GRADUATION PROJECT UTOPIA Print and weave collections Sponsor : StudioB India Volume : 1 of 2
STUDENT : ADITI KHARE PROGRAMME : Bachelor of Design GUIDE : V. SAKTHIVEL
2015 INDUSTRIAL DESIGN FACULTY (TEXTILE DESIGN)
The evaluation jury recommends Aditi Khare for the BACHELOR OF DESIGN of National Institute of Design INDUSTRIAL DESIGN FACULTY (TEXTILE DESIGN) Herewith, for the project titled UTOPIA: PRINT AND WEAVE COLLECTIONS On fulfilling further requirements by
Chairman
Members
*Subsequent remarks regarding fullfilling the requirements
Registrar ( Academics)
UTOPIA - Print and weave collections -
Graduation project by Aditi Khare Guided by V. Sakthivel Sponsored by StudioB India
Bachelor of Design, Textile Design National Institute of Design 2015
Copyright Š 2015 Student document publication, meant for private circulation only. All rights reserved. Bachelor of Design, Textile Design, 2011-2015, National Institute of Design, Ahmedabad, India. No part of this document may be reproduced or transmitted in any form or by any means, electronically or mechanically, including photocopying, xerography, photography, and videography recording without written permission from the publisher, Aditi Khare and National Institute of Design. All illustrations, sketches and photographs in this document belong to the author, unless credited Otherwise. All illustrations, sketches and photographs are copyright Š 2011-2014 by respective people/organizations. Author: Aditi Khare Edited and designed by: Aditi Khare E-mail: aditi.nid@gmail.com Printed digitally at: Chaap printers, Ahmedabad. Processed at: National Institute of Design, Paldi, Ahmedabad- 380007 Gujarat, India. www.nid.edu October 2015
ORIGINALITY STATEMENT I hereby declare that this submission is my own work and it contains no full or substantial copy of previously published material, or it does not even contain substantial proportions of material which have been accepted for the award of any other degree or final graduation of any other educational institution, except where due acknowledgement is made in this graduation project. Moreover I also declare that none of the concepts are borrowed or copied without due acknowledgement. I further declare that the intellectual content of this graduation project is the product of my own work, except to the extent that assistance from others in the project’s design and conception or in style, presentation and linguistic expression is acknowledged. This graduation project (or part of it) was not and will not be submitted as assessed work in any other academic course. Student Name in Full: Signature: Date:
COPYRIGHT STATEMENT I hereby grant the National Institute of Design the right to archive and to make available my graduation project/thesis/dissertation in whole or in part in the Institute’s Knowledge Management Centre in all forms of media, now or hereafter known, subject to the provisions of the Copyright Act. I have either used no substantial portions of copyright material in my document or I have obtained permission to use copyright material. Student Name in Full: Signature: Date:
Printing of Hibiscus design
ACKNOWLEDGEMENT I would like to express my gratitude to NID, for the opportunities and education I have received here, and for the culmination of four years in the form of this graduation project. Sincere thanks to my sponsor, StudioB. Balbir sir and Jaya ma’am, for being constant guides and always pushing me to do more. Diviya, Saima, Namrata and Saurabh, thank you for your encouragement and support. Special thanks to Sawrabh for handling much of the production when I couldn’t be there. Hilal, you helped me out of a rut countless times, and I am so grateful for that. Thanks to Namita ji, Subhash ji, and Sunil for unaided assistance. And Ishwar, your chai pulled me through. At the block-making unit at Farukhabad, Chandra pal ji and his artisans worked tirelessly to create beautiful blocks on time, without asking my to refrain from details in my designs. I appreciate all the effort deeply. Shakil bhai and Salim bhai at the block-printing unit in Ashram, thank you for numerous days spent printing and re-printing, and for all your cooperation. The weavers at Phulia, West Bengal, thank you for weaving my designs, for converting them to fabric from mere paper. I owe heartfelt gratitude to my guide V. Sakthivel, who was always there with his unrelenting support and guidance. Thank you for all your feedback and help, and for pulling me through every time I was anxious. My deepest appreciation and gratitude to my parents, who have been there every step of the way, as always. My family, for all their love. Thanks to Aditya D. Chiplunkar for his support during and after the project.
SYNOPSIS The curriculum at the National Institute of Design culminates with the graduation project, which is a professional design project undertaken by the student in the industry. This 4-6 month project is a full scale one, right from conceptualization to execution of the designs. During this project the student is supposed to work with a sponsor in the industry, understand the working and the requirement of the sponsor, the market scenario and their design language. The end result is expected in the form of a project complete with explorations and execution of viable and exemplary designs that fulfill the requirements of the design brief. I was given the opportunity to work on said project with StudioB, New Delhi. StudioB is a multi-disciplinary design studio, currently looking to translate their ideology into a home brand- Anhad. My project aimed at developing a range of prints and weaves for Anhad, to be used in various home products as well as scarves. The designs were expected to follow the language that the new brand was aiming to adopt.
This document maps the project, covering each stage of the process. The first section comprises of the company profile, the identity and establishment of a new brand, extensive research data collected and inferences I drew from the same. This section lays the foundation for Anhad. Based on the inferences drawn from the research and on the concept of Anhad defined in the first section, the second and third parts detail out the process of two collections created. Including the explorations, experimentation and step by step building of each design, these sections compile several months of work spent on each collection. The print collection was inspired by the beautiful and lyrical William Morris prints that defined a new era in the cultural history of the world. This collection tells the story of my interpretation of William Morris prints in the Indian context. With multilayered inspiration and meticulous detail, this collection was then translated into block prints. The process adopted, material and techniques used, all embody the philosophy of Anhad to create a collection that flows like poetry. The weave collection was designed keeping in mind the interlacing of minimalism and Zen. The idea of minimalism has been translated in not only the designs, but also the weaving technique, colors and materials chosen. The designs reflect harmony and peace in their humility. Every part of the project has been an opportunity to do and learn something, right from translating the inspiration and the delicate balance of the designs, up to final execution and validation of each design. This document is a reflection of the enriching journey.
Opposite: Blocks created for ‘William Morris Dreams of India’ collection
VOLUME 1 I Introduction
CONTENTS
1. About National Institute of Design
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2. Textile Design at NID 3. Graduation project 4. About the sponsor StudioB Anhad 5. Project brief 6. Project timeline
18 19 20
24 28
III William Morris II Research 1. Background study 2. Market study 3. Trend forecast study Textile View WGSN SSSS 4. Proposed mood boards 5. Sourcing
32 41 70
78 90
1. Inspiration Design Process Mood boards Colour palettes 2. Gulmohar
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3. Marigold 4. Bougainvillea
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111 144
VOLUME 2 III William Morris
IV Harmony
5. Hibiscus
160
Inspiration
6. Peacock 7. Royal 8. Block Print Process
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Design process Keywords Moodboard Colour palette Explorations Final Designs
Image credits Bibliography
204 220 223 225
V Adieu Reflections Image credits Bibliography
8
19 31
VI Appendix 164 166 167
Fabric sourcing samples
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Aditi Khare I Textile Design I B.Des 2015
I.a: Foyer area at National Institute of Design campus, Ahmedabad 14
Utopia I Graduation Project I National Institute of Design
INTRODUCTION
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Aditi Khare I Textile Design I B.Des 2015
National Institute of Design The National Institute of Design (NID) is internationally acclaimed as one of the foremost multi-disciplinary institutions in the field of design education and research. Established in 1961, the mandate for NID is to offer world-class design education and to promote design awareness and application towards raising the quality of living. It has taken five decades of pioneering hard work by the academic community at the institute to 16
develop a system of education that lays more emphasis on learning than on mere instruction. The establishment of NID was a result of several forces, both global and local. The late 1950s saw a confluence of these forces, and this time would be a significant one for Indian culture and education.
Utopia I Graduation Project I National Institute of Design
Opposite: I.1.1. Main gate at NID, Ahmedabad Top: I.1.2 Institute building at NID, Ahmedabad I.1.3 Eames plaza at NID, the year 1961
In 1957 the Government of India requested the Ford Foundation to invite renowned designers Charles and Ray Eames to visit India; a young nation confronted with the mammoth task of nation building, of balancing age-old traditions with modern technology and ideas. Charles and Ray Eames travelled to all parts of the country, meeting and talking to writers, craftspeople, architects, scientists, industrialists, educators and philosophers. They presented their observations in the form of the India Report to the Government of India. The Eames Report defined the underlying spirit that would lead to the founding of NID and beginning of design education in India.
Today, NID leads design in India. Through three campuses in Ahmedabad, Gandhinagar and Bangalore, they offer professional design programme at Undergraduate and Postgraduate levels with 5 faculty streams and 18 diverse design domains. NID has established exchange programmes and on-going pedagogic relationships with more than 55 overseas institutions. It is a unique institution with many problem-solving capabilities, depths of intellect and a time tested creative education culture in promoting design competencies and setting standards of design education. The rigorous development of designer’s skills and knowledge through a process of ‘hands on-minds on’ is what makes a difference. 17
Aditi Khare I Textile Design I B.Des 2015
Textile Design Textile design is an understanding and creation of textiles to solve design problems. It brings out the stories through every texture and yarn. The textile design programme at NID believes in staying with the contemporary developments while drawing inspiration from the rich resource that the traditional crafts of India. It involves an understanding of traditional techniques as well as modern mass production methods. The programme emphasizes on building a variety of skills, along with theoretical inputs and practical application. The inputs include elementary ergonomics, textile fibers, colour, composition and textile design for printing and weaving. Students also learn about dyeing techniques, printing methods, sewing techniques, construction of fabrics and surface design. The learning here is given thorough depth through a hands-on approach and strong theoretical base. Moreover, students undertake increasingly complex design projects and which encourage them to apply their abilities to solve specific design problems. The Textile Design programme also provides field exposure to craft study as well as industrial production. 18
Top: I.2.1 Handlooms at the textile design studio at NID I.2.2 Looms at textile design studio at NID
Utopia I Graduation Project I National Institute of Design
Graduation Project Graduation project is the culmination of the student’s education at NID. It is usually a 4-6 month project sponsored by an establishment in the said field. Undertaken by the nascent designers in order to gain a first hand experience working in the industry, it continues to enable them through the guidance received at NID simultaneously. Among many other things, it makes the transition from the college to the industry easier on the students and fine-tunes their skill set. Upon completion of the graduation project, students present their work in front of a jury in order to be judged for graduation.
Top: I.3.1 Printing in process for blossom colourway 19
Aditi Khare I Textile Design I B.Des 2015
StudioB, New Delhi Founded by Jaya Kanwar and Balbir Singh in 1998, StudioB is a multi-disciplinary design studio based in New Delhi, India. They provide consultancy and develop visionary concepts into design. They design across a whole spectrum of textile, graphic and interactive media, photography, interior and exhibitions. Since inception, they have grown as multidisciplinary team of designers and developers and aim to achieve creativity at its best. From collaborations of creative inspiration to a fusion of ingenuity and experience, StudioB transcends traditional techniques to exceed all expectations. Excellence has always been their standard, whether they are designing with silk threads on fabrics or colors in a virtual space. 20
Top: I.4.1 Banner for StudioB advertising Opposite: Top left: I.4.2 Wall at StudioB stall for Heimtextil India Top right: I.4.3 Days of India, installation at the Indian embassy, Berlin, Germany Bottom: I.4.4 Textile products by StudioB India
Utopia I Graduation Project I National Institute of Design
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Aditi Khare I Textile Design I B.Des 2015
Anhad Anhad is inspired by the idea of infinity. It is an eternal resonance that transcends space and time, a sound that has no beginning or end. Unrestricted and unbound, Anhad is the story of self-expression and release. The people behind Anhad believe in sharing stories from their experiences as travelers, readers, and dreamers by translating them into products. Each product has a unique story to tell, a spirit which never dies. The value of the product is not just in its intellectual luxury but also in the creative hands that have touched and nurtured it into a fine product. The Anhad range is intended to bring joy among people and spaces. Anhad is the right start for everlasting magic. 22
Top: Left I.4.5 Cushions for the blueprint collection Right I.4.6 Cushions for the Chintz Indienne collection Bottom I.4.7 Chintz indienne collection Opposite: Left I.4.8 Stall for Heimtextil India Right I.4.9 Chintz Indienne collection
Utopia I Graduation Project I National Institute of Design
The design philosophy The design philosophy of Anhad is constructed around intellectual luxury. The idea is to not only cherish the product, but also the idea that goes into it. The design philosophy, in many ways, creates products that tell stories. They tell the story of the product right from the inspiration, to the story of where the material came from and the story of the people who helped build it. This process of valuing every step of the design ensures the final product is rich in intellectual and moral value. Anhad maintains the policy of using natural material, steering almost completely away from synthetics. They source Khadi from various parts of the country. This adds a ma jor component of intellectual value to the product. Bringing in Khadi and other natural materials brings with it the touch of the people who created the material, and a certain organic nature. As far as design language is concerned, Anhad projects itself as a young brand revisiting traditions. While revival of the traditions is not their goal, the Anhad range adapts and brings traditions and their values into today’s light. The source of much of the inspiration lies in traditions and cultures, which are then given a contemporary language while still respecting the source. This approach allows them to tap into the intellectual resource created over generations, and present the wisdom of centuries to the well-travelled, intelligent and visionary global youth. 23
Aditi Khare I Textile Design I B.Des 2015
Project brief (proposed)
The company, StudioB, is a multidisciplinary studio that also has its textiles label. Being in the commercial market, home furnishings tend to follow a very particular design vocabulary and style. To make a brand stand out, giving it a different design vocabulary, which experiments within the boundaries of the typical home furnishings market, can work in the right direction. They aim to stand in the domestic home furnishings market with a decided designer edge.
it was observed that silk, linen and Khadi are all ideal choices as per the demands of the market. Based on the demand of the home furnishings market and the traditional handloom vocabulary in India, establishing silk handloom fabric as a base fabric for the collection creates a focused design area, whereas using Khadi as the base material allows enough flexibility to tap into the various handloom-weaving cultures on India as well as a certain range of options regarding range of products possible. Apart from Khadi and silk, linen and jute also promote the required language of the project. However, the viability of Jute handloom in home furnishing needs to be observed.
Background Study:
Inspiration:
Based on the study of previous diploma projects sponsored by the studio, the conclusion was achieved that they have a multi faceted design approach as far textiles is concerned. While they have a certain style that adheres to the market, i.e., a quirky Indian design set, they also usually release a few collections along with that, which experiment with the graphic element of Indian design, as well as a few collections inspired by traditional textiles.
The idea of Japanese design has always been appealing due to its acceptance of the imperfect as a beauty of nature, its honesty in design, and the simplistic aesthetic approach. Having written a thesis paper which touches on a part of Japanese design, it can be concluded that not only does the ideal work in perfect compatibility with the design image that these collections will be creating, but also provides the designer with an innate understanding of the design aesthetic, hence helping along with the design process. As stated earlier, the use of printing on handloom can be used to promote a raw, classic, and honest design image. This particular choice of materials and ideas can also be connected through a higher value in the form of traditional art and craft inspirations, whether Indian or otherwise. A marriage between this design philosophy and the beautifully authentic handloom textiles of India would fit in just right, and can cater to the kind of market being aimed at.
Home Furnishings for StudioB Background (context):
Base material: Since this particular project aims at working with prints on handloom fabric, promoting the honest-design image of handlooms will bring a fresh and insightful perspective to their market. Indian handlooms cover a wide range of fabrics, all of which cater to different segments and promote a separate idea. More than 20 handloom sectors exist in India, panning over fabrics such as silk, cotton and linen. Since the company requires more than one collection, all for different sections of the market, giving each collection a different base handloom fabric depending on its market could work out well. Silk handloom clusters exist in 11 states of India, each with a different vocabulary of design. Silk caters to a higher end market, and can vary between extreme luxury markets to upper end economy markets. Based on research conducted during internship with a company that specializes in the European market base,
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Objectives: 1. To design collections of range of home products for their retail brand, using handloom fabrics. 2. To promote the idea of honest design through the collections of home furnishing. 3. Developing designs for European export market.
Utopia I Graduation Project I National Institute of Design
Methodology: Secondary research: Research on the brand image, and defining what the brand stands for. Defining client base and their requirements, as well as competition from other home furnishing brands in the same bracket. Study of the European export markets, and also conducting a market study in Delhi, in order to better understand the points stated above. Study sources of handlooms in India, and market study at handloom house Delhi, to source the handloom fabrics available in the market. Primary research: Analysis and research on the design philosophy of Japan, and translating it to print design language. Analysis of other inspirations, especially western influences on the Indian ideal aesthetic. This will also involve study of design vocabulary of India, and the selection of type of printing fitting with the idea defined by handloom and the inspiration. Also, creating and fine tuning the idea behind each collection separately, depending on the market study done during secondary research.
Budget estimate:
1. Cost of studio material: N/A 2. Cost of prototype production: N/A 3. Cost of NID machine time: N/A 4. Cost of services outside NID: N/A 5. Cost of local conveyance and travel during project: Rs. 5000 6. Cost of one diploma document for the sponsor: Rs. 2000 7. Cost of three guide visits by the student: Rs. 12000 8. Cost of one round trip by air and local hospitality for the guide during his/her visit to the sponsor: N/A 9. Contribution to NID by the sponsor for academic supervision and research: Rs. 5, 000 by cheque in the name of ‘National Institute of Design’ 10. Stipend: 20,000 * 6 =1,20,000 Rs. 11. Total: 1,44,000 Rs.
Conceptualization and design: Creating the collection(s) based on the inspiration. The designs have to include the entire set as per the requirement of the collection. Sampling for production of fabrics: To execute the designs in order to place them in the market. Execution will be outsourced to nearby industries.
Deliverables:
1. Home furnishing collections for the retail brand 2. Designs for the European export market 3. Brand strategy for the collections
25
Aditi Khare I Textile Design I B.Des 2015
Project brief (final) Home Textile for StudioB under the brand Anhad. Background (context): The company, StudioB, is a multidisciplinary studio. They have been designing in various media including textiles. They wish to now enter the home furnishings and lifestyle sector as a full-fledged brand, Anhad. Being in the commercial market, home furnishings tend to follow a very particular design vocabulary and style. To make a brand stand out, giving it a different design vocabulary, which experiments within the boundaries of the typical home furnishings market, can work in the right direction. They aim to stand in the in the domestic home furnishings market with a decided designer edge.
Material: Anhad has already established a few parts that will create its identity, all-natural material being one of them. Since this particular project aims at working with prints and weave with handloom fabric, promoting the honest-design image of handlooms will bring an insightful perspective to their market. Indian handlooms cover a wide range of fabrics, all of which cater to different segments and promote a separate idea. Khadi is the idea that works especially well with the identity that Anhad wants to project. This will require research of the Khadi centers in and around New Delhi, and building a sample bank of Khadi after sourcing.
Inspiration: Background Study: StudioB is now looking to form a brand, and hence the initial collections will define the identity of the brand and its place in the domestic market. Previous work by the studio includes several media, but the focus is only on textile. Textile work done by the studio so far includes a decidedly quirky edge, with a need to cater to the extremely young market. Graphic and illustration work is prominent with colorful elements dominating. This section of the work was done under a previous brand venture, CNG. Other work done for textiles has been done as per client requirement, and hence differs from project to project. The wide range of projects handled, gives them enough experience to safely venture into home furnishing and lifestyle market. This market however, is highly competed and the brand will need to establish its USP as well as strong identity. Ideas such as all natural material and looking into traditions for inspiration, which have already been established, will be followed strictly throughout this project.
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Since Anhad believes in deriving inspiration from traditions, art traditions seem apt for the scenario. Floral inspiration for home furnishing range is the proposed requirement. Upon merging the constraint and wide field of inspiration offered, taking inspiration from the masters of print design who have established their legacy through design emerges as the ideal solution. The arts and crafts movement of Europe is ideally suited as inspiration, with the floral delicacy and exaggerated beauty of the artist’s imagination combining poetically with the flow and ebb of nature in all its glory. The idea of Japanese design has always been appealing due to its acceptance of the imperfect as a beauty of nature, its honesty in design, and the simplistic aesthetic approach. Having written a thesis paper which touches on a part of Japanese design, it can be concluded that not only does the ideal work in perfect compatibility with the design image that these collections will be creating, but also provides the designer with an innate understanding of the design aesthetic, hence helping along with
Utopia I Graduation Project I National Institute of Design
the design process. As stated earlier, the use of printing on handloom can be used to promote a raw, classic, and honest design image. This particular choice of materials and ideas can also be connected through a higher value in the form of traditional art and craft inspirations, whether Indian or otherwise. A marriage between these inspirations and the beautifully authentic handloom textiles of India would fit in just right, and can cater to the kind of market being aimed at.
Objectives: 1. To design a print collection of designs for home furnishings (Anhad), with the purpose of being printed on all natural fabric. 2. To design a weave collection of accessories, following the Japanese design principles, woven in natural material. 3. Help with developing fabric library for the brand.
Primary research: Development of market study conducted during secondary research. Research regarding trends and forecast, developing options for inspiration in various techniques. Building a vocabulary for selected inspirations, and basic steps to move into design development. Conceptualization and design: Creating the collection(s) based on the inspiration. The designs have to include the entire set as per the requirement of the collection. Sampling of fabrics: To execute the sampling of the designs in order to place them into production. Deliverables: 1. Print collection for home furnishing 2. Woven collection of accessories
Methodology: Secondary research: Research on the brand image, and defining what the brand stands for. Defining client base and their requirements, as well as competition from other home furnishing brands in the same bracket. Conducting a market study in Delhi, in order to better understand the points stated above. Study sources of handloom fabric in and around Delhi.
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Aditi Khare I Textile Design I B.Des 2015
Project timeline (proposed)
February
March
Research Conceptualization and Design (project 1) Conceptualization and Design (project 2) Exploration (project 3)
Sampling and production
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April
May
June
July
Utopia I Graduation Project I National Institute of Design
Project timeline (final)
February
March
April
May
June
July
August*
Research Conceptualization and Design (project 1) Conceptualization and Design (project 2) Exploration (project 3)
Sampling and production Building fabric inventory for Anhad
*Production continued through August, September, October, well into November. 29
Aditi Khare I Textile Design I B.Des 2015
II.c Pantone colour planner summer 2016
II.a Cover of textile view, spring 2016
II.b Fabindia home collection
II.d WGSN trend report
II.f Good Earth home collection
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II.e The Shop collection
Utopia I Graduation Project I National Institute of Design
6
t
RESEARCH
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Aditi Khare I Textile Design I B.Des 2015
Background research: Anhad Being a new brand, Anhad was in the stage of laying its foundation. To gain a basic understanding of what they stand for, the design philosophy was studied and further formulated. As elaborated earlier, the design philosophy of Anhad was constructed around intellectual luxury. They valued the product by not just its final output but also through a number of steps that went into building it. Hence, the ideas behind the designs were well thought out and inspired, the choice of material followed an ethical reasoning, and the techniques implemented were based on old traditions of India. This process of valuing every step of the design ensured that the final product was rich in intellectual and moral value. The design language adopted by Anhad was one of revisiting traditions. The brand projected itself as a young brand, focusing on the well-travelled, global youth that is grounded in its roots. Based on a study of their initial collections, key words and points were formulated for the basis of a new block print collection and a weave collection.
Top: II.1.1 Cushions from blueprints collection Opposite: Top left: II.1.2 Details of prints Top right: II.1.3 Showcasing the blueprints collection Bottom: II.1.4 A few cushions from the blueprints collection 32
Utopia I Graduation Project I National Institute of Design
Blueprints Products: Cushions 40x40cm and 50x35cm Material: Cotton and linen Technique: Block printing Price range: 1,150-1,250 Rs. Inspired by the simple geometry of block printing, this collection speaks to the earthy and elegant aesthetic preference. Block printed in indigo blue colour on natural fabrics, the pairing of the colours and designs works perfectly with the material and technique chosen. The colour palette picked for this collection renders it very versatile and allows for combinations with all kinds of hard and soft surfaces in the living or bedroom area. This collection is the only current collection focusing completely on geometry for inspiration. However, the combination of geometric designs with block printing technique gives the designs a very interesting organic feeling instead of restricting the designs to rigid geometry. 33
Aditi Khare I Textile Design I B.Des 2015
Chintz Indienne Products: Cushions 40x40cm and 50x35cm Single bedsheet set 60 inches x 90 inches Material: Cotton Technique: screen printing Price range: 1,150-2,250 Rs. The collection brings the magic of chintz alive with its flamboyant colours and detailed print. The designs are almost lyrical, with the spirit of chintz being renewed in the detail and the form of each flower. The detail of the designs is complemented by the wide number of hues picked under each colour. Combining the two gives a fresh look to the timeless beauty of chintz. Chintz Indienne collection is possibly the perfect example of th spirit of Anhad, which aims at telling stories through designs, inspired by the traditions of the world and bringing them to the contemporary world. 34
Utopia I Graduation Project I National Institute of Design
Opposite: Top left: II.1.5 Showcasing the Chintz Indienne collection Top right: II.1.6 Pillows from the collection Bottom right: II.1.7 Details of prints This page: Top left: II.1.8 Cushions from Chintz Indienne collection Top right: II.1.9 Chintz Indienne collection photoshoot Bottom right: II.1.10 Photoshoot of collection, showing ‘Walk to the Paradise’ bedding 35
Aditi Khare I Textile Design I B.Des 2015
Lotus roots Products: Cushions 40x40cm Material: Silk Technique: Machine embroidery Price range: 1,800 Rs. The subtle designs of the collection combine well with the existing collections to complete an all round variety in the design repertoire of Anhad. The handwoven silk fabric used as base as well as the silk yarn used for embroidery enhance the delicacy of the idea of lotus. Hence, the material and designs work perfectly to bring out the inspiration. The choice of a neutral palette renders the cushions understated and elegant, with the sheen and texture of handwoven silk complementing it. The cushions can be used with several settings and combinations, but they do stand out beautifully on their own. 36
Utopia I Graduation Project I National Institute of Design
Opposite: Top left: II.1.11 Details of embroidery Right: II.1.12 Cushions from the collection, showing ‘Kamal’, ‘Neera j’, ‘Pushkar’ designs among othes. This page: Top II.1.13: Showcasing the silk cushions from ‘Lotus Roots’ collection. 37
Aditi Khare I Textile Design I B.Des 2015
Doodles anonymous Products: Cushions 40x40cm Material: Cotton Technique: Screen printing Price range: 550-650 Rs. The collection draws inspiration from textures and overall surfaces which have a sketched quality. In essence imitating doodles, it brings the randomness and chaos of doodles into designs. The combination of screen printing alongwith the style of designs works well as the technique allows for high amount of detail to be printed. Also, screen printing renders the designs with a graphic quality which is unique to the technique. The collection Doodles Anonymous is a very graphic and young collection, which seems to have drawn its spirit from StudioB’s designs language as much as from Anhad’s design language. 38
Utopia I Graduation Project I National Institute of Design
Opposite: Top: II.1.14 Details of print, including the designs ‘Braided’, ‘Etched’, ‘Spirals’, ‘Sprinkles’ among others. This page: Top: II.1.15 Showcasing the printed cushions from ‘Doodles Anonymous’ collection. Overleaf: Top: II.1.16 Anhad logo 39
Aditi Khare I Textile Design I B.Des 2015
Inferences and Conclusions Anhad has a good variety in terms of both its design and price range. The techniques implemented encompass different styles, but they seem to lack weaving collections. Since Anhad is projecting itself as a brand that will sell home furnishings, accessories as well as garments, there is an urgent need for a collection in either the apparel or the accessories sector.
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Considering that ma jority of the collections produced so far have abstract inspirations and interpretations, a collection that draws inspiration from nature or natural forms is essential. Also, it would be helpful if the language of the designs created is lyrical or flowing at the very least, since Anhad identifies with narrating infinite stories and experiences through the products.
Block printing has so far been employed in two collections only, both drawing inspiration from geometry. A collection in block printing in the form of floral designs or abstract designs will add to their repertoire immensely.
Anhad aims to sell in the domestic as well as international market, but largely in the domestic market to the well-travelled and global citizens. Hence, the design language of the collections should be such that they appeal to Indian contemporary tastes. The designs shouldn’t however, stray too far away from the Indian identity and traditions.
In order to maintain the image of intellectual luxury as is used in collections such as ‘Chintz Indienne’ and ‘Lotus Roots’, the inspirations for collections in the project should be selected accordingly.
The designs created under the banner of Anhad have so far been, and will continue to be wise. There has to be a restrain in even the quirk or pop element, in a way that it becomes mature and not frivolous.
Utopia I Graduation Project I National Institute of Design
Market Study The creation of any design is not successful unless it is fits correctly and easily into its context. Elements such as market study, background study, and trend study are the building blocks of this context. These elements are often the most important part of the design process. A design or a brand cannot be built in isolation, away from whatever else the world is moving to achieve. In the Indian market currently a number of home furnishing brands are establishing their space, a sector that had hitherto not seen as many quality products. Hence before stepping into this market, it was essential to understand the context brick by brick. In order to better understand the other brands in the market in terms of the quality, products, designs, and current price range they offered, a market study was conducted in certain brands in Delhi. This study served the purpose of understanding both competition and inspiration. Brands studied include: Good Earth Fab India (Home) Anokhi Apartment 9 Shades of India The Shop The inferences drawn from this study added on to and further elaborated the idea of what Anhad products are supposed to be.
Back: II.2.1 Good Earth ‘Madder’ collection Front: Top to bottom: II.2.2 FabIndia logo II.2.3 Anokhi logo II.2.4 GoodEarth logo II.2.5 Apartment9 logo II.2.6 Shades of India logo 41
Aditi Khare I Textile Design I B.Des 2015
Good Earth “True luxury is in the details of everyday living; it is being surrounded by things that are natural and handcrafted with designs that elevate the spirit.� -Anita Lal, founder and creative director, Good Earth. Luxury and design in everyday details is truly the motto that Good Earth seems to follow through its products and its ideals. They believe in and propagate sustainable luxury, inspired by the timeless traditions of the world. The designs produced under their label have a lyrical, almost enchanting quality, and take the customer on journeys beyond reality. Through their designs, they celebrate the heritage of the Indian subcontinent and surrounding areas. Combining traditional aesthetics with vibrant and classic colors, Good Earth brings out the essence of the design and almost makes one wish they were born in another time. The fabrics used by Good Earth are picked in accordance with the designs and techniques alone, and though the fabrics are not strictly organic, they are more often than not the ideal addition to promote the idea of sustainable luxury. They bring about sustainable design through age-old Indian arts and crafts, and by sustaining traditions and their values. Good Earth believes in supporting and encouraging Indian craft, and not just using craft as a source of their inspiration. Therefore, they involve the craft and craftsmen in the design and the development process as well. This process creates a symbiotic system between Good Earth and the craft sector.
Left: II.2.7 GoodEarth bedding collection Opposite: Left to right: II.2.8 Table linen by GoodEarth II.2.9 Apparel II.2.10 Table runner II.2.11 Home collection II.2.12 Apparel Shoot with artisans 42
Utopia I Graduation Project I National Institute of Design
Product range Living
Bed and bath Quilts 92” x 60” 110” x 92”
Decor Lanterns Candle stands Vases and centerpieces Hurricanes and votives Umbrellas
Bedcovers Queen size: 84” x 84” King size: 105” x 105”
Cushions and bolsters 20” x 20” 24” x 16” 20” x 12” 26” x 16” 18” x 18” 32” x 16”
Dohar Queen size: 90” x 60” King size: 108” x 90”
Cushions
Apparel
Price range
Fabrics
Bed and bath: 750-19,000 Rs.
Cotton Linen Muslin Voile Velvet
Entertaining: 250-11,500 Rs. Living: 750-12,500 Rs.
Entertaining Dinnerware Chargers and plates Bowls and serving Pitchers Glasses
Serveware Trays Cutlery
Table linen Placemats Napkins Table cloths Runners
Tea and coffee Cups and saucers Mugs Tea plates and platters Hearbal tea Espresso
Khadi Viscose satin Raw silk Dupion silk Velvet silk
43
Aditi Khare I Textile Design I B.Des 2015
Techniques Hand block printing
Digital printing II.2.15
Weaving
II.2.13
II.2.14
Embroidery II.2.16
II.2.24 44
Utopia I Graduation Project I National Institute of Design
Details Realism figures layered on textures Worn out look II.2.17
Simple motif placement
II.2.20
Monochrome paletteII.2.22
Quilted micro textures
Accent piping/edges
II.2.18
II.2.19
Hand block prints: deliberate irregularity
II.2.21
Flowing florals
II.2.23
45
Aditi Khare I Textile Design I B.Des 2015
Top:
Samarqand: Design theme 2014-15
Left to right: II.2.24 Banner for Samarqand collection II.2.25 Theme board
The design collection for 2014-15 was based on the historic Silk Route and the city which lies at its heart, Samarqand. The numerous cultures and influences overlapping in this single city inspired Good Earth towards truly poetic design.
II.2.26 Samarqand bedding Opposite: Top left to right:
Being on the silk route, the city of Samarqand became central to cultural interactions across the regions of the Asian subcontinent and the Mediterranean sea. For commerce, for adventure, for conquest, for love, for religion and for any and every reason known to mankind, unknown numbers of men and women migrated and journeyed on this route, and the design collection tells their stories in the form of rich and royal designs. These designs are the embodiment of Samarqand through their subtle sophistication. 46
II.2.27 Bedding set II.2.28 Dining set II.2.29 Embellished cushions and lamps Bottom left to right: II.2.30 Napkins II.2.31 Samarqand diary II.2.32 Votives and cushions
Utopia I Graduation Project I National Institute of Design
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Aditi Khare I Textile Design I B.Des 2015
Fabindia “In addition to making profits, our aims are constant development of new hand-woven products, a fair, equitable and helpful relationship with our producers, and the maintenance of the quality on which our reputation rests.” -John Bissell, Founder, Fabindia Fabindia is a brand created to create a vehicle for marketing the vast and diverse craft traditions of India and thereby help in fulfilling the need to provide and sustain employment in the craft sector. Following its policy, Fabindia’s products draw inspiration from the craft itself and then work with the artisans to lead the design to its conclusion. They blend indigenous craft techniques with contemporary designs to bring aesthetic and affordable products to today’s consumers. Throughout their 50 years of existence, Fabindia has maintained a singular source of inspiration, i.e the crafts of India. The single point mission to incorporate the craft sector of this country with the mainstream commercial market in order to enrich both areas has served them well. Their products are sourced from and produced all over India. Fabindia works closely with artisans by providing various inputs including design, quality control, access to raw materials and production coordination. Their vision continues to be to maximize the hand made element in their products, rendering more value to the products and the culture. Affordability of their products has always been a ma jor focus, and they have managed to maintain the same inspite of the cost of hand-labour contributing to the cost of each product. The policy of working with craftsmen has also granted several communities the gift of sustained rural employment over a large period of time. Left: II.2.33 FabIndia bedding Opposite: Left to right: II.2.34 FabIndia accessories II.2.35 Weave detail II.2.36 Cushions 48
II.2.37 Fabric textures
Utopia I Graduation Project I National Institute of Design
Product range Clothing Kurta Tunic Tops and Shirts Jackets and Coats Pants
Home Furnishing
Skirts Sarees Salwars Dresses Dupatta and scarves
Price range
Table linen Table cloth: 1.13m x 1.13m 1.1m x 1.5m 1.1m x 2.1m 1.1m x 2.7m Placemats: 32.5cm x 47.5cm Napkins: 18” x 18” Runners: 32.5cm x 1.125m 32.5cm x 1.8m
Bath linen Bath mats: 18” x 27” 20” x 32” 23” x 35” Towels: 37cm x 60cm 67cm x 135cm 75cm x 150cm Floor Covering Dhurries: 60cm x 90cm 90cm x 150cm
Bed linen Quilts: 1.5m x 2.25m Bedcovers: 2.35m x 2.6m Cushion covers: 40cm x 40cm 30cm x 40cm 60cm x 60cm 30cm x 30cm Curtains 1.1m x 1.5m 1.1m x 2.1m 1.1m x 2.7m
Fabrics
Clothing: 290-8.990 Rs.
Curtains: 490-1,990 Rs.
Bed linen: 190-6,990Rs.
Table linen: 260-3,900 Rs.
Bath linen: 75-690 Rs.
Floor covering: 490-5,600 Rs.
Cotton Linen Tussar silk Cotton/Organza Jute
Khadi Viscose cotton Matka silk Wool Silk/Cotton
Muga silk Raw silk Viscose Muslin
49
Aditi Khare I Textile Design I B.Des 2015
Techniques Hand block printing II.2.38
Weaving
50
II.2.40
Embroidery II.2.39
Utopia I Graduation Project I National Institute of Design
Details Accent piping/edgesII.2.42
Hand block prints: deliberate irregularity II.2.41
Geometric dhurrie weaves
II.2.43
Applique II.2.46
Combination of print and embroidery
II.2.44
Sheer fabrics (curtain)
II.2.45
Thick weaves II.2.47
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Aditi Khare I Textile Design I B.Des 2015
Gara: Home collection Top: Left to right clockwise:
Defined by timeless elegance and subtle sophistication, this design collection was in stores for summer 2015. The Indian motifs placed in simple arrangements were largely hand block printed, though not exclusively. Earthy tones and a natural color palette provided with a cool and soothing collection fit for the Indian summer.
II.2.48 Print detail II.2.49 Cushions II.2.50 Bedsheet II.2.51 Gara bedding set Opposite:
There was a certain softness to the pieces, which was a result of the clever combination of Indian motifs, earthy palette and the block printing technique. The flaws inherent to the technique of block printing enhanced the natural feeling of the designs. Likewise, the woven pieces and textures were given a soft palette which appeals largely to the Indian market. Sheer pieces such as curtains were woven in either subtle cream or beige shades so as to not overpower the designs or the setup. At the same time, other woven fabrics played with textures and weight but were never deliberately perfect or overwhelming. 52
Top left to right: II.2.52 Fabric texture II.2.53 Block print detail II.2.54 Block printed curtains Bottom left to right: II.2.55 Screen printed curtains II.2.56 Cushion detail II.2.57 Dohar gara
Utopia I Graduation Project I National Institute of Design
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Aditi Khare I Textile Design I B.Des 2015
Anokhi A large part of Anokhi’s philosophy stems from the fact that it was established in Jaipur. It is a city that has been teeming with artists and craftsmen ever since its conception. They gave patronage to artists and craftsmen and encouraged all forms of skills. Over the decades of cultivating crafts, Jaipur formed a strong culture of fine craftsmanship. Anokhi credits Jaipur not only for being its place of establishment but also its inspiration. The people at Anokhi have maintained the philosophy of holding the skill and art of the craftsman in the highest esteem. Their work culture, design philosophy and ethics value traditional crafts and draw inspiration from them. Anokhi does not aim to create new traditions or images for the craft, neither does it intend to revive the crafts. They simply take the craft to a larger platform, showcasing its beauty. With a vibrant range of colours and light organic fabrics, their products can liven up any space. They specialize in working with hand block printing. Over the years, Anokhi has perfected the art of hand block printing, and has provided several artisans with sustained, quality employment. The organic nature of hand block printing and the variations which come through this technique can hardly be replicated elsewhere. For several years, Anokhi worked only with vegetable dyes although now that compulsion has been removed, keeping in mind the practicality and increase in demand.
Left: II.2.58 Anokhi bedding Opposite: Left to right: II.2.59 Apparel II.2.60 Anokhi fabrics II.2.61 Apparel photoshoot II.2.61 Textural variety II.2.62 Print fabrics 54
Utopia I Graduation Project I National Institute of Design
Product range Clothing Kurta Tunic Tops and Shirts Jackets and Coats Pants
Home Furnishing
Skirts Sarees Salwars Dresses Dupatta and scarves
Table linen Table cloth: 1.13m x 1.13m 1.1m x 1.5m 1.1m x 2.1m 1.1m x 2.7m Placemats: 32.5cm x 47.5cm Napkins: 18” x 18” Runners: 32.5cm x 1.125m 32.5cm x 1.8m
Bath linen Bath mats: 18” x 27” 20” x 32” 23” x 35” Towels: 37cm x 60cm 67cm x 135cm 75cm x 150cm
Bed linen Quilts: 1.5m x 2.25m Bedcovers: 2.35m x 2.6m Cushion covers: 40cm x 40cm 30cm x 40cm 60cm x 60cm 30cm x 30cm
Curtains 1.1m x 1.5m 1.1m x 2.1m 1.1m x 2.7m
Fabrics Cotton Linen Tussar silk Cotton/Organza Jute
Khadi Viscose cotton Matka silk Wool Silk/Cotton
Muga silk Raw silk Viscose Muslin
55
Aditi Khare I Textile Design I B.Des 2015
Techniques
Hand block printing
56
II.2.63
Utopia I Graduation Project I National Institute of Design
Details Hand block prints: deliberate irregularity
Flowing prints
Accent detail/edges
II.2.65
Simple motif placement
II.2.66
Youthful color palette
II.2.64
II.2.68
Layering detail
II.2.67
II.2.69
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Aditi Khare I Textile Design I B.Des 2015
Apartment 9 An avant-garde interior design outfit, apartment 9 does high end furniture, upholstery and home accessories for the elite market. They believe in design led manufacturing; designing from our hearts and continuous experimentation and innovation. Apartment 9 likes to surprise people with designs and products and bring new offerings to the table all the time. They don’t believe in blindly following market trends to understand what’s selling and what’s not. Instead, they prefer creating designs that will fit in well in midhigh end Indian homes.
Their design capabilities are backed by strong, world class manufacturing capabilities. The group operates 1 furniture factory and 3 textile factories at Noida, India, where all the latest machines and capabilities beautifully complement their design strengths. They combine our in-house design team with a strong exposure to international designs. Apartment 9 group exports furniture and home furnishings to some of the leading global brands like Andrew Martin, Pottery Barn and Crate & Barrel. They also regularly showcase their designs and products at Maison & Objet, the premier global interior design show, held twice a year in Paris.
Left: II.2.70 Apartment9 showcasing home furnishing products Opposite: Left to right: II.2.71 Upholstery II.2.72 Bedding II.2.73 Wallpaper and upholstery II.2.74 Cushions 58
Utopia I Graduation Project I National Institute of Design
Product range Home Furnishing Cushion covers 40cm x 40cm 30cm x 40cm 60cm x 60cm 30cm x 30cm Curtains 1.1m x 1.5m 1.1m x 2.1m 1.1m x 2.7m
Fabrics Wallpapers Furniture
Cotton Linen Tussar silk Cotton/Organza Jute
Velvet Viscose cotton Matka silk Wool Silk/Cotton
Muga silk Raw silk Viscose Muslin
Fabrics
59
Aditi Khare I Textile Design I B.Des 2015
Techniques Fabric manipulation II.2.75
Weaving II.2.76
Embroidery II.2.76.a
Printing II.2.77
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Utopia I Graduation Project I National Institute of Design
Details Velvet solids
Embossing II.2.79
II.2.78
Unconventional textures
Dark colour palette II.2.82
II.2.80
Embellishment II.2.81
Geometric designs II.2.83
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Aditi Khare I Textile Design I B.Des 2015
The Shop The Shop is a family run business that focuses on designed hand crafted textiles for home and apparel. Their design workshop is created with organic materials, open spaces and natural light to create an environment that inspires crafts people and designers, and keeps in tune with their idea of simple organic design. They develop designs through dyeing techniques, block and screen prints, machine and hand embroidery patterns and quilting, and have all their facilities under one roof. The designers at The Shop aim to bring these indigenous techniques and traditional patterns together with a contemporary sensibility to design their products for the global market. Currently, they retail and wholesale their linens around the world and present two collections a year. In purchasing products from them, the consumer gets the advantage of buying directly from the manufacturer with no “middlemen� involved in the purchase. They also regularly organize tours of their factory and workshop in order to encourage the idea of a transparent design system.
Left: II.2.84 Window display of The Shop Opposite: Left to right: II.2.85 Kurtas II.2.86 Jackets II.2.87 Table linen II.2.88 Table linen, curtains, cushions 62
Utopia I Graduation Project I National Institute of Design
Product range
Home Furnishing Table linen Table cloth: 60” x 60” 60” x 90” 72” x 108” 70” round 84” round Napkins: 13” x 19” 16” x 16” 17” x 17” Runners: 13” x 60” 13” x 72”
Clothing
Bed linen Duvet covers and quilts: 60” x 90” 60” x 60” Bedcovers: 2.35m x 2.6m Cushion covers: 18” x 18” 16” x 16” 12” x 18”
Kurta Tunic Tops and Shirts Jackets and Coats Pants
Skirts Sarees Salwars Dresses Dupatta and scarves
Curtains 1.1m x 1.5m 1.1m x 2.1m 1.1m x 2.7m
Price range
Fabrics
Clothing: 290-2,010 Rs.
Curtains: 490-1,990 Rs.
Bed linen: 490-6,930Rs.
Table linen: 480-2,150 Rs.
Cotton Linen Tussar silk Cotton/Organza Jute
Khadi Viscose cotton Matka silk Wool Silk/Cotton
Muga silk Raw silk Viscose Muslin
63
Aditi Khare I Textile Design I B.Des 2015
Techniques Printing II.2.89
Patchwork II.2.90
64
Weaving II.2.91
Utopia I Graduation Project I National Institute of Design
Details Combination of prints II.2.92
Applique II.2.93
Floral prints II.2.94
Coarse natural fibres II.2.95
Vibrant palette
Fabric waste reused II.2.97
II.2.96
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Aditi Khare I Textile Design I B.Des 2015
Shades of India Shades of India is a story of a 20 year old collaboration between contemporary designers, and traditional artisans exploring color, texture and contrast. As one of India’s leading creators of Home Fashion, it has developed a distinctive international style which celebrates both India’s heritage and its growing influence worldwide on design and trends in fashion. Led by Mandeep Nagi, Design Director, and David Housego, a former UK journalist settled in India, Shades of India has launched new collections in both home and in clothes and accessories. The uniqueness of its style lies in its texturing of fabrics, the coordination and contrasting of colors, and the inventive but unexpected use of surface treatment. The clothes, marketed under the Shades and White and Mandeep Nagi labels, are loose fitting but with a marked attention to fine detail. Shades of India has won design awards in Paris and New York as well as in India. Its products have been featured regularly in international Design and Home magazines. It sells to ma jor department stores across the world including Harrods, Selfridges, House of Fraser and Debenhams in the UK; ABC Home , Gumps, and Soft Surroundings in the US: and Yves Delorme in France. It is represented in Australia by Jasmine Hall. In India, Shades of India sells through Good Earth. It is also opening its first stand-alone store in October at the Meharchand Market in New Delhi.
Left: II.2.98 Store display at the Shades of India store Opposite: Left to right: II.2.99 Cushions II.2.100 Bedding set II.2.101 Curtains II.2.102 Bedding display II.2.103 Cushions display 66
Utopia I Graduation Project I National Institute of Design
Product range
Home Furnishing
Clothing
Table linen Bed linen Table cloth: 60” x 60” Duvet covers and quilts: 60” x 90” 60” x 90” 72” x 108” 60” x 60” 70” round Bedcovers: 2.35m x 2.6m 84” round Cushion covers: 18” x 18” Napkins: 13” x 19” 16” x 16” 16” x 16” 12” x 18” Curtains 17” x 17” 1.1m x 1.5m Runners: 13” x 60” 1.1m x 2.1m 13” x 72” 1.1m x 2.7m
Kurta Tunic Tops and Shirts Jackets and Coats Pants
Skirts Sarees Salwars Dresses Dupatta and scarves
Lamps
Fabrics Cotton Linen Tussar silk Cotton/Organza Jute
Khadi Viscose cotton Matka silk Wool Silk/Cotton
Muga silk Raw silk Viscose Muslin
67
Aditi Khare I Textile Design I B.Des 2015
Techniques Fabric manipulation II.2.104
Weaving II.2.105
Embroidery II.2.106
Printing II.2.107
68
Utopia I Graduation Project I National Institute of Design
Details Surface treatment
Combination of techniques II.2.109
Embellishment II.2.110
Detailing II.2.111
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Aditi Khare I Textile Design I B.Des 2015
Forecast Study While the market research and background study helped create a context for the new collections at Anhad, the forecast study formed the framework of options into which each collection could delve. This study helped decide the colors, fabrics, design inspirations and the overall look for the collections. Keeping in mind the fact that the collections being designed would be released in autumn/winter 2015, all forecasts studied were primarily for A/W 15-16. However, to observe the change from previous trends to the current ones, some previous forecasts were also studied. This also helped in understanding how fashion forecasts would be translated into home furnishing and accessories. Detailed study of various seasons from separate sources was crucial in identifying the common running trend for the intended release season, and hence creating a sound framework for the same. The three ma jor forecast sources studied were: Textile View (issues 107, 108 and 109) WGSN SSSS In the proposed moodboards section detailed later, it can be seen that the inspirations listed for upcoming collections all draw references from one forecast or another, thereby following the forecast to a large extent.
Back: II.3.1 WGSN Soft pop 70
Utopia I Graduation Project I National Institute of Design
Textile View Winter 15/16 fabric directions
Colours:
Moderate palette Mid toned Never deliberately bright or dull Core greys, blacks and whites Yellow: tinted beige and neutral gold
NATURE NORMS: No show, traditional country looks refined
Navy blue and Bordeaux darks Winter pinks in solids and prints Volcanic reds and oranges Cold and matte metals
Fibres:
Warmth without volume Sandwiched qualities
Key points:
II.3.2
Seasonless approach to design Restrained luxury Aggressive, unruly volume Analogue prints, not digital Deliberate, hand drawn florals Supple and fluid knits Japanese graphism Contrasting construction of fabrics
ORGANIC GOLD: Surface interest, textured
Imprecise design Graphic offset with feminine Feminine take in simpler designs Yin : Yang Modesty : Celebration of Sophistication II.3.3 71
Aditi Khare I Textile Design I B.Des 2015
UNIVERSE: Cosmic blues, Weave variation
II.3.4
II.3.6
II.3.5
II.3.7
CUT AND SCULPT: Burnt out, cut, textured contrast
72
WINTER WHITE: Trans-seasonal, Calm, textured
SAMARKAND: Winter craft, artisanal, exotic
Utopia I Graduation Project I National Institute of Design
DENIM AND INDIGO 1970’s revival
WINTER GARDEN Autumn warmth, hand painted
II.3.8
II.3.10
II.3.9
II.3.11
BRIGHT SPLASH: Art prints, confident colour
PASTEL HAIR: Brushed looks, New channels
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Aditi Khare I Textile Design I B.Des 2015
Style Sight Winter 15/16 forecast
GRACEFUL Retro soft Art of distress Delicate The nostalgic poet New vintage
II.3.12 74
MONUMENTAL Nu Bauhaus Primal Futuristic Minimal
II.3.13
Utopia I Graduation Project I National Institute of Design
SARTORIAL
VISCERAL
Updated classics Maximal Art reinvent Classic mavericks Disrupted classic
II.3.14
Energize Dark side Sport driven Heat reactive Technology
II.3.15 75
Aditi Khare I Textile Design I B.Des 2015
WGSN Winter 15/16 forecast
II.3.16 76
ECO ACTIVE
PAST MODERN
Earthy Textured distress Respect for ecological system Raw to refined
Ornamentation Mix tradition and pop culture Romance Opulence
II.3.17
Utopia I Graduation Project I National Institute of Design
II.3.18
DEEP SUMMER
SOFT POP
Otherwordly colors Unexplored Submerged Weightless textures
Open mindedness Soft power Decoration Playfulness Cartoon aspect Approachable
II.3.19 77
Aditi Khare I Textile Design I B.Des 2015
Proposed moodboards Since the collections to be created were neither technique nor inspiration specific, moodboards were created keeping in mind a particular look for each collection. Each of the boards were open-ended enough to allow for separate inspirations, palettes, and technique boards under a wider blanket as defined by the board. The options presented in the form of these moodboards were all referenced from the market research, trend study, and forecast study conducted before. While the market study helped understand what was already in the market and how the consumers received it, the background study created an identity for the kind of work Anhad assigned itself. The forecast and trend study gave direction to the inferences drawn from said research, and helped build inspiration for the upcoming season. The basis of each of these moodboards varies from techniques, to textures and looks, to cultural inspirations and purely aesthetic inspirations. Some of the moodboards were further explored, and eventually taken to the design stage. Keywords and forecast references along with each moodboard expand the idea of the inspiration and help develop it beyond the images.
Back: II.4.1 Japanese painting trial moodboard 78
II.4.3
Lace abstraction
Play of positive and
Laser cut
negative
Decorative but laid back
Mix of periods
Opulent
Past Modern (WGSN)
Utopia I Graduation II.4.4 Project I National Institute of Design
II.4.2
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II.4.8
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II.4.12
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II.4.15
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Broderie Anglaise Graphic Outsized Attention to detail Graceful (SS), Past Modern II.4.13
II.4.18
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80
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II.4.21
William Morris prints
II.4.23
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II.4.28
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Utopia I Graduation Project I National Institute of Design
Arts and crafts movement Exaggerated florals Hand drawn II.4.22
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II.4.29
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II.4.31
II.4.32
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Fibrous elaboration
Sheer/opaque
Floats
Mix of synthetic and natural
Focus on construction
Trans-seasonal
Placement design 82
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II.4.37
II.4.40
II.4.42
II.4.38
Utopia I Graduation Project I National Institute of Design
II.4.41
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Destruction Decay Unravelling Rough luxury II.4.43
Evolve Art of Distress (SS) Eco Active (WGSN) 83
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Aditi Khare I Textile Design I B.Des 2015
Gentle luxury
Detailed
No excess
Calm
Fine fabrics
Silk, linen
Etheral
Harmonius design
II.4.48
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II.4.46
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84
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Utopia I Graduation Project I National Institute of Design II.4.58
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Contemplative abandon
Abstract
Irregular
Escape
Unrestricted
Textile view (109)
Indigo, new approach 85
Aditi Khare I Textile Design I B.Des 2015
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86
Grounded
Unrefined
Honest construction
Natural palette
Natural fibres
Artisanal
Handwoven
View, WGSN
II.4.74
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II.4.77
Utopia I Graduation Project I National Institute of Design
II.4.80
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Wave
Layering
Sculptural forms
Fluidity
Sandstone formations
Textile view (109)
Seamless Gestural 87
II.4.81Aditi Khare I Textile Design I B.Des 2015
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White noise Textured Surface treatment Neutral palette Textile view (109) WGSN
88
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Utopia I Graduation Project I National Institute of Design
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Brutalist bronze
Monumental feel
Sculptural
Form
Tarnished metallic
Style sight 2016
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Sourcing Anhad is a new brand just setting up its system. Considering that the collections produced for this project were to be few of the first collections of Anhad to go into the market under that label, sourcing of fabrics and techniques was required. Fabric sourcing of natural and preferably hand woven material was conducted in parts of Gujarat and West Bengal. Sourcing was also important since StudioB often outsources its production needs in and around Delhi, and a new source was required for weaving as well as block printing. Apart from the skill sourcing, material sourcing was conducted in order to set up a fabric bank of sorts in the inventory. This allowed for a fabric inventory for printing screen and block prints, embroidery, and other techniques. It also created a ready bank for immediate use. Sampling was conducted by various people in the establishment, and Ms. Jaya and Mr. Balbir visited the selected locations in different cities. The overall process was done step by step, beginning with secondary research and ending in the organization of samples collected from the cities in Gujarat and West Bengal.
Back: II.5.1 Indigo garment from Khadi and Co. 90
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The goals for sourcing for Anhad were as following: • A retailer organisation, that would take care of supplying natural fabrics to StudioB on a regular basis or as and when required, for print, embroidering and other purposes. • A weaving setup, such that production of all weaving projects could be outsourced to them. • The fabrics in question would all be natural, and would either fall into the category of fine fabrics (for scarves, sheeting, apparel, dohars, etc.), or the category of medium-weight fabrics (for cushion covers, quilts, table linen etc.) As the first step of sourcing process, various organisations, both weavers and retailers, were selected from the states of Gujarat and West Bengal. The book ‘Khadi, The Fabric of Freedom’, published by Volkart Foundation in Switzerland, proved to be an enormous resource for a catalogue of organisations. This book also came with a collection of samples from each of the listed organisations, making it extremely convenient to proceed with the selection of a few places. For organisations in and around Delhi, the KVIC office in New Delhi was visited. They were kind enough to supply a list of retailers and weaving organisations that were listed in their system. However, upon contacting each of these suppliers individually, very few options could be narrowed down as the places in or around Delhi were largely suppliers and retailers, and not weavers. Since this was only the first step of sampling of what Anhad intended to be a nation-wide sourcing, the states of Gujarat and West Bengal were narrowed down upon. Individually, each of the selected organisations were contacted, to gather information about the nature of their production, weight and count of the fabrics they specialised in, and to establish the general idea of conducting business to business transactions with each. Based on telephonic conversations and discussions with the people at StudioB, certain vendors were narrowed down upon, and visited by Mr. Balbir and Ms. Jaya.
This page: II.5.2: Fabrics collected after sourcing from Gujarat 91
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Delhi/ NCR
Gujarat West Bengal
This page: II.5.3: Map of India showing sourcing states Opposite: II.5.4: Gujarat map showing sourcing locations Overleaf: II.5.5: Flowchart showing Source: http://3allmaps.xyz/india-map-6/ 92
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Ahmedabad
Limbdi
Ra jkot
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Sourcing process Khadi: The fabric of freedom
KVIC Delhi
Personal contact
KVIC Suppliers
Gujarat
West Bengal
Ahmedabad
Ra jkot
Limbdi
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Phulia
Utopia I Graduation Project I National Institute of Design
After conducting sampling in both Gujarat and West Bengal, the following conclusions were drawn: • Vendors in Ra jkot and Ahmedabad were both weavers and retailers. Hence, either kind of sources (material and skill) were available in both cities. •Retailers in Ahmedabad provided links for their manufacturing and weaving units in Limbdi, which were found to be highly resourceful in terms of Khadi weaving. •Woven samples from Gujarat covered a vast variety, but specialised in medium-high weight fabric, usually with 20’s-50’s yarn count. Therefore, for medium weight fabrics for printing and products such as cushions and apparel, vendors from Gujarat were selected. •Sourcing from Phulia in West Bengal turned out to be highly resourceful in terms of skill. The weaving community in Phulia was highly skilled for weaving of light-weight Khadi and other natural fabrics. •Hence, the outsourcing of weaving production for scarves, sheeting, and other light weight fabrics with yarn count around 80’s-100’s, was established in Phulia. Vendors selected in Gujarat were: Khadi Gramodyog, Rajkot Khadi Mandir, Ahmedabad Khadi Karyalaya, Limbdi Gramodyog Gandhihaat, Ahmedabad Khadi Sarita, Ahmedabad Samples collected from each of these vendors are provided in the Appendix at the end of volume2. Vendor selected in Phulia, West Bengal: Fulia Progotisil Tantubay Samabay Samity Ltd.
Right: II.5.6: Samples collected during organisation of fabric bank 95
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Back: III.1.1 Printing of the blossom colourway 96
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WILLIAM MORRIS DREAMS OF INDIA
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“If you want a golden rule that will fit everybody, this is it: Have nothing in your houses that you do not know to be useful, or believe to be beautiful.” - William Morris
Back: III.1.2 ‘Willow boughs’ by William Morris 98
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The Inspiration William Morris’ textiles tell the story of his romance with historical fabrics, the beauty in nature and the delicate detail of everyday life. He understood that textiles were capable of evoking emotional responses far beyond their physical appearance, and manifested this emotion in his work throughout his lifetime. The beauty of his work was a result of a lifelong pursuit to translate what he saw into something that he could create. His textiles have been used as furnishings for the last 150 years and for the last 60 of these his patterns have decorated almost every form of clothing and domestic item. His popularity was not solely through the beauty of his textiles but also what they symbolized: a remarkable man who was single handedly able to show the world the beauty that surrounded them. When he first started out, his interests were purely aesthetic and he created textiles for his personal use. It was his undying efforts to replicate what he saw in nature exactly, that led to his preoccupation with techniques and materials. The beauty in his manner of designing was that the visual and practical aspects were equally important to him, and his ability to harmonize these two aspects in his work led to much of his success. A person of short temperament, Morris was however unrelenting in the search for perfection in his work. He insisted on good quality of raw material, almost obsolete dyes, and time consuming hand processes. In the age of Industrial Revolution, when production was at its peak in vast, soulless, noisy and dirty factories, Morris aimed to balance perfection in his work with striving for a fairer society. He decentralized labour in his workshops and relied on the skills of each individual craftsman. To an American visitor he stated: The workman shall take pleasure in his work; he shall be made to feel himself and not the brainless ‘hand’ but an intelligent co-operator. With this sentiment and his implementation of it, William Morris was able to solve one of the biggest issues the textile industry has been facing ever since mechanical labour rendered the skill of craftsmen obsolete. His solution and way of working created a successful system wherein the craftsmen were valued, and their skill held in high regard, without ever compromising the marketability and production of his designs. Such was the beauty of his system, that it is relevant even 150 years after he created it and if carefully translated it can solve problems of the 21st century’s textile industry.
Right: III.1.3 William Morris portrait from Victoria and Albert Museum 99
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Morris’ decision to go into printing designs was inspired by his need to create something which could be of use throughout the home, and dissatisfaction with the products already available in the mass market. His lifelong fascination with the natural world and knowledge of horticulture contributed highly to his designs. A lover of everyday details and organic nature of objects, every design was an effort to translate the same onto fabric. This manifested itself in the form of the extensive detailing, natural dyes and the choice of block printing for his designs. He preferred wood block printing to engraved rollers, even though rollers were used extensively by the mid-nineteenth century. The reason for making such a decision in spite of the cheaper cost and finer detail of the roller printing was again based in the desire for the organic look of the designs. He believed that the printing achieved through engraved rollers was mechanical in look and feel. With wood block printing the blocks were hand cut and allowed the innate characteristics of the craftsmen to be evident. Uncompromising in the design and execution of his creations, William Morris employed a beautiful simplicity in his design thinking, The designs were almost always drawn from what he saw around him, and the aim was always to recreate the natural beauty as well as humanly possible. The thought behind and within each design was simple, and the desire was constant. As Frank Lloyd Wright stated in ‘The Art and Craft of the Machine’, “William Morris pleaded well for simplicity as the basis of all true art. Let us understand the significance to art of that word — SIMPLICITY — for it is vital to the art of living.” As a designer and innovator, he helped elevate an industry from its lowest artistic standing to its high point of international influence, inspiring generations of designers and manufacturers. 100
Top: Left: III.1.4 ‘Columbine’ textile design by William Morris, 1876 Center: III.1.5 William Morris woodblocks for wallpaper print from Hannah Nunn Right: III.1.6 The Pomegranate Passage at Wightwick Manor in the West Midlands has one of the most complete surviving Arts & Crafts interiors.
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Design Process III.1.7
III.1.8
III.1.9
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INSPIRATION
EXPLORATION
DIGITAL EXPLORATION
William Morris prints (compositions)
Sketches of elements
Creating finalised prints on software
Adapting William Morris compositions to Indian essence
Indian flora and fauna
Editing form of individual elements
Quintessential India Print design sketches
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Fine tuning designs to remove objects
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SETTING REPEATS
SETTING COLOURWAYS
BLOCK PRINTING
Re-creating repeats to fit in block sizes
Creating colour palette
Carving of blocks
Colourways based on season forecast, market, and block print sensibility
Block printing samples
Editing design detail according to block detail
Block printing fabric
Isolating different block layers Technical details
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William Morris prints Arts and crafts movement Exaggerated florals Hand drawn III.1.13
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Indian flowers
Exaggerate
Common flowers
Detail
Identity
Decorative
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Everyday objects Iconic Identifyable Iconic Quirk
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Colourway: AUTUMN Inspired by the essence of season of autumn, this palette weaves the earthy shades of the organic family into colour statements and patterns. It reflects a landscape of change and evolution, both literally and metaphorically. The colours used in this palette convey a sense of warmth and security in a season of rapidly approaching cold. Combined with the rooted and dependable feeling of the natural earthy tones, the rich hues bring a sophisticated and comforting feel to the designs. The greens evolve from the family of olive greens, strongly reminiscent of dried herbs. The shades are organic and redolent of nature’s earthy fragrances. Reds and oranges draw inspiration in equal parts from Marsala, the pantone colour of the year, and the richness of the scenery in autumn. They add a certain finesse and savoir-faire to the palette, while showing their grounding in a natural earthiness. The yellow, along with the rust red, adds the accent to an otherwise earthy palette. Beige and white provide a solid neutral base for most combinations arising out of this colourway and maintain the feeling of autumn. The overall feeling of the palette even allows white to act as an accent when required. This colourway is rooted in mid toned shades, which do not seem to aspire towards either end of the intensity spectrum. In tune with the colour forecasts, it creates a very rich and cozy feeling that makes one feel right at home with nature. It is a palette about a season that embodies change and evolution, creates conversations with the spirit, and brings out the essence without disrupting.
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Keywords
Colour placement and proportions
Organic
Evolve
Comfort
Earthy
Homecoming
Warmth
Essence
Mid-toned
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Colourway: BLOSSOM
This palette symbolizes the hope that comes forth with a new season, a new beginning, a tiny sprout breaking free from the ground and a bud changing into a beautiful but shy flower. Moving beyond the mundane everyday existence, it speaks of a garden in full bloom. When the bees get busy and the air is fragrant with countless aromas, and a million colours dance and shine in the sunlight as far as the eye can see. It is an ode to the orchestra of Mother Nature. The pinks draw inspiration from the tender petals of a blooming flower. They encompass the shades right from the tender yet deep pink at the heart of the flower to the soft shades on the edges of each petal. Warm and motherly, these colours define love and beauty. The greens are fresh and wise at the same time. They speak of dewy mornings when the warm rays of the sun first fall upon a single dewdrop delicately balanced on a blade of grass. The pale turquoise is a soft presence, able to form both accent and background. It is almost shy, and it doesn’t jump out of the palette, but creates a pleasant and fresh glow hard to miss. Pale sky blue is a prefect backdrop for this palette; drawing its shade from beautiful, clear skies. Along with the pale turquoise and white, it softens the palette and throws a veil of tenderness over intense fresh colours. Both the blue and the turquoise are beautiful in the form of backdrops; as they let the foreground stand out but at the same time prevent the design from becoming too harsh.
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Keywords
Colour placement and proportions
Fresh
Wise
Garden
Bloom
Beginning
Hope
Spirited
Pastel
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Gulmohar The flame of the forest. Fiery, fiery beautiful, What is it that makes you so wild? Mesmerizing curves and edges, Not a single petal stays in line, As if crime it would be to stay within the boundaries And death to accept the mundane. The orange challenges and dominates, It would wipe away every other colour Look at the tree in full bloom, Can you maybe see a little of the green? Dancing in the winds, swaying. Every petal its own story, Every bud a promise of explosion The riot of colours, which is all there at once Playing with the raindrops and sun. Oh you wild, wonderful flower! Come stay by me Stay by my side, at my window, And teach me to be fearless?
Back: III.2.1 Gulmohar branch 111
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Gulmohar: The design This design is inspired by the Gulmohar flower in full bloom. Different views and forms of the flower were studied in order to select the right ones for the layout of the design as well as the look. The leaf was also noted, in order to ensure that even after abstraction, the leaves in the design retain some similarity to the actual tree. The initial repeat unit sketched for this design included a sitar as well. Complying with the initial brief for the collection, the object placed in the design was meant to lend a certain story-like and quirky aesthetic. This initial repeat was created in a classic William Morris layout, where the objects mirror in one set and reflect in the next one. However, after repeated revisions the design was modified largely to achieve the final layout. As can be seen in the final sketch, the sitar was removed from the design because of the decision to remove all the ‘quirky’ objects from all the designs. These objects, after the entire design was finished, looked somewhat out of place, and seemed to be forcing the viewer to forge a story where one did not exist. The idea was to allow for easy viewing that flows, not forced flow, and hence the objects were removed in each design. Next, the concept of this design was changed from a simple vine to a multilayered concept, by layering it with the geometric dimension of a jali. This brings forward the story of a branch of Gulmohar at the window, leaning against it and growing with it. In order to better focus on the Gulmohar, the layout of the branch was changed from the initial sketch, allowing a single branch to run through the jali. Upon conversion to digital version, the jali unit was modified in order to create a common jali background for other designs as well. Also, the old geometric unit was too similar to a hexagon, and needed a little more dimension. After making the decisions regarding the number of blocks to be used per repeat and the size of each repeat in discussion with the block maker, the repeat was digitally refined, to fill in blank spaces and create a seamless surface. The Gulmohar design was printed in both colourways: Autumn and Blossom, and in variations of the block. For example, the floral unit was printed without the geometric background to create a very different and much softer look.
Opposite: III.2.2-III.2.6 Moodboard for Gulmohar flower and leaves 112
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III.2.2
III.2.6
III.2.3
III.2.4
III.2.5
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Sketches: Gulmohar flower
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Sketches: Gulmohar leaf
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Initial design sketch
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Final design sketch
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Digital interpretation
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Elements of design
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1. The gulmohar flower, detailed through line drawing. 2. Lattice unit created to run in repeat in the background while the gulmohar branches run in the foreground. 3. Gulmohar leaf, abstracted to a certain extent, to obtain a more decorative feeling.
Overleaf: III.2.7 Gulmohar design in blossom colourway (green), showing repeat surface 119
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Colourways Autumn colourway
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Blossom colourway
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Repeat size: 8� x 13.2� Blocks: Jaali (rekh) Leaves and stalk (rekh) Flowers (rekh) The design was created in a way so that it could stand alone without the lattice in the background as well, as is visible in the pictures attached here.
Top: Left: III.2.8 Printing of the first layer, i.e, stalks and leaves Right: III.2.9 Variation of the Gulmohar design without the lattice block Overleaf: Top: III.2.10 Blossom colourway in blue Bottom left: III.2.11 Autumn colourway Bottom right: III.2.12 Wood blocks for Gulmohar printing 123
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Genda Everywhere The golden glint, the canary peek The rust at the edge and the carmine in the heart. Everywhere I look, little bulbs of joy. In celebrations and in mourning, In flower markets by the hundreds. The young girl’s fancy The wise woman’s pride. In petals, buds, leaves and layers, Steady, steady. Through seasons in the sun and rain, Through glory and disdain, The flower that never wilts. You’ve caught the sunshine, dear marigold, A thousand different rays. And in all those petals, you hold the sun’s grace. Unfailingly generous, unrelenting and strong, Wise old soul.
Back: III.3.1 Marigold plants 128
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Genda: The design This design is inspired by the Genda or Marigold flower in various forms. Different views and forms of the flower were studied in order to select the right ones for the layout of the design as well as the look. The leaf was also noted, in order to ensure that even after abstraction, the leaves in the design retain similarity to the actual plant. The initial repeat unit sketched for this design included a kite and its wheel as well. Complying with the initial brief for the collection, the object placed in the design was meant to lend a certain story-like and quirky aesthetic. The thread from the kite can be seen intertwined with the leaves and branches, connecting the different elements. This initial repeat was inspired by one of the more complicated William Morris compositions, where two sets of elements are repeating in alternate units. This allows for variation in design elements. Upon conversion to digital version, the kites and wheels were removed from the design because of the decision to remove all the ‘quirky’ objects from all the designs. These objects, after the entire design was finished, looked somewhat out of place, and seemed to be forcing the viewer to forge a story where one did not exist. The idea was to allow for easy viewing that flows, not forced flow, and hence the objects were removed in each design. After discussion with the block maker, it was decided to hold the repeat within 8” x 8” for the convenience of the block maker as well as the printer. In order to create one single repeating unit instead of two alternate units as was there in the sketch, the design was edited all over again. However, care had to be take to make the design look as close as possible to the original sketch ideation. The result was a unit, which brought out the Genda in all its glory, and flowed beautifully as a pattern. The Gulmohar design was printed in both colourways: Autumn and Blossom, and in variations of the block. For example, printing with only the outline (rekh) created an interesting and appealing pattern.
Overleaf: III.3.2-III.3.6 Moodboard for Genda flower and leaves 129
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Sketches: Marigold flower
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Inspiration composition
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Final design sketch
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Digital interpretation: single unit
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Design elements 1. Detail of the marigold flower, front facing.
3.
2. Detail of marigold flower, side facing. 3. Marigold leaf, abstracted to a certain extent to obtain a more decorative feeling. The elements such as kites and wheels were removed from the design after final revision and feedback. Considering the story portrayed through the design, the inanimate objects seemed to fall out of place.
Overleaf: III.3.7 Marigold design in autumn colourway, showing repeat surface 135
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Colourways Blossom colourway (green)
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Blossom colourway (blue)
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Repeat size: 8� x 8� Blocks: Outline (rekh) Leaves and stalk (datta) Flowers (datta) The design was created in a way so that it could stand alone without the lattice in the background as well, as is visible in the pictures attached here.
Top:
Overleaf:
Left: III.3.8 Printing of the genda design
Top left: III.3.12 Background of the
in autumn colourway
genda design in blossom colourway
Right: III.3.9 Outline of genda in black
Top right: III.3.13 Genda design, blossom
Right:
colourway
Center: III.3.10 Outline of genda in pink
Bottom: III.3.14 Detail of genda design,
Bottom: III.3.11 Outline of genda in green
blossom colourway 139
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Bougainvillea Frail and innocent, The bougainvillea looks up From multitude of its kind, from behind deep green. Hues of every possible pink, Of white and mauve and that colour you cant quite name. Proud, in front of a white wall, Or intertwined with the window grill, Humble on its own, proud in its numbers How many flowers is that? It rests on your window, And looks out into the day with you. Fragile, fragile like each dream, Each thought that passes through your mind as you sit.
Sharing your thoughts, your fears, Playing hide and seek in its own shadows. Fickle and playful, blindingly beautiful, It looks through your window, And sees you in its image, everyday.
Back: III.4.1 Bougainvillea vine 144
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Bougainvillea: The design This design is inspired by the beauty of a lush, full bougainvillea plant. Different views and forms of the flower were studied in order to select the right ones for the layout of the design as well as the look. Since the density of bougainvillea flowers in the vine is very high, a large number of variations of the flower were required in order to avoid monotony in the design and achieve the true character of the plant. The leaf was also noted, in order to ensure that even after abstraction, the leaves in the design retain similarity to the actual plant. The repeat was created in a classic William Morris layout, which is seen followed in several of his designs. The contrast achieved between the flow of the vine in the foreground and the lattice in the back, is created by effectively layering two seemingly simple layouts. Upon conversion to digital version, the repeat size of the basic unit was reduced to a 8� x 8� square for the convenience of the block printer, and in order to ensure even printing. Also, the blocks which are much bigger than the conventional size tend to bend near the edges over time and thus reduces chances of proper printing. In order to create one single repeating unit from a repeat almost twice its size, the design was edited all over again. This editing of repeat had to be done while taking care that the design still retained its variety and layering. During the creation of colourways, the flowers and leaves had to be given sufficient variety in colours as the density of both is very high on a bougainvillea branch. Also, the leaves and flower petals of the bougainvillea have a somewhat similar structure, and hence their differentiation could best be achieved only through colours. The Bougainvillea design was printed in both colourways: Autumn and Blossom, and in variations of the block. For example, printing of the design without the lattice unit created a softer and warmer pattern which could be used in a myriad of other ways.
Overleaf: III.4.2-III.4.6 Moodboard for bougainvillea flower and leaves 145
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Sketches: Bougainvillea flower
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Inspiration composition
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Final design sketch
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Digital interpretation
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Design elements 1.,2.,3.,5.,6.,7. - Detail of bougainvillea flower, study of different views and forms. 4. Branch of bougainvillea plant, with the leaves and flowers in detail. Overleaf:
8. Lattice unit detail, to run in repeat in the background while the plant is in the foreground.
III.4.7 Bougainvillea design in blossom colourway, showing repeat surface 151
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Colourways Blossom colourway (turquoise)
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Autumn colourway
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Repeat size: 8” x 8” Blocks: Background and lattice (gad) Outline (rekh) Leaves and stalk (datta) Flowers (datta) The repeat was readjusted from the sketch, since the block size should not be wider than 8” in an ideal scenario. Increase in block size could lead to uneven printing or bending of the wood block over time. Overleaf: Top left: III.4.11 Detail of bougainvillea This page:
design in blossom colourway
Top left: III.4.8 Printing of outline and
Top right: III.4.12 Bougainvillea design in
background in autumn colourway
autumn colourway
Right: III.4.9 Printing of bougainvillea in
Bottom left: III.4.13 Bougainvillea design,
blossom colourway
alternate colourway
Center: III.4.10 Bougainvillea design in
Bottom right: III.4.14 Printing in blossom
autumn colourway
colourway 155
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Hibiscus The brightest red Among all the several colours of the garden It stands out, for how could it not? Flamboyant, unapologetic red, It catches your eye and stays. Wise beyond its years, Graceful in every curve. Simple, yes simple flower, Like a diamond that knows not its worth. The flower symbolic of devotion, Of love and prayer and contemplation. Signifying so much to so many, Only through its existence. Here in the wild, It stands humble, wise and solemn, Radiating strength and beauty, Oh! So many lessons. Look, it bends over the water, Beholds its own reflection. Beautiful, blurred red, Blurred red conversations.
Back: III.5.1 Hibiscus flower 160
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III.5.2
Hibiscus: The design This design is inspired by the Hibiscus flower. The primary inspiration for the composition of this design was the classic ‘ogive’ pattern, commonly seen in designs of the arts and crafts movement. To support the pattern, other flowers were added. The humble Hibiscus coupled with the vivacious dwarf Gulmohar, created perfect harmony between the curves of the ogive and the flowers. Different views and forms of the flowers were studied in order to select the right ones for the layout of the design as well as the look. The leaves were also noted, in order to ensure that even after abstraction, the leaves in the design retain similarity to the actual plants. The initial repeat unit sketched for this design had several variations. One such variation included a play on the ogive part such that the line was converted into a road, and the usual vehicles of an Indian road can be seen on it. Complying with the initial brief for the collection, the object placed in the design was meant to lend a certain story-like and quirky aesthetic. However, said variation was too out of line from the theme and did not seem to fit into place. The final sketched repeat unit still included chai glasses on the main branch. Upon conversion to digital version, elements such as chai glasses and roads were removed from the design because of the decision to remove all the ‘quirky’ objects from all the designs. These objects, after the entire design was finished, looked somewhat out of place, and seemed to be forcing the viewer to forge a story where one did not exist. The idea was to allow for easy viewing that flows, not forced flow, and hence the objects were removed in each design. After discussion with the block maker, it was decided to hold the repeat within 8” x 8” for the convenience of the block maker as well as the printer. The finer details, such as the delicate stems and the fine lines in the petals had to be modified so that the making of the block and printing of the design will be easier and better visible.
III.5.3
This
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III.5.2-III.5.4 Moodboard for Dwarf Gulmohar flower
III.5.4
Keeping the colour and size constraints in mind, the final surface was designed and printed in both colours. Although the original William Morris composition allows and even mandates a grid formed via the flowers, it had to be modified here in order to tone down the grid a little and make the surface smoother for viewing.
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Sketches: Hibiscus flower study
Opposite: III.5.5-III.5.10 Moodboard for Hibiscus flower and leaves 163
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Hibiscus treatment study
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Sketches: Dwarf gulmohar study
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Inspiration composition
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Initial design sketch
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Final design sketch
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Digital interpretation
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Design elements
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1.,4. Detail of hibiscus flower, study of different views and forms. 2. Detail of dwarf gulmohar flower, side view. 3. Detail of dwarf gulmohar flower, front view. 5. Branch of dwarf gulmohar plant, with detail of leaves and buds. The leaves and buds were abstracted to make them decorative. The elements such as chai and glasses were removed from the design after final revision and feedback. Considering the story portrayed through the design, the inanimate objects seemed to fall out of place.
Overleaf: III.5.11 Hibiscus design in autumn colourway, showing repeat surface 171
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Colourways Blossom colourway (turquoise)
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Repeat size: 8� x 10� Blocks: Background (gad) Outline (rekh) Leaves and buds (datta) Flowers (datta) The repeat was readjusted from the sketch, since the block size should not be wider than a certain measurement in an ideal scenario. Increase in block size could lead to uneven printing or bending of the wood block over time.
Overleaf: Top: III.5.13 Detail of hibiscus design in This
page:
autumn colourway.
Top: III.5.12 Printing of the hibiscus
Bottom: III.5.14 Printing of design in
design in blossom colourway.
autumn colourway. 175
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Peacock I have tried to hold you, To capture the beauty you are endowed with. I have written ponderous and wondering lines, I have held every feather I could find. Admired you from afar, for as long as you would let me, And dreamt about you later, marveling at your beauty. Not alone, I stand in admiration. Mankind is obsessed. Every colour, every hue, Every hidden, teasing, fickle shade. We have labeled them and recreated each, But never recreated you. The colours of your neck have inspired artists. Your plumage inspired creators. The grace and fall of your dance, Has driven the world into frenzy. And there you stand, Proud, beautiful and taunting, Showing man that all his devices Could never truly hold What heaven created.
Back: III.6.1 Peacock 180
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Peacock: The design
This design is inspired by the ma jestic peacock. The primary inspiration for the composition of this design was the classic ‘ogive’ pattern, commonly seen in designs of the arts and crafts movement. To support the pattern, other flowers were added. The humble Hibiscus coupled with the elegant Jasmine, created perfect harmony between the curves of the ogive, the flowers and the birds. Different views and forms of the flowers as well as the peacock were studied in order to select the right ones for the layout of the design as well as the look. The initial repeat unit sketched for this design had several variations such as the one with vehicles and chai glasses. Complying with the initial brief for the collection, the object placed in the design was meant to lend a certain story-like and quirky aesthetic. However, keeping in mind the common use of birds in William Morris’ designs and the iconic nature of peacock for India, a new variation of this design was introduced. Upon conversion to digital version, elements such as chai glasses and roads were removed from the design because of the decision to remove all the ‘quirky’ objects from all the designs. These objects, after the entire design was finished, looked somewhat out of place, and seemed to be forcing the viewer to forge a story where one did not exist. The idea was to allow for easy viewing that flows, not forced flow, and hence the objects were removed in each design. After discussion with the block maker, it was decided to hold the repeat within 8” x 8” for the convenience of the block maker as well as the printer. This resulted in breaking up of the design repeat into two units to ensure block size, flow of design, and repeat continuation. Considering the fine detail implemented in this design, the colour scheme was kept largely monochromatic. Keeping the colour and size constraints in mind, the final surface was designed and printed in both colours. While sampling, other variations of the design were also created, such as the one with only the detail. This particular variation enhanced the detailing and created a lovely all over surface.
Overleaf: III.6.2-III.6.7 Moodboard for peacock 181
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Sketches: Peacock exploration
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Opposite: III.6.8-III.6.13 Moodboard for Jasmine flower 184
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Jasmine flower exploration
Opposite: III.6.14-III.6.19 Moodboard for Hibiscus flower 186
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Hibiscus flower exploration
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Hibiscus flower treatment exploration
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Inspiration composition
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Final design sketch
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Digital interpretation
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5. Jasmine bud sketch. 6. Detail of jasmine flower. 7. Jasmine branch detail. 8. Jasmine leaves detail. 9. Hibiscus leaves detail.
Design elements 1. Sketch of peacock with feathers in a trail. 2. Detail of peacock feathers as illustrated in the design. The feathers were abstracted in a decorative manner. 3. Jasmine branch, showing leaves, buds and a flower. 4. Hibiscus flower sketch. 193
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Overleaf: III.6.20 Peacock design in blossom(blue) colourway, showing repeat surface 195
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Colourways Autumn colourway
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Blossom colourway
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Repeat size: 8� x 14� Blocks: Outline (rekh) Peacocks, flowers and leaves (datta) The peacock design was kept laregly monochromatic due to the beauty it retained in simplicity of colours. As can be seen in the pictures here, it can also be used as a design with just the outline, lending a lovely hand-drawn sketch feeling to the fabric.
Opposite: Top: III.6.21 Printing of peacock design Bottom: III.6.22 Detail of outline of peacock design This page: Top: III.6.23 Variation of peacock design 201
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Royal Shifting away from regular William Morris style, this design was inspired by a woven panel designed by Morris as one of his first woven designs. The look is almost Victorian, imitating the wallpapers which were all the rage in the 19th century. The element of the elephant, which is present in the initial design sketch, was eventually removed as per the decision to remove all the accessory objects which seemed out of place in the designs and made them difficult to understand. Even though the look here is different from other designs of this collection, the idea of creating a simple lyrical design stays the same. As compared to the other designs, the treatment of the motifs in this design is somewhat more abstracted. This decision was made keeping in mind that the inspiration design by William Morris was a woven design, and proportionally abstracted. This however, does not lead to loss of detail of any kind, but merely gives it a unique language. The colourway designated to this design also slightly varies from others, as the idea was to keep the colour combination monochromatic and not too distracting from the solemn nature of the design. In the end, it gives a subtle variety to the collection and allows for more products or applications of the design.
Back: III.7.1 Detail of marigold flower Opposite: III.7.2-III.7.4 Moodboard for elephant 204
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Sketches: Marigold exploration
Opposite: III.7.5-III.7.9 Moodboard for marigold flower 207
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Inspiration composition
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Digital interpretation
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Design elements 1. Marigold upturned flower detail.
1.
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2. Detail of marigold flower front. 3. Branch, with detail of buds. 4. Decorative leaf detail.
3.
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Overleaf: III.7.10 Royal design in blossom colourway, showing repeat surface 211
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Colourways Blossom colourway
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Autumn colourway
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Repeat size: 6.5” x 8” Blocks: Outline (rekh) Other elements (gad) This
In a departure from other William Morris’ styles, this design was inspired by a woven border of similar composition. Highly stylised and abstracted, it has been executed in monochromatic colour palettes.
page:
Top: III.7.11 Outline of royal design Bottom: III.7.12 Detail of printing of royal design Opposite: Top left: III.7.13 Detail of marigold flower in print Top right: III.7.14 Printing of royal design Bottom: III.7.15 Variation of design
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Block printing process
02 Selection of colours After the blocks were carved, the sampling and printing was done in Salim bhai’s printing workshop in Ashram, New Delhi. Colours were selected and set according to the two colour palettes, autumn and blossom. The fact that the colours were then prepared in the block printing workshop from pigment dyes, gave a more realistic feeling to the colours as will always happen when moving from a digital medium to handcrafted.
01 Wood block carving The designs were set in repeats, with the maximum width of each block being 8”. Since the original repeats were designed for a maximum width of 11”, creating block repeats were a ma jor challenge. The idea was to create repeats for blocks without compromising on the design quality or detail. The specifications were then sent to Chandrapal ji’s workshop in Farukhabad, U.P for carving. The blocks for outline(rekh) were created by placing metal on wood, while the filling(datta) and background(gad) were carved out of wood entirely. 220
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04 Assembling colour plates The colours prepared for printing were placed in a wooden tray (saaj). The tray had a layer of wire mesh and felt, so that the colour would be evenly distributed and absorbed. Finally, a fine fabric was placed over the layers and brushed with a flat wooden piece in order to spread the colour over the entire application area. The tray was placed on a wooden trolley, with two shelves for the tray and the blocks respectively. The trolley allows for easy movement of the colour and blocks alongside the block printer.
03 Creating the colours Pigment dyes were mixed with binder and kerosene to obtain the printing raw material. Once the basic colours were ready, the exact shades required were obtained by mixing two or more pigments, or adding/deducting binder. Pigments dyes follow the direct printing technique and do not change after washing or finishing.
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06 Placement of block The block was placed on the tray and then on the fabric. The placement of the block was determined with the help of the repeat markers incorporated within the design carved on the block. While the repeat markers helped with the accuracy of the print, the subtle imperfections obtained due to the lack of mechanical help gave the prints a beautiful quality.
05
07
Cleaning of blocks
Printing
The blocks were placed in oil for around 10 days to soften the grains of the wood. Before printing, the blocks were cleaned with metal and nylon brushes for the metal and wooden blocks respectively.
The blocks, once placed on the fabric in position, were then hit hard on the handle with a fist or the hand. This created an impression of the carving onto the fabric. The use of a bigger block creates issues at this stage since the pressure applied might fall unevenly, leading to uneven print.
This removed and residue oil from the blocks and also and dirt that might have collected in the crevices.
After printing the fabrics were laid out in the sun to ensure fastness of the colour. While pigment dyes do not change colour after washing, the fabric was washed under running water to ensure that the colour was steady, and the fabrics were finished properly.
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Image credits
I.1.1: www.facebook.com
II.2.8-II.2.12: www.goodearth.in
I.1.2: www.nid.edu
II.2.13-II.2.23: www.goodearth.in
I.1.3: www.nid.edu
II.2.24-II.2.32: www.goodearth.in
I.4.1: www.studiobindia.com
II.2.33-II.2.37: www.fabindia.com
I.4.2: www.facebook.com/studiob
II.2.38-II.2.47: www.fabindia.com
I.4.3: www.studiobindia.com/spaces
II.2.48: www.facebook.com/Fabindia
I.4.4: www.studiobindia.com/textiles
II.2.49-II.2.57: www.fabindia.com
I.4.5-I.4.7: www.theanhadshop.com
II.2.58: www.facebook.com/AnokhiIndia
I.4.8: www.facebook.com/The-Anhad-Shop
II.2.59-II.2.62: www.anokhi.com
I.4.9: www.theanhadshop.com
II.2.63-Ii.2.68: www.anokhi.com
II.a: www.amazon.in
II.2.69: www.facebook.com/AnokhiIndia
II.b: www.fabindia.com
II.2.70-II.2.74: www.apartment9.in
II.c: www.amazon.in
II.2.75, II.2.76: www.facebook.com/apartment9
II.d WGSN
II.2.77-II.2.80: www.facebook.com/apartment9
II.e: www.theshopindia.com
II.2.81-II.2.83: www.apartment9.in
II.f: www.goodearth.in
II.2.84: www.facebook.com/theshopindia
II.1.1: www.theanhadshop.com
II.2.85-II.2.88: www.theshopindia.com
II.1.2, II.1.4: www.theanhadshop.com
II.2.89-II.2.91: www.facebook.com/theshopindia
II.1.3, II.1.5: www.decoinch.com
II.2.92: www.theshopindia.com
II.1.6-II.1.10: www.theanhadshop.com
II.2.93-II.2.97: www.facebook.com/theshopindia
II.1.11, II.1.12: www.theanhadshop.com
II.2.98: www.facebook.com/shadesofindia
II.1.13: www.decoinch.com
II.2.99-II.2.103: www.shadesofindia.com
II.1.14, II.1.16: www.theanhadshop.com
II.2.104-II.2.111: www.shadesofindia.com
II.1.15: www.decoinch.com
II.3.1: WGSN forecast
II.2.1: www.facebook.com/GoodEarthIndia
II.3.2-II.3.11: Textile view winter 15/16
II.2.2: www.facebook.com/Fabindia
II.3.12-II.3.15: StyleSight 15/16 forecast
II.2.3: www.facebook.com/AnokhiIndia
II.3.16-II.3.19: WGSN winter 15/16 forecast
II.2.4: www.facebook.com/GoodEarthIndia
II.4.2-II.4.12: www.pinterest.com
II.2.5: www.facebook.com/apartment9
II.4.13-II.4.15: StyleSight (graceful)
II.2.6: www.facebook.com/shadesofindia
II.4.16-II.4.18: www.pinterest.com
II.2.7: www.facebook.com/GoodEarthIndia
II.4.19-II.4.21: WGSN winter 15/16 forecast 223
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II.4.30-II.4.35: www.pinterest.com
III.1.35: www.weloveourbangladesh.com
II.4.36-II.4.45: www.pinterest.com
III.1.36: www.applemint.com
II.4.46-II.4.54: www.pinterest.com
III.1.37: www.harlequin.uk.com
II.4.55: www.annelindberg.com
III.1.38-III.1.40: www.pinterest.com
II.4.56: www.yatzer.tumblr.com
III.1.41: www.animals.ekstrax.com
II.4.60: www.annabadur.de
III.1.42-III.1.44: www.pinterest.com
II.4.61: www.kierstencrowley.tumblr.com
III.2.1: www.ra janjolly.hubpages.com
II.4.57-II.4.59: www.pinterest.com
III.2.2: www.wanderingmist.com
II.4.62-II.2.80: www.pinterest.com
III.2.3-III.2.6: www.pinterest.com
II.4.81-II.4.88: www.pinterest.com
III.3.1: www.walkwithmedotme.wordpress.com
II.4.89-II.4.90: Textile view 109
III.3.2: www.flickriver.com
II.4.91-II.4.96: StyleSight 15/16 forecast
III.3.3: www.jeffryandme.tumblr.com
II.4.97-II.4.98: www.pinterest.com
III.3.4: www.lowes.com
II.5.1: Khadi and Co.
III.3.5-III.3.6: www.pinterest.com
III.1.2: www.mydomaine.com
III.4.1: www.laurejoliet.com
III.1.3: www.vam.ac.uk
III.4.2: www.thephotoargus.com
III.1.4-III.1.6: nttreasurehunt.wordpress.com
III.4.3-III.4.6: www.pinterest.com
III.1.13: www.textilecollection.wisc.edu
III.5.1: www.beautyineverything.com
III.1.14: www. thetextileblog.blogspot.com
III.5.2: www.almostedenplants.com
III.1.15: www.william-morris.co.uk
III.5.3: www.tropicalfloridagardens.com
III.1.16: ww.william-morris.co.uk
III.5.4: www.taste.ecrater.com
III.1.17: www.thestudio325.blogspot.com
III.5.5: www.hdwallpaperia.com
III.1.18: ww.william-morris.co.uk
III.5.8: www.fotonin.com
III.1.19: www. antiekhandelott.nl
III.6.1: www.globeviews.com
III.1.20: www.william-morris.co.uk
III.6.2: www.wildzests.in
III.1.21: WGSN wanderer
III.6.3-III.6.7: www.pinterest.com
III.1.22-III.1.28: www.pinterest.com
III.6.8: www.jasmineflower.ca
III.1.29-III.1.31: www.pinterest.com
III.6.9: www.tea-obsession.com
III.1.32: www.commons.wikimedia.org
III.6.10-III.6.13: www.pinterest.com
III.1.33: www.pinterest.com
III.7.1: www.7-themes.com
III.1.34: www.thymes.com
III.7.2-III.7.4: www.telegraph.co.uk
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Bibliography
Books Amar Vastra Kosh. Khadi : the fabric of freedom. New Delhi : Amar Vastra Kosh, 2000. Print. Morris, William. William morris : decorative designs. Paris : Place des victoires, 2011. Print. Fairclough, Oliver. Textiles by William Morris and Morris & Co. London, : Thames & Hudson, 1980. Print. Parry, Linda. V&A pattern : William Morris and Morris & Co./ William Morris and Morris & Co. London : V & A Pub., 2009. Print. Balfour-Paul, Jenny. Indigo. London : British Museum Press, 2000. Print. Jain, Akanksha. Innovative print range of cushions for brand CNG (Diploma). Ahmedabad: National Institute of Design. Print. Edwards, Clive. encyclopedia of furnishing textiles, floorcoverings and home furnishing practices, 1200-1950. USA : Lund Humphries. Print.
Magazines/ forecast Entre Duex. Textile View No.107. Autumn 2014. Print. Blanche-Neige. Textile View No 108. Winter 2014. Print. Poppy Field. Textile View No 109. Spring 2015. Print. WGSN/Fashion trends. 2015. Pdf file. StyleSight. Spring/Summer 2016. Pdf file. StyleSight. Autumn/Winter 2015. Pdf file. Engage. Pantone View Colour Planner. Winter 15/16. Print. We and You. Readymadecolour. Autumn/Winter 15/16. Print.
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Online resources
www.pinterest.com
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www.goodearth.in
www.kvic.org.in
www.decoinch.com
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www.woodennest.tumblr.com
www.shadesofindia.com
www.facebook.com
www.facebook.com/theshopindia
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www.wikipedia.org
www.facebook.com/Fabindia
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www.harlequin.uk.com
www.nid.edu www.studiobindia.com www.theanhadshop.com www.facebook.com/The-Anhad-Shop
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