2026

Priyanshi Jain

I’m a multidisciplinary designer based in London, with a strong interest in editorial design, visual storytelling, and socially engaged communication. I’m especially drawn to storytelling through satire, using humour, exaggeration, and bold visual language to make people pause, read, and think. My work often explores how design can turn complex or sensitive ideas into engaging, memorable narratives that spark awareness and dialogue.

I like creating projects that are visually striking and conceptually driven, with a focus on bold typography, layered imagery, and experimental print processes. Across my projects, I aim to challenge perceptions and create work that feels both visually compelling and socially relevant.

Hyper Type

Hyper Type is a brand identity project created for a conference and exhibition at the Design Museum, London. The project was developed through a process of testing and refinement, beginning with typographic experiments, redaction studies, and layout trials to explore how typography could reflect ideas of pressure, censorship, and information overload.

I used bold sans serif type, distortion and repeated text patterns to build a visual language that felt both experimental and structured. From there, I refined the logo, expanded the system across multiple assets to keep the identity consistent across every format. The final outcome combines clarity with visual disruption, turning typography into the main concept as well as the main image.

Sequins for Shame?

Sequins for Shame? is a research‑driven book that uses cabaret costume to examine power, labour, and moral judgment across Weimar Berlin, Parisian revues, postcolonial India, and their afterlives in film and fashion. Drawing on archival images, film stills (Der Blaue Engel, Cabaret, Moulin Rouge!, India Cabaret) and secondary scholarship, the project treats garments, posters, and nightclub interiors as evidence rather than decoration.

The book is organised through four lenses – Money, Empire, Body, and Silence, which are used to read everything from Weimar hyperinflation costumes and Eldorado raids to Paris cancan choreography and India Cabaret’s interviews with Bombay dancers. A final chapter, ’What the runway wants‘, connects this research to Jean Paul Gaultier’s SS14 Butterfly collection and Fashion Freak Show at the Folies‑Bergère, showing how contemporary fashion re‑stages cabaret silhouettes, feathers, and chorus‑line choreography as branded spectacle while carrying the same questions of gaze, gender, and power.

Visually, the book is colour‑coded (black for Berlin, red for Paris, pink/green for India) and combines radical one‑line texts with captions and a Riso‑printed film section to track cabaret’s journey from club to cinema to runway.

Maybe Bravery is Pink

Maybe Bravery Is Pink is a speculative brand activism campaign imagining a Maybelline partnership with the Gulabi Gang, an existing women-led activist group in rural India, to amplify awareness of gender-based violence. The project repositions beauty-brand platforms as tools for feminist communication, using bold pink visuals and campaign-style design to turn visibility into solidarity.

Gulabi means ’pink‘ in Hindi, and the colour reflects the Gulabi Gang’s identity as a visible, united force of women reclaiming power through resistance and collective strength.

Priyanshi Jain

Email address

Instagram

Web Portfolio

Biography