The catalogue was never the house.

The current site is a well-stocked category catalogue: 1,542 products, 67 collections, a menu that opens on Women, Men, Jewellery, Home. That is a competent version of the shop the physical house used to be. It is the wrong site for the business Yellow House is becoming.

The three reports that precede this one settle a single position, and this map is built to it, not to the catalogue. Against the global field, Yellow House looked armed by two things: it makes its own pieces, and it holds a real place. Against the Indian field, both are ordinary. Raw Mango makes. NorBlack NorWhite makes. The Postbox makes. Le Mill and Paper Boat Collective curate. Every strong name has a place. Making and place are table stakes at home.

The position that is actually defensible is the one the field leaves empty: a house that curates a wider world than any single maker offers, and makes what no curator can, held under one named eye, anchored to a destination. Only Bungalow 8 ever held all of it, and Bungalow 8 closed in 2019, undone by a discovery economy that moved onto screens while it stayed a single physical room. The corner is open because its last occupant could not hold it without a digital house.

So the site is not a storefront that happens to look nice. The site is the strategic move. It is the digital house Bungalow 8 never built. That single reframing decides the whole structure below.

What the structure does

• Leads with the edit, not the category. The first screen is a curated, cross-brand, mood-and-person world under Saanya's name. Categories and search survive as a clean utility layer one level down, for the visitor who arrives knowing what she wants.
• Organises discovery by the edit, under the eye. The site is grouped by mood, moment, and person, the named cross-brand edits Saanya makes, not by the rooms of a house. The house metaphor survives only where it fits the goods: a browse-by-room view for the home and table, roughly a tenth of the catalogue.
• Puts the Atelier on the main floor. The atelier is a co-equal path, surfaced beside the sourced edit, not filed as a service page. Making is the margin the curators cannot match, so it is structural, not a footnote.
• Gives Saanya a standing place to speak. A named voice runs through the site as a recurring layer: edit notes in the first person, a journal, a weekly letter. Today that voice has no home; the blog is empty.
• Makes every room shoppable and every path a conversation. Nothing editorial is a dead end. Each set-piece anchors to something to buy or something to book, and the typed enquiry is the event the phase is built to earn and measure.

The rest of this document is that structure, section by section, with the redundancy of the old site resolved, the conversion named, and the whole thing checked against the four moves the competitive report set out.

An information architecture built without a stated position defaults to the way the client already thinks, and produces a clean map of the wrong site. The position here is stated, and carried from the strategy work, not re-derived from the catalogue.

The position, in one paragraph

Yellow House Parra is the one house in the Indian field that both curates a multi-brand world and makes its own, held under Saanya Khatwani's named eye and anchored to Goa. It sells neither garments nor objects in the end; it sells transferable trust in a person's judgement. The customer is not buying the piece. She is buying the eye that chose it, or the hands that made it.

The primary audience

One primary, stated plainly, with the rest demoted on purpose. The primary visitor is the metro Indian woman, roughly 25 to 44, in Mumbai, Bangalore, or Delhi, who follows the house from a distance and trusts Saanya's eye. The audience today reads as 85 percent Indian and 87 percent women. She rarely stands in the room; content and the occasional pop-up are how she gets inside. The site is her house.

Three audiences sit below her, carried but demoted, each to a named layer rather than the front door:

A fourth audience sits apart from all of these: other creative businesses. They are not shoppers; they are clients for YHP Studio, the house's creative-services arm. Because Studio is a live, cash-generating engine, it has been given a primary-nav door, so the site openly serves two audiences from the top: the woman who buys the eye, and the business that wants to hire it. The discipline, set in Section VII, is to keep Studio in its own voice and its own funnel, borrowing the house's credibility without bending the house around it.

What the site must do, this phase

The reports are consistent and worth stating flatly: the site is a trust and discovery surface, not a checkout to be optimised. Revenue today closes in person and through Instagram as often as through the cart. The metrics that matter are saves, shares, direct messages, and booked consultations, not sessions and add-to-carts alone. The job of this phase is to make the curate-and-make combination legible, to give the named eye a place to live, and to turn quiet followers into a captured relationship. Selling more units is downstream of that, not ahead of it.

This is the reasoning behind the conversion decision in Section VIII, and it is the one call in this document that only Saanya and Sagar can ratify. It is flagged again in Section XII.

Stated so the map can be argued with. Anything here that is wrong changes the structure, so each item is marked confirmed or assumed. Assumptions are held until told otherwise; they are never quietly resolved.

The two load-bearing assumptions are the cadence and the catalogue cut. If Saanya cannot feed the voice, the editorial house hollows into decoration. If the catalogue is not curated, the front door reads like the old shop no matter how it is dressed. Both are named again in Open Questions.

There is no formal website audit upstream of this map. What follows is a structural read of the live site and the Shopify back end, walked on 23 and 24 July 2026. It is enough to build on, and it is honest about what it did not cover.

What the walk found

The most useful finding is that the homepage is already more editorial than the catalogue suggests. It does not open on a category grid. It opens on a line, "Shop the latest curation," a short manifesto about slow design rooted in Goa, a feature block for the Atelier, the Signature Edit, and then a run of named, voiced edits under a heading that reads Curated by Saanya Khatwani, founder and stylist: Light Layering, Off Duty Looks, Silk Scarves and Pearls, 10 White Tops, Tropical Shibori. Each carries a sentence in a real voice and a handful of featured pieces. This is the edit-as-unit the strategy asks for, already working, on the most important page.

The Atelier page is further along than a service stub. It carries Saanya's credentials, a "what we are working on" strip of recent commissions with dates, and a working configurator: choose a silhouette, a fabric, and an embroidery option, see an approximate cost, and book a phone consultation in a real time slot. The appointment-only, narrated-path atelier the reports describe is partly built.

What is buried, duplicated, or missing

• The edit instinct is drowned by category. Those voiced edits live as a handful of the 67 collections, most of which are category buckets (Womenswear, Jewellery, Home Decor). The named "Curator's Picks" edits are the exception, not the organising principle.
• The named voice has no standing home. The blog exists at /blogs/news and holds zero articles. The journal, the letter, the edit notes as a place rather than a homepage strip, do not exist yet.
• Curator's Picks is a duplicated page. Two pages, /pages/curators-picks and /pages/curators-pick-new, and a blank-titled msafiri page, all live.
• Navigation is category-led and cluttered. Six menus, several stale, the primary one opening on Women, Men, Jewellery, Kids, Accessories, Skincare.
• There is no editorial data model. The only metaobjects defined are Shopify's standard taxonomy. Nothing yet exists to hold an edit, a room, a curator note, or a Saanya byline as structured content.

What this read did not cover, and is therefore unverified

This was a structural walk, not the full page-by-page audit the engine defines. The product page, a category or collection page, the Atelier page, the checkout, and the entire mobile experience were not read to the footer. The tone-of-voice pass that a formal audit would produce, and that Copy will want, does not exist yet. Where this map assumes something about those surfaces, it is marked. A full Website Audit is the recommended next artifact if the structure here is accepted.

The primary navigation is the first and loudest expression of the house's voice. It carries seven items: six that serve the shopper, and one, YHP Studio, that sells the house's own craft to other businesses. The axis is editorial, not categorical, and it follows from the position, not from the shape of the catalogue.

The axis, named

The old nav sorts by product type: Women, Men, Jewellery, Home. That is the axis a mono-brand maker never needs and a category retailer always uses, and it is precisely the framing the position moves away from. The new primary axis is the edit, under the eye: a named, finite, voiced selection by mood, moment, and person, the thing Saanya makes and the makers cannot. Product type becomes a filter beneath it, not a front door. An earlier draft of this map used the rooms of a house as the grouping; that idea has been retired, because the house has left the bungalow it described for an atelier, and the catalogue is roughly nine parts fashion to one part home. Rooms survive only inside the home edit, where space still organises the goods well.

Leading with the edit is also the one move the makers structurally cannot copy. Raw Mango, NorBlack NorWhite, and The Postbox each sell one world they built; none can run a cross-brand edit, because none carries a multi-brand buy. Opening on the edit states the difference on the first screen, and it costs copy, not code.

Seven is the ceiling, and the seventh is a deliberate exception. Six doors serve the shopper; the seventh, YHP Studio, serves a different person entirely, a business that wants to hire the house's craft. It earns its place in the primary nav because it is a live, cash-generating engine today, not because a shopper needs it. Anything else, gifting, a season, a campaign, enters as an edit inside The Edits, never as a new door.

Below the primary nav sits the utility strip every commerce site needs and this one keeps quiet: search, account, cart, and the Insider join. Search matters more here than usual precisely because the front door is editorial; the visitor who wants a white shirt and nothing else must never be trapped in poetry.

The site map. Read the three columns as the three jobs of the house: discover under the eye, make and be advised, and belong. The utility shop runs underneath all of them.

Site map, Draft v0.4. Items marked "later" are designed for but not launched this phase. The house-rooms grouping from v0.1 has been retired in favour of edits under the eye, following The Trusted Eye Vol. 02; rooms now survive only as an optional browse view inside the home edit.

Each section declares its purpose, the visitor question it answers, the beats it runs in order, the voice it speaks in, and what it routes to. A section that cannot name its job and its register collides with its neighbours, invisibly, and only surfaces when Copy is written.

The Verandah, the home page

Purpose. Arrival. Say what house this is in one screen, then hand the visitor a first move. Question it answers. "Whose taste is this, and where do I start?" Register. Warm, first person plural, a house speaking. Beats, in order:

• A single line and image that reads as the house, not a sale. The creed, stated early and loud, one line a visitor could repeat.
• The season's lead edit, shoppable, with Saanya's name on it.
• A short note from Saanya, this week, in her own voice. This is the byline that turns a shop into a person's world.
• The Atelier invitation: the house also makes. One image, one line, one link.
• A wander block: what caught her eye, object of the week.
• The Insider join, framed as being let in, not a discount.

Routes to: The Edits, The Atelier, the Journal, and the Insider capture. No block is a dead end.

The Edits, the front door

Purpose. Discovery under the eye. Present the curated, cross-brand world by mood, moment, and person, so the visitor browses a point of view, not a taxonomy. Question. "Show me something worth wanting that I did not come for." Register. Editorial, opinionated, Saanya's selecting voice. Beats: an index of edits by mood, occasion, and person; each edit a titled, finite selection with a note on why these pieces, and every piece shoppable; a standing wander surface. Routes to: product pages, and from any piece, the enquiry, pre-tagged. Product category and size sit as a filter beneath the edits, never the top level; the one place a spatial view survives is the home edit, where browsing by room helps the visitor picture an object at home.

The Atelier, on the main floor

Purpose. Make the made world visible and bookable, and carry the margin the curators cannot. Question. "Can I have something made, and what is that like?" Register. Considered, expert, a maker describing the work. Beats: what the atelier is and who leads it; the process as a narrated path, cloth, silhouette, fit, conversation, wait, arrival; recent commissions with dates; the configurator, silhouette to fabric to embroidery to an approximate cost; the consultation booking. Routes to: a booked consultation, the phase's highest-value conversion. Crucially, made pieces also surface beside sourced pieces inside The Edits, so the visitor meets making without having to seek the service page.

Styled by Saanya, the eye made present tense

Purpose. Turn the shop into an advisor. Styling is the service customers most want online and least easily get. Question. "Will someone with taste help me choose?" Register. Personal, direct, Saanya to a friend in the house. Beats: the styling offer, made usable rather than described; styled looks that shop as a set; her edit notes as a running first-person stream. Routes to: a styling enquiry, and the pieces within each look. This section holds the byline the whole site leans on, so it is where the named-voice discipline is strictest.

The Journal, the digital house

Purpose. Be the reason to visit when buying nothing, and the countermeasure to what closed Bungalow 8. Render the house and Goa as a recurring online setting. Question. "Is there a world here I want to keep returning to?" Register. Letters, unhurried, specific, real names and real villages. Beats: the weekly letter in Saanya's voice; Postmarked Goa, place and maker and season; process stories from the Atelier. Every set-piece anchors to something purchasable or bookable, so the house never drifts into decoration with no path to act. Routes to: the Insider capture, and, from each story, the pieces it whispers toward.

Shop, the utility layer

Purpose. Fast retrieval for the visitor who already knows. Question. "I want this specific thing; where is it?" Register. Plain, functional, quiet. Beats: shop-all with category, size, price, colour, fabric, and brand filters; search; Ready to Ship. Routes to: product and cart, directly, with no editorial toll. This is the clean layer beneath the poetry, and it is deliberately unglamorous.

The House, credibility and belonging

Purpose. Carry who and where, and hold the community that a screen cannot fully make. Question. "Who is behind this, and can I be part of it?" Register. The factual record, then the invitation. Beats: Our Story; the Gatherings and residency with a real calendar; and contact. Routes to: a gathering RSVP or enquiry.

YHP Studio, the house's craft for hire

Purpose. Sell the competencies the house built for itself to other creative businesses. This is the Cohere engine, and it is already running with onboarded clients, so its page is a real pitch, not a placeholder. Question. "Can I hire the people and the eye behind this?" Register. Direct, professional, founder-thinking and build-in-public. Not the consumer house voice; a studio talking to a client. Beats, in order: what YHP Studio is, in one line; the seven services, Photography, Creative Direction, Talent & Production, Modelling, Brand Development, Styling, and Tech (Websites & Ops); the method, how YHP's own way of working becomes the client's; selected work and clients, with build-in-public as the standing proof; and a plain "work with us" enquiry. Discipline. Studio borrows the house's credibility but runs on its own logic and funnel, the way the fabric refresher does; its page must not drift into the shopper's voice, and the shopper's pages must not fill with agency talk. Home. The existing, empty /pages/yhp-studio. Routes to: a Studio enquiry, tagged as trade so it never blurs with the shopper's data.

A site with a checkout still has to choose the one action it is built to drive this phase. The reports are clear that revenue closes in person and on Instagram, and that the metrics that matter are saves, shares, messages, and booked consultations. So the spine is the relationship, captured; the cart is the floor, always present, never the thing the structure optimises.

The layered conversion

Four actions make up the spine, and each is a typed, tagged event: an Atelier or styling enquiry (the booked consultation, the highest-value consumer action), an Insider join (the standing relationship), a lighter save or ask on any piece, and a YHP Studio enquiry (the trade intro call, a different audience on a different funnel, tagged so it never blurs with shopper data). Every page pre-tags into the spine by context, the way the atelier configurator already does: an enquiry that begins on a Wardrobe edit arrives labelled with that edit, an enquiry from the Atelier arrives labelled bespoke. Because the type is captured on every submission, the conversion doubles as the audience-discovery instrument the phase exists to produce.

The cart is not demoted out of the building. It sits on every product, one tap away, exactly as the competitive report's instruction to anchor every set-piece to something purchasable requires. What changes is that the architecture is measured on the relationship it captures, not on cart conversion alone, because that is what the strategy says builds the trust that later closes in person, on Instagram, and yes, in the cart.

This is the one structural call that needs ratifying. If Saanya and Sagar decide the phase is in fact about cart revenue, the spine and the floor swap weight, and several sections re-sequence. The map leads with the relationship because all three reports point there. It is flagged in Open Questions for a decision before Copy begins.

The structural test is simple: no concept lives in two sections. Where it appears twice, one instance is the home and the other is a preview that links to it. The old site fails this in several places; here is where each thing now lives.

The redundancy is not cosmetic. On the old site the strongest assets, the named edits and the maker's voice, are spent as repeated filler, so they read as decoration where they should land hardest. Giving each one home is what lets it carry weight.

Structure is what makes a strategy measurable. Each decision above turns a report metric that is currently a wish into an observable signal. The reports name the north star as saves, shares, messages, and booked consultations; the architecture is built so those can actually be read.

None of this is instrumented today, because the old structure has nowhere to attach it: one category menu, one homepage, an empty blog, and a cart measured on its own. The point of the map is that once each concept has one home and every path pre-tags into the spine, the reports' metrics stop being aspirations and become dashboard rows. The internal ops board already pulls this store read-only, so the tagging designed here feeds an instrument that exists.

The competitive report, "The House and the Makers," closes on four strategic moves. An information architecture is only as good as its fidelity to them. Here is the before and after, and then each move checked against the structure.

The shape of the change

The four moves, checked

1. R1 · Make Saanya the recurring named voice

   Satisfied structurally. The voice is given three homes it does not have today: a first-person note on the Verandah, a running edit-notes stream in Styled by Saanya, and the weekly letter in the Journal. The Register discipline in Section VII assigns her voice its job in each, so the three do not collapse into one mission statement. The risk the report names, key-person dependency, is carried into Open Questions, where documenting the sensibility so a small team can extend it is flagged as a real need, not a wish.

2. R2 · Lead with multi-brand edits the makers cannot run

   Satisfied, and it is the spine of the navigation decision. The Edits is the front door; the primary axis is room and edit, not category; and the justification is exactly the report's, that a cross-brand edit is the half of the model Raw Mango, NorBlack NorWhite, and The Postbox structurally cannot offer. The report's own caution is honoured too: the clean utility layer beneath, Shop plus search, is a named door, so mood-first navigation never traps the visitor who wants one specific thing.

3. R3 · Build the digital house Bungalow 8 never had

   Satisfied as the organising idea of the whole map. The house is rendered as a world, not a floor plan: the Journal makes place-as-content a standing section, and the Executive Summary states plainly that the site is the strategic move, not a storefront. The report's discipline, anchor every set-piece to something purchasable, is written into the Journal and Verandah beats and into the conversion spine, so the house has a world and every part of it has a path to act.

4. R4 · Run the atelier as durable margin, not a side room

   Satisfied. The Atelier is a primary-nav door, not a service page, and made pieces surface beside sourced pieces inside The Edits, so making is met in the flow of discovery, not only by seeking it out. The booking spine gives the atelier a measured conversion, and Section X makes the made-versus-sourced revenue share observable, which is the margin story the report says the board will want. Both paths, buy today and commission, stay open, per the report's caution against stranding the visitor who wants to buy now.

This is Draft v0.4. Three changes since v0.1. In v0.2, the house-rooms grouping was retired in favour of edits under the eye, following the re-pass of The Trusted Eye (Vol. 02): the atelier and the eye now lead, and the rooms of a house survive only inside the home edit, where they fit the goods. In v0.3, the atelier door, mislabelled The Studio in earlier drafts, is renamed The Atelier, and YHP Studio, the house's creative-services arm, is added as a seventh primary door with its seven services (photography, creative direction, talent and production, modelling, brand development, styling, and web and ops), serving a distinct trade audience on its own funnel. In v0.4, the membership tier (The Table) was removed from scope at the founders' direction; the site serves buyers and the trade only. The competitive report's warning drove it, that spatial metaphors curdle into gimmicks and the poetry must sit on plumbing that works. The plumbing here, the edit under the eye plus a clean category layer, now stands on its own, and the metaphor is spent only where it earns its keep.

Six questions the structure surfaces and cannot answer on its own. Each changes something concrete. Unconfirmed items are marked on the site map, not silently resolved.

1. Is the primary conversion the relationship, or the cart?

   The map leads with enquiry-and-join because all three reports point there. Confirm before Copy. If it is cart revenue, the spine and floor in Section VIII swap weight and several sections re-sequence.

2. How far does the catalogue get cut for the front door?

   1,542 products, 659 active, will not all belong in the editorial house even if all stay shoppable. Someone has to decide the curated set the rooms and edits draw from. This is the largest operational task behind the map.

3. Do men, kids, and home stay, narrow, or leave?

   They are in the range today. The position is built on a womenswear-led, metro-woman audience. Carrying them as a demoted filter is the current assumption; confirming or pruning changes the Shop layer.

4. How literal are the rooms?

   A light spatial metaphor organises discovery; a heavy one risks the gimmick the competitive report warns against. This is a brand-voice call that Copy and design will execute, and it should be made before either starts.

5. Who feeds the voice, and how often?

   The letter and the edit notes are load-bearing. A realistic cadence, and a way to document Saanya's sensibility so a small team can extend it, is the difference between the house holding and hollowing.

6. What is the atelier's real capacity?

   Putting the Atelier on the main floor will raise enquiries. The booking flow needs a true sense of how many commissions the workshop can take, so the front door does not promise what the back room cannot make.

The conclusions this map rests on, each marked by how it is known. Data is observed on the live site or in the Shopify back end, or stated in the reports this document consumes. Derived is a conclusion drawn across several of those. Inference is a reasoned judgement with incomplete evidence.