GRADUATION PROJECT Utopia Print and weave collections Sponsor : StudioB India Volume : 2 of 2
STUDENT : ADITI KHARE PROGRAMME : Bachelor of Design GUIDE : V. SAKTHIVEL
2015 INDUSTRIAL DESIGN FACULTY (TEXTILE DESIGN)
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:
VOLUME 1 I Introduction
CONTENTS
1. About National Institute of Design 2. Textile Design at NID 3. Graduation project 4. About the sponsor StudioB Anhad 5. Project brief 6. Project timeline
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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
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78 90
1. Inspiration Design Process Mood boards Colour palettes 2. Gulmohar 3. Marigold 4. Bougainvillea
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111 128 144
VOLUME 2 III William Morris 5. Hibiscus 6. Peacock 7. Royal 8. Block Print Process Image credits Bibliography
IV Harmony Inspiration Design process Keywords Moodboard Colour palette Explorations Final Designs
160 180 204 220 223 225
V Adieu Reflections Image credits Bibliography
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19 31
VI Appendix 164 166 167
Fabric sourcing samples
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IV.1.1: Salt desert after rain
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HARMONY
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“Simplicity, patience, compassion. These three are your greatest treasures. Simple in actions and thoughts, you return to the source of being. Patient with both friends and enemies, you accord with the way things are. Compassionate toward yourself, you reconcile all beings in the world.� -Lao Tzu
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Back: IV.1.2 Triangular all-over pattern
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The Inspiration The collection ‘Harmony’ was a result of the culmination of various factors. The primary inspiration for this collection was drawn from the harmony in nature. Living and working in a busy urban landscape like so many others in today’s world, the need for catharsis was understandably asserting itself for the longest time. Out of this need to be at peace, came the appreciation for the tranquility that resides in simplicity. The idea of purging oneself from excess, and from clutter, is one that is slowly spreading in today’s consumer-oriented society. While people have everything that could ever be required and more, the importance of a peaceful and content existence seems, to most, a far-reaching possibility. Here enters the idea of harmony, and the chance to let minimal existence take over. Similar to what Taoism, Zen, and other eastern philosophies preach, human beings need to remove focus from possessing more, and look into the idea of living in harmony with the very least of material possessions in order to achieve peace, or nirvana, or a Zen state of mind. The goal here then, is to remove the excess, to rise above and beyond the idea of ‘more’. The concept of a harmonious existence, where everything is just as it should be, just enough, was the primary inspiration for this collection. There is a state of being manifested in nature, where everything comes together to form a complete whole in perfect balance. Here, nothing is more than it needs to be, nor less. The balance created is so perfectly in harmony, that removing even a single element would upset the peaceful and benign creation. Said concept or idea of being is what formed the design philosophy behind this collection of scarves. The design, fabrics, compositions and even the weave technique employed here manifest the idea of a perfect, tranquil harmony. It is an attempt to achieve a higher state of being through the design and making of these products.
Right: IV.1.3 Sailing amongst the clouds 11
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Design Process IV.1.4
IV.1.5
IV.1.6
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INSPIRATION
INITIAL EXPLORATION
FINAL DESIGNS
Japanese principles
Final digital composition Sketches of composition
Harmony in existence
Variation of composition Digital intial compositions
Nature
Colourways Fine tuning
IV.1.7
IV.1.8
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SPECIFICATIONS
FINISHING
WEAVING
Scale detail
Edge detailing
Weaving of scarves
Weave detail
Border detailing
Phulia, West Bengal
Motifs full size Measured specification
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IV.1.9
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Keywords
Minimal
Evolve
Harmony
Zen
Balance
Catharsis
Tranquility
Peace
Essence
Purge
De-clutter
Essence
Calm
Overleaf: Facing pages: IV.1.10-IV.1.22 Moodboard for ‘Harmony’ collection 13
IV.1.10
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IV.1.17
IV.1.11
IV.1.12
IV.1.16
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IV.1.15
IV.1.13
IV.1.14
Harmony
Nature
Calm
Tranquil
De-clutter
Essence
Minimal
Purge
Zen
Balance
Catharsis
Evolve
Stripes
Gradient
Simple geometry
Balanced
Organic
Harmony
IV.1.19
IV.1.20
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Minimal IV.1.18
IV.1.22
IV.1.21
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Colourway: SUBLIME Basic and neutral, this palette defines the essence of the cooler and softer side of the colour spectrum. It encourages the world to stop and reflect, to be at peace for just an instant. The cool blues merge with soft greys with ease, and create a soothing effect. Dwelling on the harmony and simplicity of existence in nature, the palette allows for a world of simplistic being. The lightest colours of the palette are soft and dreamy with an airy, barely-there feel to them. They induce the feelings of relaxation and openness, welcoming but never overwhelming. There is a sort of comfort about the pale aquamarine blue and fog grey that follows daydreamers on their imaginative journeys. These shades form both background and foreground beautifully, and can amicably co-exist with most colours. The strong and reliable classic blue forms the anchor of the palette. Just as with the sea, the colour classic blue is perceived as thoughtful and introspective. It inspires the harmony and confidence that comes from a depth of character. For this palette, the classic blue forms a base and a strong accent. Glacier grey is an unobtrusive gray that contrasts and enhances; bouncing off other shades without taking away from them as it slips into the background to allow other colors to take center stage. Nature’s most perfect neutral, glacier grey is a shade that is timeless. Quietly assuring and peacefully relaxing, glacier grey is above all, constant. Reminiscent of the blue sky above, dusk blue is ultimately dependable and faithful. In a world that has become increasingly chaotic, the nostalgic dusk blue enables us to retreat into a safe place of quiet blue calm.
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Colour placement and proportions
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Explorations Initial explorations were all done digitally to allow for ease and speed of exploration over a wide range of ideas. These explorations play with basic geometric elements, mostly stripes, circles and squares; to create harmonious compositions. The idea was to create compositions which create balance, such that any one element missing or out of place would disturb the harmony entirely. All the explorations are attempts towards creating such compositions, while keeping in mind the fall and positioning of scarf as a products. Although it cannot be said that many of these compositions achieved the harmony required, they definitely allow to explore the terrain and inch closer to re-creating the intended theme in the form of fabric.
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1. Exploring the idea of rhythm through change in width of lines and gradation in the gap between lines. 2. Mirroring and swap of composition. Exploration of monochromatic play and irregularity. 3. Minimalistic in terms of variation in composition, exploration of gradation via line weight. 4. Play with negative and positive space, both in the larger composition as well as with individual stripes. Employing the gestalt principle. 5. Variation of exploration 3. This composition creates slightly more interest by using irregularity and creating variation.
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6. Variation developed from exploration 4, this composition breaks the symmetry of the earlier version but ended up becoming too heavy on one side and vacant on the other. 7. Simple stripe exploration, monochromatic. An overall effect of gradation is achieved through the play of negative space but not line weight. 8. Simple stripe composition, where the interest is created using different accent colours in a minimal manner. 9. Exploration using square motifs. The gradation is created using colour variation. 10. Play on the square motif exploration. Colour variation and proximity experiment allows for the feeling of ‘spreading out’ in this composition.
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11. Rhythm exploration through proximity and colour gradation. 12. Uneven minimalistic lines composition. This exploration uses the idea of suggestion in design, and creates a make-break look. 13. Idea of sketching dotted lines explored in a composition. The conversion of this composition into a weave could be carried out through the extra weft technique. 14. Play on proximity and variation in lines. Here the combination of dotted and solid lines creates an interesting dimension. Also, use of a darker background draws stronger focus on the lines than it would be the other way round. 15. Variation of exploration 14, this composition also employs solid stripes in order to create greater variation.
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16. Exploration on the idea of ‘starburst’ or spreading out from a cluster. The composition however, was not considered very viable from the production point of view, as the density of the dots was too high. 17. Employing the same concept as that in exploration 16, the point of focus here changes from multiple points to a single line down the center, and the direction of spreading out is no longer radial. 18. Play on creating bigger shapes using a dot or a ‘whole as the sum of its parts’. The principle of gestalt is applied here, through the law of proximity. The idea was to create a look of breaking off. 19. This composition invokes the sense of a drizzle or a chandelier. Each set of dots is different from the others in terms of arrangement. For production ease however, the arrangements were later made to follow a specific pattern. 20. Concept of colour blocking explored in monochromatic colour scheme.
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21. Exploring the concept of weft continuing only halfway through via stripes. The idea was to create micro stripes and checks but in a way that added more interest. 22. Warp rhythm variation in blue and grey subtle tones. 23. A variation of the idea in composition 21, allowing for more negative space. 24. Exploration on micro stripes, where the warp rhythm is direct but the variation in the stripes of the weft create dimension. 25. Variation of exploration 20, keeping in mind the idea of colour blocking in monochromatic scheme.
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26. Exploration playing with the stripe and accent idea. The absence of the micro stripes in the opposite side brings more focus. 27. Composition mimicking the beats of music, creating disturbance rather than harmony through variation in line weight, sizes and distance.
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Final designs The final designs were created and developed from the explorations selected. After the explorations to be taken forward were selected, they were developed keeping in mind the ease of production , fall of the scarves, and manifestation of the theme in the composition. Key points kept in mind regarding the inspiration were harmony, balance, minimalism, and de-clutter. Colourways developed for each design included variations in blue and grey, and care was taken to not include more than 2-3 colours in each design. Later, while developing weave specifications, the constraint of ‘plain weave only’ was applied; and details such as warp detail, drafting-denting, extra weft etc were put in place.
Back: IV.3.1 Minimal grid pattern 31
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Constellation The design ‘constellation’ was inspired by the arrangement of stars in the sky. Although their placement appears random, they follow a pattern, several even, beyond human understanding. This composition was created keeping in mind the idea of spreading out of several elements from a single cluster. While the earlier exploration included several clusters, the number of clusters and the density of dots was reduced keeping in mind the production difficulties. Another reason for reducing the density was the fact that the idea behind the designs should be de-clutter, and a perfect balance which is just enough. Here, as with all the other designs, the weave was plain weave and the warp was white. The colour added to the background was solely from the grey weft, which combined with the warp in plain weave to allow equal amounts of each colour in the final product. The extra weft is maintained as white in both the colourways, and creates a beautiful contrast against the darker background.
Opposite: Left: IV.3.2 Orion constellation Right: IV.3.3 Galaxy NGC 253
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CONSTELLATION: White on grey
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CONSTELLATION Colourway: White on grey
Weave: Plain weave
Scaled down 12.5% Measurement in inches
Warp: 100’s cotton
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4
Drafting: (2 shafts)
2
Denting: 2 in a dent (body) 4 in a dent (selvedge)
3
Size: 78.7in x 27.5in (pre-wash)
1
EPI/PPI: 72/74 Selvedge: cotton, 0.5 inches
Motif:
Colours:
Fringes:
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Drafting: (border) Extra weft: 30’s cotton
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Weft: 100’s cotton
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CONSTELLATION: White on blue
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CONSTELLATION Colourway: White on blue
Weave: Plain weave
Scaled down 12.5% Measurement in inches
1 5
Drafting: (2 shafts)
2
Warp: 100’s cotton
3
Denting: 2 in a dent (body) 4 in a dent (selvedge)
4
Size: 78.7in x 27.5in (pre-wash)
1
EPI/PPI: 72/74 Selvedge: cotton, 0.5 inches Motif:
Colours:
Fringes:
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Drafting: (border) Extra weft: 30’s cotton
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Weft: 100’s cotton
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Rain This design was inspired by a steady, but light shower much like the ones experienced during the early days of monsoon. A part of the desire for rain during the peak summer seasons also went into the creation of this design, almost like wishful thinking. The composition’s density was reduced from early explorations to the final draft, to allow ease on the eye, and follow a more minimal approach. Here again, keeping with the spirit of the collection, the elements were placed in just enough quantities to allow a delicate balance. The warp was white and the weft was grey or blue(in the second colourway). The combination of these colours through the plain weave technique allowed for equal contribution of the warp and the weft, and subtle colours. Extra weft was maintained as white throughout all the colourways.
Opposite: Left: IV.3.4 Rain in the forest Right: IV.3.5 Winter rain in Cambridge, England
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RAIN: White on grey
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RAIN Colourway: White on grey
Weave: Plain weave
Scaled down 12.5% Measurement in inches
Denting: 2 in a dent (body) 4 in a dent (selvedge)
5
4
Drafting: (2 shafts)
3
2
Warp: 100’s cotton
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Size: 78.7in x 27.5in (pre-wash)
Selvedge: cotton, 0.5 inches EPI/PPI: 72/74
Motif:
Colours:
Fringes:
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Drafting: (border) Extra weft: 30’s cotton
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Weft: 100’s cotton
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RAIN: White on blue
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Aditi Khare I Textile Design I B.Des 2015
RAIN Colourway: White on blue
Weave: Plain weave
Scaled down 12.5% Measurement in inches
Warp: 100’s cotton
1 5
4
Drafting: (2 shafts)
2
Denting: 2 in a dent (body) 4 in a dent (selvedge)
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Size: 78.7in x 27.5in (pre-wash)
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Selvedge: cotton, 0.5 inches EPI/PPI: 72/74
Motif:
Colours:
Fringes:
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Drafting: (border) Extra weft: 30’s cotton
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Weft: 100’s cotton
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Rhythm Rhythm is an element widely seen in nature and well as the man-made world. It manifests itself in various forms, and the element of stripe was taken here as a manifestation of rhythm. Rhythm in architecture was primarily translated here as the stripe border. The composition of this scarf takes the idea of a basic stripe border to a different level. The gradation in the space between the stripes creates a rhythmic effect, as does the gradation in the shades of the stripes. This design does not use extra weft technique in any of the colourways. The colourway with a light blue background uses white warp and blue weft, creating a soft, sky blue shade in the body of the colourway.
Opposite: Left: IV.3.6 Night photo of the window detail in the exterior elevation of the University of Michigan Art Museum Right: IV.3.7 Vents creating light rhythm 53
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RHYTHM: Grey on white
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RHYTHM Colourway: Grey on white
Weave: Plain weave
Scaled down 12.5% Measurement in inches
Denting: 2 in a dent (body) 4 in a dent (selvedge)
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Warp: 100’s cotton
1
1 2 12
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Drafting: (2 shafts)
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Size: 78.7in x 27.5in (pre-wash)
EPI/PPI: 72/74
Selvedge: cotton, 0.5 inches
Colours:
Fringes:
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RHYTHM: Blue on white
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RHYTHM Weave: Plain weave Colourway: Blue on white Scaled down 12.5% Measurement in inches Denting: 2 in a dent (body) 4 in a dent (selvedge)
Warp: 100’s cotton
Drafting: (2 shafts)
Weft: 100’s cotton
Drafting: (border)
1 2 12
EPI/PPI: 72/74
Selvedge: cotton, 0.5 inches
Colours:
Fringes:
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Size: 78.7in x 27.5in (pre-wash)
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RHYTHM: White on blue
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RHYTHM Colourway: White on blue
Weave: Plain weave
Scaled down 12.5% Measurement in inches
Warp: 100’s cotton
1 7
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Drafting: (2 shafts)
2
Denting: 2 in a dent (body) 4 in a dent (selvedge)
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Size: 78.7in x 27.5in (pre-wash)
1
EPI/PPI: 72/74
Selvedge: cotton, 0.5 inches
Colours:
Fringes:
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27 26 25 24 23 22 21 20 19 18 17 16 15 14 13 12 11 10
Drafting: (border)
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Weft: 100’s cotton
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Starburst Named so because of the radiating out of the motifs from a single set of sources. In composition, this design attempts to imitate the phenomenon of starburst. Developed from another initial exploration, this design works around the concept of ‘spreading out’. As with several other final designs, this composition was simplified after first exploration and the density of the motifs reduced, in order to allow ease of production and to follow the inspiration better. Each dot had to be carefully placed in the composition to make sure the perfect balance was achieved without creating clutter. Here, the direction of spreading out of the dots is largely linear, but also becomes a little radial near the top and bottom edges to allow for better visual effect. The warp is white throughout the colourways, and the weft colour changes as per the background requirement. Either way, the weft is uniform in each stole. The dots are made using extra weft technique, in white thread for two colourways and grey for the third.
Opposite: Left: IV.3.8 A star forming nebula 450 light years away. Right: IV.3.9 Herbig-Haro objects emerging from the dust clouds of the Pelican Nebula
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STARBURST: White on grey
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STARBURST Colourway: White on grey
Weave: Plain weave
Scaled down 12.5% Measurement in inches
1
Denting: 2 in a dent (body) 4 in a dent (selvedge)
2
Warp: 100’s cotton
1
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Drafting: (2 shafts)
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Size: 78.7in x 27.5in (pre-wash)
Selvedge: cotton, 0.5 inches EPI/PPI: 72/74
Motif:
Colours:
Fringes:
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Drafting: (border)
27 26 25 24 23 22 21 20 19 18 17 16 15 14 13 12 11 10
Extra weft: 30’s cotton
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Weft: 100’s cotton
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STARBURST: Grey on white
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Aditi Khare I Textile Design I B.Des 2015
STARBURST Colourway: Grey on white
Weave: Plain weave
Scaled down 12.5% Measurement in inches
Denting: 2 in a dent (body) 4 in a dent (selvedge)
2
Warp: 100’s cotton
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5
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Drafting: (2 shafts)
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Size: 78.7in x 27.5in (pre-wash)
Selvedge: cotton, 0.5 inches EPI/PPI: 72/74
Motif:
Colours:
Fringes:
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Drafting: (border) Extra weft: 30’s cotton
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Weft: 100’s cotton
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STARBURST: White on blue
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Aditi Khare I Textile Design I B.Des 2015
STARBURST Colourway: White on blue
Weave: Plain weave
Scaled down 12.5% Measurement in inches
Denting: 2 in a dent (body) 4 in a dent (selvedge)
5
4
Drafting: (2 shafts)
3
2
Warp: 100’s cotton
1
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Size: 78.7in x 27.5in (pre-wash)
Selvedge: cotton, 0.5 inches EPI/PPI: 72/74
Motif:
Colours:
Fringes:
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Drafting: (border) Extra weft: 30’s cotton
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Weft: 100’s cotton
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Aditi Khare I Textile Design I B.Des 2015
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Utopia I Graduation Project I National Institute of Design
Piano This composition was inspired by the contrast between piano keys and their placement. In order to translate it in the spirit of the inspiration and the theme of the collection, the composition was created in a minimal spirit and breaking the regularity of the piano keys. Initially created as a progression, this design was finally given a more unpredictable quality by random placement of motif. The change from progression to random placement also changed the composition to a more directionless approach visually. In both the colourways of this design, the warp was maintained white as with almost all other deigns. The weft gave the darker shade to the background, which was still toned down because of the 50-50 shade given through warp and weft. The plain weave allows for equal contribution of both warp and weft. The motif is created through extra weft technique, in white colour for this particular design.
Opposite: Left: IV.3.10 Creating music Right: IV.3.11 World Trade Centre Piano Concert poster 2007 81
Aditi Khare I Textile Design I B.Des 2015
PIANO: White on grey
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Utopia I Graduation Project I National Institute of Design
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Aditi Khare I Textile Design I B.Des 2015
PIANO Colourway: White on grey
Weave: Plain weave
Scaled down 12.5% Measurement in inches
Warp: 100’s cotton
1 2 5
Drafting: (2 shafts)
3
Denting: 2 in a dent (body) 4 in a dent (selvedge)
4
Size: 78.7in x 27.5in (pre-wash)
1
Selvedge: cotton, 0.5 inches EPI/PPI: 72/74
Motif:
Colours:
Fringes:
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Drafting: (border) Extra weft: 30’s cotton
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Weft: 100’s cotton
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Aditi Khare I Textile Design I B.Des 2015
PIANO: White on blue
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Aditi Khare I Textile Design I B.Des 2015
PIANO Colourway: White on blue
Weave: Plain weave
Scaled down 12.5% Measurement in inches
Warp: 100’s cotton
1 2 5
Drafting: (2 shafts)
3
Denting: 2 in a dent (body) 4 in a dent (selvedge)
4
Size: 78.7in x 27.5in (pre-wash)
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Selvedge: cotton, 0.5 inches EPI/PPI: 72/74
Motif:
Colours:
Fringes:
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Drafting: (border) Extra weft: 30’s cotton
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Weft: 100’s cotton
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Aditi Khare I Textile Design I B.Des 2015
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Utopia I Graduation Project I National Institute of Design
Stripes This design was inspired by the stripes found in nature. Created as a take on the standard stripe-border look followed in several stoles, this design was developed from an exploration which used line weights as accents to create interest. Here, the solid stripes create interest in an otherwise similar and simple stripe pattern. The borders on either side are not mirrored or symmetrical, and are different in width as well. This allows for a marked difference in the two edges when a stole is worn with both edges hanging beside each other. The solid body clearly separate from the border creates a more complete look. The warp in both colourways was white, and the colour of weft for the solid body part varied according to the background colour. The stripe weft colour also varied accordingly.
Opposite: Left: IV.3.12 Striped iceberg, Antarctica Right: IV.3.13 Hues of the sea 91
Aditi Khare I Textile Design I B.Des 2015
STRIPES: Grey on white
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Aditi Khare I Textile Design I B.Des 2015
STRIPES Colourway: Grey on white
Weave: Plain weave
Scaled down 12.5% Measurement in inches
Warp: 100’s cotton
1 7
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5
4
Drafting: (2 shafts)
2
Denting: 2 in a dent (body) 4 in a dent (selvedge)
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Size: 78.7in x 27.5in (pre-wash)
1
EPI/PPI: 72/74
Selvedge: cotton, 0.5 inches
Colours:
Fringes:
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Drafting: (border)
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Weft: 100’s cotton
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Aditi Khare I Textile Design I B.Des 2015
STRIPES: Blue on white
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Aditi Khare I Textile Design I B.Des 2015
STRIPES Colourway: Blue on white
Weave: Plain weave
Scaled down 12.5% Measurement in inches
Warp: 100’s cotton
1 7
6
5
4
Drafting: (2 shafts)
2
Denting: 2 in a dent (body) 4 in a dent (selvedge)
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Size: 78.7in x 27.5in (pre-wash)
1
EPI/PPI: 72/74
Selvedge: cotton, 0.5 inches
Colours:
Fringes:
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Drafting: (border)
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Weft: 100’s cotton
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Aditi Khare I Textile Design I B.Des 2015
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Snow Named so because of the soft fall of snowflakes, this composition was much simplified from its earlier explorations. It is reminiscent of the first snow of the year, light and soft, creating a white blanket on everything it touches. On subtle background, the soft white motifs mimick the glowing snowflakes. The density of the square motifs was reduced, and placed further apart in order to give the idea of a light fall, and not make it too overwhelming visually. The placement of the motifs is random but equally spread out. The warp in both colourways here is white, and the weft gives the colour to the stoles. The square motif is created in white extra weft, allowing for a good amount of contrast.
Opposite: Left: IV.3.14 Festivals and snow Right: IV.3.15 Christmas, Amsterdam 101
Aditi Khare I Textile Design I B.Des 2015
SNOW: White on blue
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Aditi Khare I Textile Design I B.Des 2015
SNOW Colourway: White on blue
Weave: Plain weave
Scaled down 12.5% Measurement in inches
Warp: 100’s cotton
1 5
4
Drafting: (2 shafts)
2
Denting: 2 in a dent (body) 4 in a dent (selvedge)
3
Size: 78.7in x 27.5in (pre-wash)
1
Selvedge: cotton, 0.5 inches EPI/PPI: 72/74
Motif:
Colours:
Fringes:
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27 26 25 24 23 22 21 20 19 18 17 16 15 14 13 12 11 10
Drafting: (border) Extra weft: 30’s cotton
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Weft: 100’s cotton
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Utopia I Graduation Project I National Institute of Design
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Aditi Khare I Textile Design I B.Des 2015
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Drizzle This design was inspired by a soft summer drizzle. It talks of the moment when the thirsty Earth receives the first summer rain with open arms and dances with joy. The effect was achieved by varying the size of the motifs, and consequently varying the distance between adjacent motifs. The rectangular motifs gradually reducing in size gives the idea of a fall, much like the young child’s drawings of rain. The placement of the set of motifs on the opposite edge allows for variation when both ends of the stole fall beside each other. The warp in each of these colourways is white, while the colour of the stole comes from the weft. The extra weft in two designs with darker background is in white, and the extra weft in the colourway with white background is in grey.
Opposite: Left: IV.3.16 Raindrops detail Right: IV.3.17 Beautiful shot of the rain by Jose Villamil
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Aditi Khare I Textile Design I B.Des 2015
DRIZZLE: White on grey
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Aditi Khare I Textile Design I B.Des 2015
DRIZZLE Colourway: White on grey
Weave: Plain weave
Scaled down 12.5% Measurement in inches
Warp: 100’s cotton
1 2 5
Drafting: (2 shafts)
3
Denting: 2 in a dent (body) 4 in a dent (selvedge)
4
Size: 78.7in x 27.5in (pre-wash)
1
Selvedge: cotton, 0.5 inches EPI/PPI: 72/74
Motif:
Colours:
Fringes:
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Drafting: (border) Extra weft: 30’s cotton
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Weft: 100’s cotton
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Utopia I Graduation Project I National Institute of Design
7 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78
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Aditi Khare I Textile Design I B.Des 2015
DRIZZLE: White on blue
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Aditi Khare I Textile Design I B.Des 2015
DRIZZLE Colourway: White on blue
Weave: Plain weave
Scaled down 12.5% Measurement in inches
1 5
Drafting: (2 shafts)
2
Warp: 100’s cotton
3
Denting: 2 in a dent (body) 4 in a dent (selvedge)
4
Size: 78.7in x 27.5in (pre-wash)
1
Selvedge: cotton, 0.5 inches EPI/PPI: 72/74
Motif:
Colours:
Fringes:
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27 26 25 24 23 22 21 20 19 18 17 16 15 14 13 12 11 10
Drafting: (border) Extra weft: 30’s cotton
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Weft: 100’s cotton
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Aditi Khare I Textile Design I B.Des 2015
DRIZZLE: Grey on white
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Aditi Khare I Textile Design I B.Des 2015
DRIZZLE Colourway: Grey on white
Weave: Plain weave
Scaled down 12.5% Measurement in inches
Denting: 2 in a dent (body) 4 in a dent (selvedge)
2
Warp: 100’s cotton
1
12 1
5
4
Drafting: (2 shafts)
3
Size: 78.7in x 27.5in (pre-wash)
Selvedge: cotton, 0.5 inches EPI/PPI: 72/74
Motif:
Colours:
Fringes:
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Drafting: (border) Extra weft: 30’s cotton
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Weft: 100’s cotton
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56 5
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78 7
89 9
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Aditi Khare I Textile Design I B.Des 2015
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Settle The scarf was the only one in the collection to be made through the ikat technique. The inspiration came from the idea of things floating in a state such that they look settled and suspended in air. This feeling was what inspired the design such that the upper set of individual elements seem to be settling down into place to create the check that is at the bottom. Another version of this scarf was also designed for the block printing technique to allow for a different techniques that can achieve a similar look. The top two-thirds of the stole are done with warp ikat, where the weft is simple white and parts of the warp are dyed grey (or white as in the case of the blue colourway). The bottom one-third of the stole includes both warp and weft ikat or double ikat technique. The weave employed after dyeing weft and warp is plain weave.
Opposite: Left: IV.3.18 Clouds floating above the mountain Right: IV.3.19 Tanzania - Mount Meru summit 121
Aditi Khare I Textile Design I B.Des 2015
SETTLE: Grey on white The scarf was the only one in the collection to be made through the ikat technique. The composition is such that it looks like the indivudual elements are settling down into place to create the check that is at the bottom. Another version of this scarf was also designed for the block printing technique to allow for a different techniques that can achieve a similar look. The top two-thirds of the stole are done with warp ikat, Where the weft is simple white and parts of the warp are dyed grey (or white as in the case of the blue colourway). The bottom one-third of the stole includes both warp and weft ikat or double ikat technique. The weave employed after dyeing weft and warp is plain weave.
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Aditi Khare I Textile Design I B.Des 2015
SETTLE Colourway: Grey on white
Weave: Plain weave
Scaled down 12.5% Measurement in inches
Denting: 2 in a dent (body) 4 in a dent (selvedge)
2
Warp: 100’s cotton
1
1
6
5
4
Drafting: (2 shafts)
3
Size: 78.7in x 27.5in (pre-wash)
EPI/PPI: 72/74
Selvedge: cotton, 0.5 inches
Colours:
Fringes:
124
27 26 25 24 23 22 21 20 19 18 17 16 15 14 13 12 11 10
9
Drafting: (border)
8
7
Weft: 100’s cotton
2
3
4
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8
9
10 11 12 13 14 15 16
Utopia I Graduation Project I National Institute of Design
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Aditi Khare I Textile Design I B.Des 2015
SETTLE: White on blue
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Aditi Khare I Textile Design I B.Des 2015
SETTLE Colourway: White on blue
Weave: Plain weave
Scaled down 12.5% Measurement in inches 1
Denting: 2 in a dent (body) 4 in a dent (selvedge) 1
Warp: 100’s cotton
6
5
4
3
Drafting: (2 shafts)
2
Size: 78.7in x 27.5in (pre-wash)
EPI/PPI: 72/74
Selvedge: cotton, 0.5 inches
Colours:
Fringes:
128
27 26 25 24 23 22 21 20 19 18 17 16 15 14 13 12 11 10
9
Drafting: (border)
8
7
Weft: 100’s cotton
2
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Utopia I Graduation Project I National Institute of Design
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Aditi Khare I Textile Design I B.Des 2015
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Drizzle (vertical) This design was inspired by a soft summer drizzle. It talks of the moment when the thirsty Earth receives the first summer rain with open arms and dances with joy. The effect was achieved by varying the size of the motifs, and consequently varying the distance between adjacent motifs. The rectangular motifs gradually reducing in size gives the idea of a fall, much like the young child’s drawings of rain. The placement of the set of motifs on the opposite edge allows for variation when both ends of the stole fall beside each other. The warp in each of these colourways is white, while the colour of the stole comes from the weft. The extra weft in two designs with darker background is in white, and the extra weft in the colourway with white background is in grey.
Opposite: Left: IV.3.20 Raindrops detail Right: IV.3.21 Beautiful shot of the rain by Jose Villamil
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Aditi Khare I Textile Design I B.Des 2015
DRIZZLE: White on grey (vertical) This vertical version of the drizzle design(shown earlier), was created in order to provide another direction of the motifs in the same pattern. The idea was to create a variation which would fall differently along the fall of the stole when worn straight down. As with the original version, this design uses white warp and white extra weft. The colour of the body is achieved through the weft colour, in equal distribution with the warp due to the plain weave.
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Aditi Khare I Textile Design I B.Des 2015
DRIZZLE (vertical) Colourway: White on grey
Weave: Plain weave
Scaled down 12.5% Measurement in inches
1
Denting: 2 in a dent (body) 4 in a dent (selvedge) 1
Warp: 100’s cotton
4
3
Drafting: (2 shafts)
2
Size: 78.7in x 27.5in (pre-wash)
Selvedge: cotton, 0.5 inches EPI/PPI: 72/74
Motif:
Colours:
Fringes:
134
9 27 26 25 24 23 22 21 20 19 18 17 16 15 14 13 12 11 10
Drafting: (border) Extra weft: 30’s cotton
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Weft: 100’s cotton
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Utopia I Graduation Project I National Institute of Design
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Aditi Khare I Textile Design I B.Des 2015
DRIZZLE: White on blue (vertical)
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Aditi Khare I Textile Design I B.Des 2015
DRIZZLE (vertical) Colourway: White on blue
Weave: Plain weave
Scaled down 12.5% Measurement in inches
1 3
Warp: 100’s cotton
2
Denting: 2 in a dent (body) 4 in a dent (selvedge)
6
5
Drafting: (2 shafts)
4
Size: 78.7in x 27.5in (pre-wash)
1
Selvedge: cotton, 0.5 inches EPI/PPI: 72/74
Motif:
Colours:
Fringes:
138
27 26 25 24 23 22 21 20 19 18 17 16 15 14 13 12 11 10
Drafting: (border) Extra weft: 30’s cotton
9
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Weft: 100’s cotton
2
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Utopia I Graduation Project I National Institute of Design
7 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78
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Aditi Khare I Textile Design I B.Des 2015
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Fireflies This design was created to give another option of a dotted all-over surface in the collection. Since the other woven dotted stoles have a very sparse distribution of the motif, here an attempt was made to allow for slightly denser distribution of dots. It is reminiscent of glittering fireflies in the dark forest, illuminating the way and bringing the stars down to earth. Considering that such density of motifs would increase the production costs significantly and not be very easy to weave, the design was translated into block printing format, and a repeat of 7x7 inches for all-over dotted surface created. Shown here is the final look of the scarf, although the weave was a plain solid white scarf to be block printed later.
Opposite: Left: IV.3.22 Fireflies, by Elie Davies Right: IV.3.23 Forest landscape with fireflies
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Aditi Khare I Textile Design I B.Des 2015
FIREFLIES: Grey on white
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Utopia I Graduation Project I National Institute of Design
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Aditi Khare I Textile Design I B.Des 2015
Created as a canvas for the all-over block printing, this scarf has no pattern throughout except for the selvedge. The warp and the weft are both white, woven in a plain weave.
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Utopia I Graduation Project I National Institute of Design
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Aditi Khare I Textile Design I B.Des 2015
FIREFLIES Colourway: Grey on white
Weave: Plain weave
Scaled down 12.5% Measurement in inches
Denting: 2 in a dent (body) 4 in a dent (selvedge)
2
Warp: 100’s cotton
1
12 1
6
5
4
Drafting: (2 shafts)
3
Size: 78.7in x 27.5in (pre-wash)
EPI/PPI: 72/74
Selvedge: cotton, 0.5 inches
Colours:
Fringes:
146
27 26 25 24 23 22 21 20 19 18 17 16 15 14 13 12 11 10
9
Drafting: (border)
8
7
Weft: 100’s cotton
2
34 3
4
56 5
6
78 7
89 9
10 11 12 13 14 15 16
Utopia I Graduation Project I National Institute of Design
17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78
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Aditi Khare I Textile Design I B.Des 2015
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Aditi Khare I Textile Design I B.Des 2015
FIREFLIES Colourway: Blue on white
Weave: Plain weave
Scaled down 12.5% Measurement in inches
Denting: 2 in a dent (body) 4 in a dent (selvedge)
2
Warp: 100’s cotton
1
12 1
Weft: 100’s cotton
EPI/PPI: 72/74
Selvedge: cotton, 0.5 inches
Colours:
Fringes:
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27 26 25 24 23 22 21 20 19 18 17 16 15 14 13 12 11 10
9
Drafting: (border)
8
7
6
5
4
Drafting: (2 shafts)
3
Size: 78.7in x 27.5in (pre-wash)
2
34 3
4
56 5
6
78 7 89 9
10 11 12 13 14 15 16
Utopia I Graduation Project I National Institute of Design
17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78
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Aditi Khare I Textile Design I B.Des 2015 7 inches
Shown here is the pattern of the block carved for printing of the all-over pattern. Image is actual size of block.
7 inches
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Utopia I Graduation Project I National Institute of Design 6 inches
CHECK: Grey on white Pattern of the block carved for printing of the all-over ikat check pattern. Image is actual size of block.
7 inches
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Aditi Khare I Textile Design I B.Des 2015
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Utopia I Graduation Project I National Institute of Design
Check This design was inspired by the concept of checks in architecture. The broken check created an interesting irregularity in the idea of conventional check. Designed in the same way as the ‘Fall’ scarf, this composition was created in order to give a different version of the same style. The idea was to experiment with another technique, in order to see how different techniques translated the same design. A repeat pattern was created for this design, in the form of broken and irregular stripes. When combined in both horizontal and vertical directions, the stripe forms a irregular check. The weave for this block printed scarf was a simple white scarf, woven keeping in mind the later block printing process.
Opposite: Left: IV.3.24 ATMA building, Ahmedabad Right: IV.3.25 All lines by Jef Van den Houte
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Aditi Khare I Textile Design I B.Des 2015
CHECK: Grey on white
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Created as a canvas for the all-over block printing, this scarf has no pattern throughout except for the selvedge and border stripe. The warp and the weft are both white, woven in a plain weave.
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CHECK Colourway: Grey on white
Weave: Plain weave
Scaled down 12.5% Measurement in inches 1
Denting: 2 in a dent (body) 4 in a dent (selvedge) 1
Warp: 100’s cotton
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Size: 78.7in x 27.5in (pre-wash)
EPI/PPI: 72/74
Selvedge: cotton, 0.5 inches
Colours:
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This page: V.1.1: Detail of block for ‘Genda’ design, for William Morris Dreams of India collection 162
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ADIEU
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“With the arrogance of youth, I
determined to do no less than to transform the world with beauty. If I have succeeded in some small way, if only in one small corner of the world, amongst the men and women I love, then I shall count myself blessed, and blessed, and blessed, and the work goes on.� - William Morris
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Back: V.1.2 Glittering Maldives beach
Utopia I Graduation Project I National Institute of Design
Reflections This project was meant to be the culmination of my education at NID, but one of the biggest things that I learnt from it is that learning never stops. As hopeful and starry-eyed as I was when I started this project, it was also one of the biggest wake up calls and made me realize just how sheltered our time at NID has been. During the initial stage of the design process, the research was the most prominent part. My research turned out to be extensive both in execution as well as documentation, and I was once again pleasantly surprised by the amount of interest the research stage generates in me. Where everything I could possibly require for my research was available on the Internet, primary hands-on research ended up being an exercise in observation and irreplaceable in a myriad of ways. Before this project, I had been coached about reading the forecast, but never applied it to a live project. Here I got the opportunity to refer to several sources for forecast and realized that while I had never been able to apply my reading of forecasts to a design process; it was actually almost simple to read a forecast, convert it from fashion to fabrics, and then apply it. However, after all this research it was difficult to come to terms with the fact that for most companies research is little more than a means to gauge the waters. For me, design does not comprise of much if it does not contain groundwork and articulation in the early stages itself.
Overall, my experience was as sweet as it was bitter. I can see myself working in the industry at some point, but I am left to wonder if that point will come today or after a few more years of education. I do know that for me articulating about creating something meaningful only parallels the joy of creating something meaningful. I find my fulfillment in creating something and knowing that deep thought went into it, that it tells stories, and somewhere fits into a bigger picture. We often fall short of ingraining big ideas into our designs; philosophies and constructs, dreams and missions, and it is usually because we lose sight of them along the way. What with the practicalities and nitty-gritty details of a design process, we are unable to hold on to the bigger idea. While this project has taught me that a design process and its implementation can both be unexpected and often do not go the way we would ideally have it, I know that there exists a fine balance between practical design and design which incorporates big ideas, and someday I will find it.
As for the main design process itself; it was mostly smooth sailing. During our education at NID, we are taught to focus on exploration, to look into every possible avenue, reject most options and accept options that finally click the right spot. The industry, turns out, has neither time nor requirement for nearly as extensive exploration as I was used to doing. The idea that each exploration was a proposed design and would be taken forward as one, took some getting used to. As far as weaving as a technique employed for design is concerned, the process of design changed immensely in order to adapt to company constraints, and that was a ma jor upheaval. However, apart from the tweaking of the design process, I was glad that I had ended up in a place that gave importance to process as well as product.
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Image credits
IV.1.1: www.photography.nationalgeographic.com
IV.3.13: www.flickr.com
IV.1.2: www.clashing.tumblr.com
IV.3.14: www.christmas4u.tumblr.com
IV.1.3: www.pinterest.com
IV.3.15: www.imgend.com
IV.1.4: www.flickr.com
IV.3.16: www.pinterest.com
IV.1.9: www.designers.tjori.com
IV.3.17: www.flickr.com
IV.1.10: www.bromeliadliving.com
IV.3.18: www.cyatus.tumblr.com
IV.1.11: www.yama-bato.tumblr.com
IV.3.19: www.flickr.com
IV.1.12: www.morfis.wordpress.com
IV.3.20: www.pinterest.com
IV.1.13: www.flickr.com
IV.3.21: www.flickr.com
IV.1.14: www.mymodernmet.com
IV.3.22: www.thisiscolossal.com
IV.1.15: www.dailymail.co.uk
IV.3.23: www.threeriversdeep.wordpress.com
IV.1.16: www.april-look.tumblr.com
IV.3.24: www.divisare.com
IV.1.17: www.ohjoy.blogs.com
IV.3.25: www.pinterest.com
IV.1.18: www.khadiandco.com
V.1.2: www.pinterest.com
IV.1.19: www.pinterest.com IV.1.20: www.perniaspopupshop.com IV.1.21: www.pinterest.com IV.1.22: www.handmadebycarolyn.com IV.2.1: www.hautelook.com IV.3.1: www.foxyou-too.tumblr.com IV.3.2: www.etsy.com IV.3.3: www.buzzfeed.com IV.3.4: www.pinterest.com IV.3.5: www.naturalarearugs.com IV.3.6: www.flickr.com IV.3.7: www. nicoonmars.tumblr.com IV.3.8: www.buzzfeed.com IV.3.9: www.buzzfeed.com IV.3.10: www.woodennest.tumblr.com IV.3.11: www.baubauhaus.com 166
IV.3.12: www.buzzfeed.com
Utopia I Graduation Project I National Institute of Design
Bibliography Books Meyer, James. Minimalism. London: Phaidon Press, 2010. Print. Walker, Harriet. Less is more : minimalism in fashion. London: Merrell, 2011. Print. Legeza, Laszlo. Tao magic: Secret language of diagrams and... London : Thames & Hudson, 1980. Print. Paul, Michael. Living zen. London : Frances Lincoln Limited, 2005. Print. Amar Vastra Kosh. Khadi : the fabric of freedom. New Delhi : Amar Vastra Kosh, 2000. Print. Goerner, Doris. Woven structure and design: Part 1-Single cloth construction. UK WIRA Technology Group 1986. Print. Emery, Irene. The Primary structure of fabrics: An illustrated classification. Washington : Thames and Hudson, 1994. 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.
Online resources www.pinterest.com
www.wabisabi-style.blogspot.com
www.khadiandco.com
www. room-temperature.tumblr.com
www.kvic.org.in
www.wikipedia.org
www.thisiscolossal.com
www.designmilk.com
www.designers.tjori.com
www.bbc.co.uk
www.morfis.wordpress.com
www.taoism.net
www.woodennest.tumblr.com www.facebook.com www.designpostamsterdam.nl 167
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Appendix Fabric sourcing samples Khadi Gramudyog, Ra jkot
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Khadi Mandir, Ahmedabad
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Khadi Karyalaya, Limdi, Gujarat
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Gramodyog Gandhihaat, Ahmedabad
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Khadi Sarita, Ahmedabad
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