing, timely delivery of a quality product cannot ever lead to creation of a retail experience. In the same vein, if the design is dealt with sensitively, but quality is not maintained: the experience thus generated does not go on to become transcendental. This brings us to the next part of the process, execution. Here we shall carefully study the impact of time and budgets on the designs.

{{Jasleen Bindra,}} an architecture graduate, specialised in Lifestyle and Accessory Product Design from NID, Ahmedabad. Having previously worked as a Jewellery Designer with leading Jewellery Firms across the country, she is now spearheading retail innovation through her Pune based Design studio, figments.inc. e-mail: figments.inc@gmail.com