Once relegated to the end of the advertising process, design has emerged as one of the most powerful tools in a brand’s storytelling arsenal. Today, it no longer plays the role of a visual garnish; instead, it serves as a strategic driver, shaping how brands look, feel, and connect. Whether it’s Zepto’s cheeky delivery bags or the visual poetry in Monarch’s regal whisky bottle, design has become a language, a personality, and increasingly, the heartbeat of brand communication.
Dubbed the “Bearista” cup, Starbucks’ latest novelty drinkware was part of its 2025 holiday menu and merchandise collection. The cup takes the shape of a teddy bear, blurring the line between a functional tumbler and a collectible. It comes topped with a Starbucks-green knitted beanie and includes a straw, reinforcing its status as a festive, limited-edition merchandise item rather than an everyday cup.
“The role of good design is, at its core, to make a meaningful difference to the end user,” says Mayuri Nikumbh, Head of Design, Conran Design Mumbai. “Traditionally in our culture, design has often been treated as a cosmetic intervention - an aesthetic embellishment rather than a strategic tool.” But not anymore.
Design is no longer about making things look good. It’s about making them mean something. And as brands operate in hyper-competitive, multi-touchpoint ecosystems, every element from packaging to app interface must work harder and smarter.
Mayuri points out the shift, saying, “Indian brands suddenly found themselves competing not only with global giants, but also within a cluttered homegrown landscape. In such a context, only a strategic, narrative-driven approach to design could cut through the noise.”
That strategic integration is most visible in how design is now central to brand-building efforts. Asparsh Sinha, Managing Partner, OPEN Strategy & Design, explains, “Good design is sharp thinking brought alive. If you look at all our work, especially some that have been repeatedly awarded, you’ll see it’s anchored in a strong, unique strategic starting point.”
This thinking echoes across OPEN’s work for diverse categories. For instance, in the Jack Daniel’s Diwali edition, they linked Indian festive storytelling with the American brand’s mythology. “Diwali is a festival that celebrates both vice and virtue. And the myth around Jack’s character was that he was the ‘Flawed Hero’,” says Asparsh. The limited edition’s visuals were built around this concept, transforming a whisky bottle into a cultural artifact. It’s an approach that reframes packaging as narrative - not just a label, but a conversation.
Design’s role has dramatically shifted in the digital age. “Earlier, a consumer’s first point of interaction with a new product or brand would be on a shelf. That has changed,” says Asparsh. “Today, a consumer has already discovered a brand, read reviews and knows enough about it before they ever see it in real life,” he adds.
With this shift, brands like Boult are pushing boundaries in categories like wearables, where tech meets fashion. “We see every product as a physical expression of our brand’s values: innovation, boldness, and accessibility,” says Shivi Shrivastav, Brand & Marketing Manager, GoBoult. “For us, design isn’t just about aesthetics—it’s about telling a story that resonates with the new-age Indian consumer.”
That sentiment is visible in GoBoult’s Mustang collection, created in collaboration with the iconic American car brand. From matte finishes to stripes and badging, the details evoke the adrenaline of a Mustang car, extending the brand beyond function and into emotion.
“Design has always been at the heart of Starbucks, not just in our stores, but in how customers experience the brand in their everyday lives. It’s about giving customers a way to carry a piece of Starbucks with them, wherever they are. Over the years, our collaborations have been rooted in catering to the ever-evolving consumers in the country,” says Mitali Maheshwari, Head - Product & Marketing, Starbucks India.
To mark its 100th Mumbai store, Starbucks partnered with Anamika Khanna for 16 tote bags inspired by local neighborhoods. Earlier, it collaborated with Manish Malhotra on Kashmiri-embroidered drinkware and with Sabyasachi on heritage-inspired cups, while global tie-ups with Stanley, Disney, Hello Kitty, and Peanuts extended its lifestyle appeal beyond coffee.
2025’s peak mango season was marked by the launch of Hocco’s Aamchi, a mango-shaped ice cream that went viral for its hyper-realistic taste, just like biting into a real mango. “When we saw the product, tried it, and finalised the packaging, we knew we had a winner, though we never imagined this level of success. From the start, our intent was marketing-led, not volume-driven, as it was a handmade product crafted by 8–12 chefs and available only as a limited edition,” says Ankit Chona, Founder, HOCCO Ice-creams. “We’ve had over 50,000 unique Instagram posts, with the top 20–30 alone crossing 50 million views, and total content around the product crossed 100 million views,” he adds.
As brands navigate dozens of touchpoints, consistency in design has become both essential and complex. “Thankfully, we’ve moved past the era where a brand’s visual identity had to be cast in stone and replicated mindlessly,” says Mayuri. She describes today’s approach as ‘mindful consistency’ — where a few elements such as colour, tone, and type act as brand anchors, while the rest stays adaptive and culturally aware.
This is also well illustrated in Zepto’s viral delivery bags. What started as functional assets quickly became cultural talking points. “They’ve become an iconic part of the Zepto experience, generating 2-3 organic user posts daily and acting as mini billboards,” says Aarshita Verma, Senior Brand Manager, Zepto. Updated monthly to align with seasons and festivals, these bags have helped generate over a million user-generated posts across platforms.
Designing for legacy brands versus challenger brands requires fundamentally different approaches. “Challenger brands, by definition, defy convention and carve out their own paths,” Mayuri explains, pointing to incense brand Phool as a category disruptor. Their packaging transformed incense into premium, giftable products. On the other hand, legacy brands tread carefully. “With loyalty at stake, their design evolution tends to be more restrained - focused on refinement over reinvention,” she adds.
As generative AI tools flood design workflows, some designers are doubling down on craft. “AI has pushed mediocrity out and has speeded and elevated the process of initial exploration in design,” says Bidisha Roy, Creative Director, Landor. “But at the end of the day, it’s still the craft—the human touch—that sets great design apart,” she adds.
Modern consumers aren’t just looking for pretty packaging, they’re seeking purpose. “It’s no longer just a nice-to-have or a marketing checkbox—it’s become a foundational design principle,” Bidisha says. Sustainability now influences material choice, digital design ethics, and accessibility. At brands like Fortune and Hindustan Unilever, these principles are baked into campaign design and not just brand narratives.
Similarly, the emotional pull of design has never been more important. “Design should build on the codes and principles for what makes a brand/product desirable in each category,” says Asparsh. Whether it’s whisky or jewellery, it’s about creating want, not just awareness.
So, what’s next?
Expect more bold collaborations, culturally fluid campaigns, and a tighter bond between design and brand behaviour.
In the end, the best design is not loud, but lasting. It’s not just aesthetic, but strategic. As the Indian consumer grows more global, more digital, and more discerning, design has moved from the wings to centre stage. And while AI and automation may enhance speed and reach, the brands that will truly shine are the ones that don’t just look good but feel right. Because in a world overflowing with sameness, it’s the brands that wear their heart on their sleeve - crafted, clear, and culturally tuned in, that make the longest-lasting impression.
