The document discusses visual merchandising and window displays for Indian fashion designer Anju Modi. It describes how Modi draws inspiration from Indian textiles and crafts to create modern designs. Her flagship store in DLF Emporio was designed by Studio Incept to complement her aesthetic. The store features materials like weathered stone and textured indigo walls. Modi's window displays have a minimalist approach, using colors from her palettes and a single seated mannequin to showcase her designs.

1. VISUAL MERCHANDISING
WINDOW DISPLAY
ANJU MODI
By
Aaliya Gujral
FSID – Level 2 , Section A

3. VISUAL MERCHANDISING
• In order for retailers to be successful they must first entice customers to enter the stores.
The store exterior and windows must be inviting with the intent of bringing the customer in
and purchasing merchandise.
• Visual merchandising is a way for stores to say “This is who we are and what we stand for”.
It is no longer just a matter of making merchandise look attractive for the customer. It is the
actual selling of merchandise through a visual medium.
 Display merchandise and concepts at their very best, with the end purpose of making a sale
 Convince the viewer of the value of the object/store/organization.
 Presents the image of who or what the shopper can be when using the merchandise

4. ANJU MODI
• An esteemed couturier and a critically acclaimed fashion & costume designer, Anju
Modi has continually drawn inspiration from the rich textile heritage and design
legacy spread over the diverse geographies of India.
• Each ‘Anju Modi’ ensemble continues the exploration of developing a modern
design voice while simultaneously drawing a new story from the rich traditional
vocabulary of Indian design and craft.
• Her designs are incensed with passion, romance and seduction. The label ‘Anju
Modi’ is synonymous to beauty, panache and elegance mesmerizing all ardent
followers of fashion since it’s inception.
• In weaving, vegetable dyeing, block printing and old traditional embroidery she has
created an extensive library of research and development.
• She has also been working on contemporizing traditional crafts like Chanderi
Weaving, Kota Fabrics, Varanasi Zari work and Bandhani printing, to fulfill the
needs of a market and niche that she has created. With India at the center of her
inspirations her designs have evolved and her vision enriched.

6. ANJU MODI
FLAGSHIP STORE DLF
EMPORIO
• The designer's focus, above embellishments and
fabric treatments—although she does that too—is
silhouettes. Her garments in flat patterns are still
capable of narrating the story as evocatively as the
finished garment. When a designer's natural forte
is as deep rooted in structure as Modi's is, there's
no doubt the space she houses her collection in
will be just as well thought of.
• Modi has worked with Nidhi Aggarwal and Jaisika
Nagpal of Studio Incept and Design Staple to
design the Anju Modi store in DLF Emporio in a
manner that complements the clothing in it.
• The store gives a clear view into Anju Modi’s
design aesthetic and ideologies.

8. • They conceptualized the store with details
such as the weathered stone at the entrance,
vintage textured indigo walls, antique wooden
benches and carved stone walls ,floor tiles
and screens with gold-foiled motifs. Anju
Modi’s travels and the country’s rich history
serve as inspiration for the design elements
seen in the store which is infused with her
design ideologies and give you a feel of
walking into a folklore.
• Since the designer looks at a revival of
several rural techniques in fabric and
incorporating them in a contemporary
manner in her designs in cuts and fabric, the
space too has taken inspiration from rural
finishes incorporated in a contemporary
setting. There is an eclectic mix of modern
and traditional forms and the space has a
museum like feel, where each collection of
garments becomes a focal point.

10. WINDOW
DISPLAY

11. WINDOW DISPLAY CHARACTERISTICS
Anju Modis designs in themselves speak for the label and this is evident in the minimalistic approach
towards the visual merchandising.
• Color-
• Color Sells! It is one of the strongest forces in attracting shoppers and enticing them to buy. The
color story changes from season to season and collection to collection. However in varying degrees
colors like navy blue , deep red , gold, beige and crisp white are certain colors that always remain a
part of Anju Modi’s palate. This same color palate is reflected in the window display as well. It is a
rich color story predominantly comprised of warm colors creating a sense of luxury.
• Mannequin-
• Perhaps the only prop used in this setting. A mannequin may be a stores most valuable asset: It is
a “silent salesperson”.
• Using seated mannequins makes for a change of pace and they can add variety and interest to an
arrangement.
• The mannequin is a semi realistic one. It is proportioned and sculpted like realistic mannequins but
the lack of features or makeup make it unrealistic. The color of the mannequin intentionally matches
the color story of this particular store.

12. WINDOW DISPLAY

13. • Arcade Store Front-
• It is relatively more spacious and allows the merchandise on both sides of the main door and is
more relaxing for the customer. It is helpful in this case as the store has limited frontage and an
arcade window increases the space for display.
• In terms of Window Setup it is an angled window display due to which the display can be
viewed from more angles and gives more exposure to the viewer.
• A one-item display –
• It features only one piece of merchandise i.e. a single garment or a single item.
• Promotional Window–
• The display advances or emphasizes particular concept, trend, or item.

14. • Semi-realistic setting –
• It seems real , complete and recognizable enough that the viewer can relate to it. The scale , proportions and posture of the
mannequin mimic reality. However the lack of features on the mannequin and the lack of an ideal realistic layout set it a bit apart
from reality.
• Lighting
• The Lighting enhances the textures by deepening the shadows as it brings forth the highlights. Warm lighting has been used in
this particular context.
• Secondary or accent lighting- shadows and highlights are necessary; they can delight, intrigue and pique the imagination.
Incandescent secondary lights add highlights , provide shadows, mold and dimentionalize the merchandise.
• Over head Accent or focal lighting highlights the merchandise and makes it stand out from its surroundings. The textures are
defined and details are brought into prominence.
• It works most effectively when the surrounding area is low-keyed and rather dim so that the focal light seems even more brilliant
by contrast.
• A forceful spotlight in a subtly lit display are can be as attention getting as a yank on the collar.

16. THANK YOU!

17. BIBLIOGRAPHY
• http://www.anjumodi.com/Home.aspx
• http://studioincept.com/Anju-Modi.php
• http://www.designwala.org/2012/07/studio-incept-2/
• http://www.dlfemporio.com/mobile/store-AnjuModi.asp
• http://www.vogue.in/content/first-look-anju-modis-new-store
• http://www.thepurplewindow.com/home/2012/8/5/anju-modi-now-open-at-dlf-emporio-in-new-delhi.html
• https://s-media-cache-ak0.pinimg.com/originals/a7/c1/0a/a7c10a0a628439e532f65ea06a4ceddd.jpg
• http://www.designwala.org/2012/07/studio-incept-2/