Make In India Week 2016: The Complete Scenario | Verve Magazine
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February 19, 2016

Make In India Week 2016: The Complete Scenario

Compiled by Wyanet Vaz. Public art images by Prateek Patel

In this jargon-free read, Verve explores cultural innovations, collates popular opinions and analyses the prime minister’s pet project

Hats off to the guerrilla marketing and advertising campaign that left no citizen aloof of the Make In India Week. With six lions placed strategically across the city, billboards, installations and the mega set-up at the MMRDA, this event was undeniably a big deal.

The mother of all campaigns, Narendra Modi’s Make In India Week saw the participation of over 190 companies (that included multinationals), 5000 delegates from 60 countries and India’s leading industrialists. The key features of the Make In India Week stressed on design, innovation and sustainability.

The backstory: The project was launched in September 2014, with a view to encourage multinational and domestic companies to manufacture their products in India. Modi’s vision is to make India the biggest manufacturer (the global destination for foreign direct investment), surpassing the US and giving a tough fight to the ‘Make In China’ campaign. What the government also aims to focus on is employment (without the tag of cheap labour), quality production and skill enhancement in over 25 key sectors that include automobile, pharmaceuticals, chemicals, technology, food, aviation and biotechnology.

The campaign: The Make In India logo that is quite versatile and extremely hard to miss, has been created by the Indian arm of Wieden + Kennedy. It is supposed to symbolise strength, collage, tenacity and wisdom.

The Centre: The Make In India centre set up on the sprawling MMRDA grounds housed over 27 mega halls, that proved to be a networking paradise with various sectors holding massive kiosks to showcase their wares. Buggies were arranged for easy transportation across halls. The meticulously designed stadium, accommodated an extensive site for food and beverages. From Social to Moches and even Miller, one could enjoy the LLIIT right in the middle of this jamboree.

Besides the industrial aspect of Make In India, Verve documented the events in the city that highlighted art, fashion and design. Read on, as the cultural circuit commented on art and aesthetics, inspirations and aspirations, and engaged in some creative brainstorming.

Public art

Here’s what we spotted:
The Make In India lion posted across the city symbolised various industries. The more extensive works included the gigantic statue of the common man titled ‘Nagrik’ (which has been moved from Haji Ali to Churchgate) and the world’s largest Kolhapuri chappal, which has made it to Limca’s Book of World Records. We also spotted graffiti on India’s interstellar achievements and a string of interesting facts brightly painted around Marine Drive.

Here’s what they had to say:
“I thinks it’s a good start, because people get to see art. The public likes it because it gives them scope to interact with art. We know how people love KGAF and if we curate the art installations of Make in India just the way we do it for KGAF, it would be even more phenomenal.”
Brinda Miller, Artist and KGAF curator.

“I like the lions which are created in a reality-like sculpture form. But there are some projects which are done for marketing where the sheer aesthetics are left out. All of it looks great but there is a lack of technique.”
Bose Krishnamachari, Artist.

“They have started to focus upon the art aspect and now we can publicly showcase art which we couldn’t have done earlier in Mumbai. About the art installations, the Kolhapuri chappals looked very relevant keeping the Marathi element in mind, but the lions seemed really odd, there was nothing to them, artistically.”
-Pravina Mecklai, Owner of Jamaat Art Gallery.

“I am glad that these public installations were an attempt to bring art closer to the masses who would generally hesitate to enter an art gallery. However I wish they had exhibited more refined art. I am very happy with the attempt to include art in a public event supported by the government but also a bit disheartened since I was hoping that they would have involved more local curators, galleries and artists.”
Priyasri Patodia, Artist and owner of Priyasri Art Gallery.

Weaves of Banaras

Here’s what we spotted: The Fashion Design Council of India (FDCI) as part of the Make In India campaign, hosted ‘Weaves of Banaras’ to celebrate the home-grown craft and vivacious skill of the weavers. 12 top Indian designers that included Sabyasachi Mukherjee, Anita Dongre, Anju Modi, Rajesh Pratap Singh and others created a phenomenal show.

Here’s what they had to say:
“With an aim to continuously focus on preserving India’s heritage and support the Make In India movement, the collection takes a deep look at Banaras textiles, crafts as well as prints and embroideries. These ensembles are not only meant to pay homage to Indian craftsmanship but to also generate more employment for these skilled artisans.”
Sabyasachi Mukherjee, Designer.

“This ancient craft of weaving magic is fading. It is our responsibility to revive this timeless, colourful and magical weave. Making this exquisite craft accessible and appealing to the youth is our motto. This will help us organically and naturally sustain the craft and make it grow.”
Anita Dongre, Designer.

India Design Forum

Here’s what we spotted:
The India Design Forum 2016 brought to light international viewpoints and proposed ways in which design can improve national and global economies. From Sadhguru Jaggi Vasudev’s ideas on the design of life, to Sanjay G V Reddy’s step by step breakdown of the T2, it was inspiring to understand how design plays a pivotal role when it comes to innovations. Joris Van Tubergen spoke about 3D printing and how he aims to educate corporates in India to embrace the revolution.

Here’s what they had to say:
“Is it survival of the fittest or survival of the smartest?”
Thukral and Tagra, Multi product designers and visual artists. 

“Traditional Indian art will be the differentiator when it comes to design.”
Sanjay G V Reddy, Vice-chairman, GVK.

“We are still carrying the lethargy of being an occupied nation. Our education system was designed by the colonial powers to ‘serve’ and not ‘create’ or ‘innovate’.”

“The universe is the greatest design, because everything is constantly evolving. No physical manifestation can be a perfect design. This means that there is always room for improvement.”
Sadhguru Jaggi Vasudev, Visionary, Mystic – Isha Yoga Centre.

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