Communication Theory: v.nirvanne brand
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/1/ General theoretical framework
Design is an act of communication in which visual form functions as a carrier of meaning. Within the semiotic tradition (according to Robert Craig’s classification), we consider design as a process of exchanging signs and symbols aimed at creating shared meaning. In today’s oversaturated information environment, the function of design shifts from pure information delivery toward emotional activation. Communication effectiveness now depends on a brand’s ability to break through «banner blindness» and trigger an immediate response.
Communication theory provides the keys to understanding following mechanisms: persuasion via the peripheral route (ELM), semiotics, affordances in the digital environment, gamification.
Persuasion via the peripheral route (ELM)
According to the Elaboration Likelihood Model (ELM), there are two routes to persuasion: the central route (deep cognitive processing of facts) and the peripheral route (reaction to external stimuli). In the context of the social networks feed, users lack both motivation and time for deep analysis (the central route). Therefore, our design operates through the peripheral route: bright colors, unconventional shapes, and glitter act as peripheral cues. They induce Attitude Change without requiring cognitive effort from the user, creating an instant emotional bond.
Semiotics: hacking category codes
In the «natural cosmetics» category, a stable semiotic code has formed: kraft paper, pastel tones, botanical ornaments. These signs connote «naturalness, ” but under market conditions they risk becoming visual noise.
Looking ahead, a contemporary brand provided for the analysis employs a strategy of reassembling the sign system: preserving the signified (natural ingredients) while changing the signifier (the visual shell) to a more expressive one. Neon colors or the shape of a snake are signs borrowed from the entertainment industry. They shift the perception of the product from „utilitarian hygiene“ to a „fashion accessory.“
Affordances in the digital environment
Interaction with the brand occurs primarily via a smartphone screen. Here, affordance theory comes into play. Visual design must create perceived affordances: the texture of a scrub should be so detailed that the user «reads» the possibility of touch and pleasure even before purchase.
Communication through play (gamification)
The brand builds communication through the concept of kidulting, turning the product into a toy. This lowers psychological defenses and enables informal, horizontal relationships with the audience —relationships typical of modern Common Bond Communities (communities based on personal connections and shared interests).
/2/ Brand presentation for a broad audience
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v.nirvanne: your legal dopamine in the bath
Forget boring cosmetics and «overly serious» self-care. V.nirvanne is a manifesto of joy, bright colors, and self-love that doesn’t have to be quiet. We create handmade cosmetics that turn an ordinary bath into a vibrant party for body and soul.
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What is this project?
v.nirvanne is a mood brand. We make bath bombs, scrubs, and body butters that look like desserts, art objects, or fashion accessories. Our «nirvana» is not emptiness or asceticism—it is the peak of pleasure, an explosion of color and aroma. These are handmade products created so you can give yourself a dopamine boost — saturating yourself with positive emotions through tactile sensations and visual delight.
Who is this project for?
For young-at-heart people (14–25), residents of megacities living at a fast pace. Our audience forms what communication theory calls a Common Identity Community: they are united not merely by a love for cosmetics, but by a shared value — the right to bright self-expression and the rejection of «grayness.» They appreciate irony (a snake-shaped bath bomb? Two, please!) and understand that self-care should bring joy.
What problems does the brand solve?
Emotional release:
a fast, accessible way to lift your mood («joy in a jar»).Aesthetic pleasure:
our products are made to be photographed—they beautify both content and your bathroom.Wow effect:
a perfect gift that brings a smile.Quality care without complex terminology:
behind the bright form lies an honest formula.Our values
Fun & joy:
life is too short for boring soap.Self-expression:
we are as bright as our customers.Handmade soul:
each bath bomb is handcrafted, adding warmth to the product.Sincerity:
we speak the same language as our audience — the language of memes and genuine emotions.Core brand message
«I’ll throw a nirvana in your bathroom».
This is a narrative about pleasure that is available to you right now.
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/3/ Brand presentation for a professional audience
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Visual strategy: dopamine decor and tactile communication
From a visual communication perspective, v.nirvanne operates within the dopamine decor aesthetic — a style designed to trigger an instant rush of joy through color and form. We deliberately move away from the category’s minimalist codes.
Color coding and peripheral signals
The brand palette is built on highly saturated, «electric» shades: electric pink, cyan blue, vivid red. Function: in ELM terms, these colors act as powerful peripheral cues. In an Instagram feed oversaturated with pastel content, they function as visual stoppers, triggering an automatic attention response before cognitive analysis begins.
Morphology and the semiotics of form
Products feature shapes atypical for the category: snakes, complex geometric elements.
Semiotics: the snake is not chosen by chance. It is a complex semiotic sign read as «temptation» and «transformation.» In a neon execution, this image loses its frightening connotations and becomes an ironic fashion element.
Visual tactility and affordances
Since communication happens through a screen, design takes on the task of conveying the object’s physical properties.
Perceived affordances: macro photography of porous bath bomb structures, oily body butters, and grainy scrubs creates a synesthetic effect. The visuals prompt the user toward an «action possibility» — to touch, break apart, or apply to the skin.
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Glitter and shimmer
The use of glitter operates at a reflexive level of attention.
Typography
The use of handwritten and display typefaces in Stories and on packaging emphasizes the handmade origin. This is a marker of «humanity» that distances the brand from faceless corporate mass market aesthetics.
/4/ How we arrived at this strategy
In developing the communication strategy for v.nirvanne, we relied on a synthesis of media effects theories and perceptual psychology.
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Choice of persuasion model: Elaboration Likelihood Model (ELM)
After analyzing the competitive landscape, we realized that cosmetics audiences on social media rarely use the central route of information processing (i.e., detailed study of ingredient lists). Therefore, we focused on the peripheral route. We do not overload users with complex arguments; instead, we use vivid visual triggers (color, shine, form) to create a positive brand attitude on an emotional level. This shortens the path from «saw it» to «want it.»
Audience motivation (Uses and Gratifications theory)
According to Uses and Gratifications theory, audiences are active and choose media content to satisfy specific needs. We identified that our target audience engages with this type of content to satisfy two kinds of needs:
Affective needs:
the desire for emotional experience, pleasure, and aesthetic enjoyment.Diversion:
escapism, a desire to distract oneself from routine and megacity stress.Our design and communication («dopamine boost») directly address these needs by offering light, joyful content.
Storytelling (Walter Fisher’s narrative paradigm)
We view brand communication not as a set of facts, but as a story. According to the Narrative Paradigm, people are homo narrans (storytellers) and make decisions based on good reasons embedded in stories.
We work with the myth of ''nirvana'' recoding it into a contemporary hedonistic narrative: not the renunciation of desires, but their complete fulfillment. This story possesses narrative fidelity for our audience, as it resonates with their lived experience and their value of instant pleasure.
Risks and limitations
We acknowledge that such an expressive model may not work for audiences with a high level of uncertainty avoidance, who are accustomed to traditional codes. However, for the core of our target audience, the need for emotional self-expression prevails.
Thus, the application of ELM, Uses and Gratifications, and the Narrative Paradigm allowed us to transform «just bright skincare cosmetics» into a meaningful communication tool that precisely hits the audience insight.
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Communication Theory: Bridging Academia and Practice (Online course) // HSE Platform URL: https://edu.hse.ru/course/view.php?id=133853
Craig R. T. Communication Theory as a Field // Communication Theory. — 1999. — Vol. 9, No. 2. — P. 119–161 (Accessed: 10.12.2025)
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