My Style, My Way

Read the campaign story

Skybags introduced My Style, My Way in 2015. Its film follows Varun Dhawan pursuing a departing bus, then choosing to continue on foot after catching it. The bag accompanies the action. Earlier brand communications used Move in Style; this study groups the related style positioning rather than counting each expression separately.

Editorial interpretation: the ending changes how the preceding action can be understood. What first looks like a practical objective becomes an assertion of choice. For a luggage brand, this creates an opportunity to connect an object with its user's decisions rather than leaving it as background equipment. The difficulty is attribution: an audience may remember a performer or an unexpected ending while forgetting what the bag contributed. The useful strategic question is whether a product remains part of the meaning after the spectacle is removed.

The sources establish creative activity, not a causal sales effect or universal product performance. A dramatised journey is not a durability test. No claim that a purchase improves attractiveness, status or freedom is adopted. The proposed exercise removes traffic, running, public stunts and celebrity likenesses, and tests communication with consenting adults only.

Make the decision more important than the obstacle

A story about independence needs a recognisable decision, not simply escalating difficulty. Before commissioning an elaborate sequence, write the ending as a choice between two acceptable options. Ask what new information makes that choice intelligible. A small accessories maker could show someone selecting a compartment arrangement for an ordinary task, with neither arrangement treated as superior in social terms. If viewers cannot explain the decision without describing the action spectacle, the message may be carried by excitement rather than agency. That distinction matters because a cheaper adaptation can preserve the decision while removing expensive or unsafe activity. Freedom should include the option not to purchase.

Give the object a reason to remain in the story

A portable product can appear in every frame and still have no meaningful role. Remove it from a storyboard and see whether the central action changes. If the story reads identically, add an honest relationship between the object and the decision: visibility, organisation or a choice of layout that can actually be shown. This is different from claiming that a bag creates confidence. A useful product role is specific enough for an audience to describe without borrowing the slogan. Evaluate comprehension before polishing styling. Otherwise a striking execution can become an advertisement for the actor, setting or director rather than for the intended offering.

Treat style as preference rather than a ranking of people

Choice-based positioning can accidentally become an instruction to conform. Avoid describing one colour, body type, age group or lifestyle as the correct way to belong. Instead, offer two equally respected preferences and show how a person decides between them. This keeps self-expression compatible with different budgets and circumstances. In a concept review, ask whether respondents feel invited to choose or pressured to demonstrate taste. An aesthetically appealing idea can still create an exclusionary rule. The aim of a responsible adaptation is to clarify an option, not to make existing belongings or ordinary travel habits a source of embarrassment.

A bounded test for another brief

Proposed adaptation: a small organiser brand could privately test two original four-panel illustrations of a fictional desk pouch. Both versions show the same neutral object and two possible internal layouts. One ends with a clearly explained choice for sorting blank note cards; the other ends with an unexplained flourish. Recruit twelve consenting adults for a single seated session and alternate presentation order. Use simple drawings, identical labels and no real brand assets. Participants describe the decision in their own words, then identify what the pouch contributed. Do not ask them to reveal possessions, income or travel plans. Nothing is sold, physically stress-tested or shared publicly; the exercise concerns a fictional communication prototype.

Measure accurate explanation of the choice, recall of the object's role and perceived pressure to own something fashionable. Record confusion about the ending separately from enjoyment. Compare the two versions descriptively, without treating a twelve-person review as a population estimate. A useful next step requires clearer meaning without increased social pressure, not merely a preferred illustration.

Stop if the story depends on dangerous movement, mocks an existing preference, implies that ownership determines personal worth, or leaves the object's function unclear after revision.