Shifting blocks: New Design Language for Aavaran

DEGREE PROJECT SHIFTING BLOCKS New Design Language for Aavaran

Sponsor : Aavaran- Echoes of Rural India, Udaipur

Volume : 1 of 1 STUDENT : BRINDA DUDHAT PROGRAMME : Bachelor of Design (B. Des) GUIDE : SWASTI SINGH GHAI

2017 TEXTILE AND APPAREL DESIGN (TEXTILE DESIGN)

National Institute of Design Ahmedabad

September 2017 | Shifting Blocks | Brinda Dudhat | 3

The Evaluation Jury recommends BRINDA DUDHAT for the Degree of the National Institute of Design IN TEXTILE AND APPAREL DESIGN (TEXTILE DESIGN) herewith, for the project titled "SHIFTING BLOCKS: NEW DESIGN LANGUAGE FOR AAVARAN" on fulfilling the further requirements by*

Chairman Members :

Jury Grade :

*Subsequent remarks regarding fulfilling the requirements :

Activity Chairperson, Education

4 | National Institute of Design | Graduation Project | Textile Design (B.Des)

Copy rights Student document publication, meant for Private Circulation only. All rights reserved.

Bachelor of Design, Textile Design, 2013-2017, National Institute of Design, India.

No part of this document will be reproduced or transmitted in any form or by any means, electronically or mechanically, including photocopying, xerography or videography recording without written permission from the publisher, Brinda Dudhat and National institute of Design India.

All sketches and photographs in this document are copyright c 2013-2015 by respective people/organisation.

Designed by: Brinda Dudhat Edited by: Brinda Dudhat and Swasti Singh Ghai e-mail: brindadudhat@gmail.com processed at Siddhi printech, Navrangpura, Ahmedabad-380002, Gujarat, India. www.nid.edu Printed digitally in Ahmedabad, India.

September 2017

September 2017 | Shifting Blocks | Brinda Dudhat | 5

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 gradua on 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:

6 | National Institute of Design | Graduation Project | Textile Design (B.Des)

September 2017 | Shifting Blocks | Brinda Dudhat | 7

A CKN OW LE DGE MENT S I would like to express my gratefulness to

Thanks to the apparel team at Aavaran, Aftab

everyone who became a part of my project,

Khan, Shorabh Khan, Taraji and other tailors who

your contributions are sincerely appreciated and

helped giving final shape and finishes to my ideas

gratefully acknowledged.

of garment construction and detailing.

Printers, dyers and the entire production team at

To begin with, I am greatly thankful to all the

Aavaran, thank you for efficiently carrying out the

craftspeople at Aavaran, this project would not

sampling process for my collection.

have been possible without their participation

Fellow interns and friends, Mahak, Iti, Ronak you

and willingness to experiment with new ideas and

guys made me look forward to office everyday.

concepts. Their active involvement throughout the

Ira Aunty, our beautiful landlady, thank you for

project made it possible to successfully execute

renting us your place, six months in Udaipur

the challenging task of co-creation initiative.

wouldn’t have been the same without your

I am equally thankful to Alka Sharma, owner of

support.

Aavaran to allow me the creative freedom to explore and experiment at every stage and find my

A big thanks to all my wonderful batchmates,

way through the project. Thank you for believing

juniors and seniors at NID for making my time

in me at the beginning and being supportive of my

here worthwhile and for always inspiring me to be

ideas and decisions.

a better version of myself. I consider it a privilege to have learnt and lived with some of the most

The most sincere and heartfelt gratitude to my

creative and extraordinary minds in the country.

guide for showing me the direction and helping

Also I am very grateful for the amazing exchange

me develop my ideas. Thank you for initiating the

opportunity with Tama Art University in Tokyo. Six

wonderful concept of co-creation and guiding my

months spent in Japan has changed the way I look

way through it. It was a great way of learning for

at the world and design.

me as well as the craftspeople at Aavaran. You inspire me to care, to commit and be courageous.

Finally I would like to acknowledge with gratitude, the support and love of my family. Maa and Papa,

Special thanks to Aditi Babel for showing

thank you for always encouraging me to pursue my

confidence in my work and for her encouragement

dreams and for all the support, strength, guidance

to follow the unconventional approach and not

and freedom. I could not have done this without

being afraid of making mistakes.

you.

8 | National Institute of Design | Graduation Project | Textile Design (B.Des)

SYN OP SIS

This degree project was undertaken for the company Aavaran: Echoes of Rural India. Aavaran, Based in Udaipur, Rajasthan aims to promote and evolve traditional crafts while economically empowering craftspeople and other stakeholders in the value chain. Aavaran’s attempt is to maintain the traditional ‘दाबूँ’ mud resist technique of printing. Their products include garments, home furnishing and accessories that are hand block printed and hand dyed in natural colours.

Initial brief of the project given was to design fabrics for the women’s apparel collection (sarees, stoles, dupattas, garments) for Aavaran with an Indian inspiration as a theme (like all the previous collections of the brand) and yet giving an edgy, contemporary look to the final product. Other important point stated in the brief was that the brand wants to introduce a new range of natural colours with this collection, apart from the Indigo blue and kashish grey which are their trademark.

Thus an unique combination of natural dyeing and mud (dabu) resist printing has been explored and experimented with for the final outcome of this project. Aavaran wanted to introduce a collection that gives a new shape to their existing brand identity and place them among the top contemporary designer brands of the country.

September 2017 | Shifting Blocks | Brinda Dudhat | 9

The project is centred around interacting with the

project. Styles and silhouettes of the garments are

craftspeople, conducting workshops to empower

based on a contemporary outlook on the theme of

them with some inputs on basic design and then

‘mori girl’- a Japanese forest girl subculture. ‘Mori

interpreting their responses to derive concepts

girls’ are free-spirited forest wanderers who wears

for the block designs. This project was a great

loose dresses or smocks, vintage blouses, puffed

opportunity that involves design intervention in the

sleeves, A-line skirts, and many-layered ensembles.

field of craft sector. Interactive workshops with the crafts people eventually helped creating a platform

Shifting blocks is the upcoming collection of

where ideas and information can be exchanged

Aavaran Udaipur for Winter 2017-18.

between a designer and the artisan. End product

With this Collection Aavaran is introducing a new

of this project is a marriage of traditional

language of geometric forms, breaking away from

technique of dabu printing with the modern

accepted conventions in both technique and

aesthetics. For the print surfaces, dynamic patterns

subject matter. The print surfaces are inspired from

are created using basic geometric forms that are

the works of the artists of modern art movement

inspired from the modern abstract art movement

and abstract expressionism, thus trying to achieve

of painting which is govern by the rule: FORM IS

a painterly quality while creating patterns with

FEELING, thus depicting an alternate reality where

mud (dabu) resist blocks and dyeing the fabric with

everything is reduced down to form and colour.

natural dyes.

Final stage of the project involved garment

This project is an attempt to introduce a new

construction. In order to bring the project to a

design language for the brand that breaks away

conclusion and culminate all the ideas into a final

from the conventional block printing style and yet

product it was necessary to come up with a range

retaining the essence of Indian visual traditions.

of garments that portrays the concept of the

10 | National Institute of Design | Graduation Project | Textile Design (B.Des)

0 1 2 3

CON TE N T Acknowledgements Synopsis

• About NID

12

• Textile Design

13

• Graduation Project A BOU T THE PRO JECT • About Aavaran • Products of Aavaran • Aavaran Workshop • About the Project • Project brief given by the sponsor • Initial Project Proposal • Project Timeline IN FORM A TIO N C O LLEC T IO N • Market Study • List of well- founded brand studied • Visiting Delhi for market study • Marketing Channels of Aavaran

14

18 20 24 26 26 28 30

34 35 38 40

• Target market for new collection

42

• Block printing

44

• Dabu Printing and Birthplace of Aavaran: Akola

46

• Process of Making Dabu

48

• Natural Dyeing and Mordants

50

• Local natural Dyes

52

A N A LYSIS A ND S YNT HES IS : REDEF INED PRO JECT B R IE F

54

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4 5 6 7

DE SIGN APPRO ACH • Co-creation

60

• Content of The Workshop

62

• Workshop Day 1

64

• Workshop Day 2

66

• Workshop Day 3

68

• Individual Printer workshop

70

• Workshop with Dyers

76

• Workshop at Other centers

78

CON CE PT S • Why Abstract Expressionism?

80

• Shifting Blocks Brain Storm

81

• Semiotics

82

• Inspiration Boards

83

• Block layout ideas and sketches

88

• Final block Designs

91

SA M P LING PRO CES S • Sampling Stage 1

94

• Steps of Sampling process

95

• Stage-1 exploration samples

104

• Final Sampling

114

• Garments

116

SA M P LE S AND S PEC IF IC AT IO NS • Exploration Samples • Colour Swatches

130 146

• Final Samples and Costing

154

• Garment Photoshoot

166

• Conclusion

190

12 | National Institute of Design | Graduation Project | Textile Design (B.Des)

N ATION A L IN STITU TE O F DES IGN The National Institute of Design (NID), India is

There was a search for Indian identity across all

internationally acclaimed as one of the foremost

aspects of life. The mandate for NID is to offer

multi-disciplinary institute of design education

world-class design education and to promote

and research. It is an autonomous institute under

design awareness and application towards

the ages of ministry of commerce and industry,

rising the quality of life and to create design

government of India. NID had also been declared

professionals of excellence to help meet India’s

‘Institute of National Importance’ by the Act of

diverse design needs.

Parliament, by virtue of the National Institute of Design Act.

Over a span of the last 50 years, the institute has made it a point to lay emphasis on learning and

The establishment of NID was a result of several

to pursue innovation lead designs through the

forces, both global and local. The late 1950’s saw

development of the mind and skills of designers.

a confluence of these forces, and this time will be

The institute facilitates students in getting involved

a significant one for Indian culture and Education.

with real life projects, which in turn adds value to

This was a time of reappraisal and reconstruction

the upcoming professionals giving them a taste

in a newly independent India. A young nation

of actual situations. NID has taken five decades of

was confronted with the mammoth task of nation

pioneering hard work by the academic community

building, of balancing age old traditions with

at the institute to develop a system of education

modern technology and ideas. Revolutionary

which lays more emphasis on learning than mere

experimentation in the arts, architecture and

instruction.

design were all taking place at the same time.

12.1

12.2

13.1

1

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TE XTILE DE SIG N The Textile Design programme strives to develop

Through increasingly complex design projects,

innovative and synergetic approaches to design

complemented by related inputs in the social

for diverse sectors of the textile industry, markets

sciences, fashion, trends, brand identity,

and the social sector informed by an appreciation

technology and computer-aided design, students

of the cultural heritage, socio-economic and

are encouraged to design textiles for the apparel

environmental concerns that is developed through

and furnishing industry. The programme includes

fieldwork and research.

several interdisciplinary projects of designing textiles for Public Spaces/Exhibition/interiors and

The courses stress on creative explorations and

for the automobile industry.

from concept to prototype developed through various stages of further explorations and

Exposure to all levels of industrial and craft

refinement. The curriculum emphasises on building

production is given through field visits and a short

a variety of skills, in combination with theoretical

training with industry. Documentation of crafts

knowledge and practical application. The

introduces the student to fieldwork and research

programme commences with the fundamentals of

methodology and enables the student to develop

textile design. This includes, textile fibres, weave

a deeper understanding of the cultural issues that

structure, surface design, dyeing techniques,

impact design.

printing methods, sewing techniques, constructed textiles and basic inputs in garment design.

13.2

13.3

14 | National Institute of Design | Graduation Project | Textile Design (B.Des)

14.1

Photo: Printing unit at Aavaran Workshop in Chitrakootnagar, Udaipur

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GRA DU A TION P RO JECT The end of student’s academic tenure at the

The Graduation project reflects the student’s

National Institute of Design is marked by the

ability to:

culmination of a substantial investigation in the

• Apply her/his learning to current practices in

field of design on a topic closely allied to their

the process of cresting new forms of products,

discipline of study. It is through the graduation

processes, services or systems.

project and subsequent documentation of the same that this investigation takes place.

• Analyse and refine her/his ideas in an interactive manner on the basis of critique.

• Evaluate and reflect upon the creative This is the final academic project for the student.

processes that were followed.

A jury comprising faculty members evaluates

While the last point above represents a higher

the students’ performance in the graduation

order of inquiry usually expected in research, its

project, after which, students are awarded

significance in design cannot be understated if

NID’s professional education programme

the designer is also to be viewed as a ‘reflective

final graduation. The graduation project is an

practitioner’.

opportunity for students to demonstrate their expertise as independent practitioners of design.

The graduation project reflects the student’s competence to excel in their chosen profession.

However, this project must be done with academic

This project orients the student to the needs and

rigour incorporating systemic inquiry and informed

demands of the industry; it also helps students to

design decision. The phrase ‘systematic inquiry’

make an informed decision about which career

implies the presence of a structure and method

path they would like to follow upon graduation.

by which the student must carry out her/his project. The graduation project should reflect the thought leadership manifested through creativity and innovation. The project should lead to new knowledge creation and should align with the broader objectives of the institute.

16 | National Institute of Design | Graduation Project | Textile Design (B.Des)

1 ABOUT THE PROJECT

September 2017 | Shifting Blocks | Brinda Dudhat | 17

• ABO UT A AVA R A N

18

• O THE R U N I TS OF A A V A R A N

18

• PR O DUC TS O F A A V A R A N

20

• PR E VI O US C O L L E C T I ON S OF A A V A R A N

22

• AA VAR A N W O R K S H OP

24

• ABO UT THE PR OJ E C T

26

• PR O JE C T BR I E F G I V E N B Y T H E S P ON S OR

26

• PR O JE C T S CO PE

27

• I N I TI AL PR O JE C T P R OP OS A L

28

• PR O JE C T TI ME L I N E

30

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A BOU T A A V A RA N Aavaran is a journey started to uphold rural

Other Units of Aavaran

indigenous communities and preserve their

Main unit of Aavaran is located in Chitrakoot

traditional craft...

nagar, in the outskirts of Udaipur City. Printing, dyeing and sampling of garments happens at

Through education and income generation

the main unit. Aavaran has four other units in the

programs, Aavaran attempts to enable rural,

nearby villages of Udaipur (ie. Debari, Matoon and

indigenous artisan communities become

Kanpur). Local women of the villages are trained

economically self reliable as well as ensure the

in these centres and they are involved in creating

sustainability of traditional craft techniques and

various up-cycled accessories like pouches, bags,

skills. Aavaran provides a great opportunity for

toys, and all the final finishing of the garments like

the crafts people to pursue and connect to their

tassels, buttons, appliqué, embroidery, etc.and is

own hidden skills. Aavaran’s attempt is to evolve

taken care of in these centres.

the traditional ‘Dabu’, mud resist technique of printing, specifically the indigo dyed ‘Phentiya’

Gradually as Aavaran is growing bigger it is

print, while consistently innovating on design and

creating more and more employment opportunities

quality.

for the local people in the rural villages surrounding the city of Udaipur.

Based out of Udaipur, Rajasthan, Aavaran was started by Alka Sharma, a textile graduate from Indian Institute of Crafts and Design, Jaipur.

Aavaran uses contemporized traditional motifs, created by the fusion of the traditional and modern designs according to the current fashion trends.

Different types of hand embroideries embellished on the apparels along with the Indian silhouettes are the unique selling point of Aavaran.

19.1: Aavaran logo and tagline; 19.2: Aavaran store in Jaipur; 19.3: Aavaran’s display during an exhibition at options, Ahmedabad, 19.4: Alka Sharma - owner of the brand; 19.5: Printing at Aavaran workshop in Udaipur; 19.6: New painted doors and plantations at Aavaran studio in Udaipur; 19.7: Ladies at opther centers of Aavaran in nearby village from Udaipur - Debari; 19.8: Kalyan Chippa - master printer and dyer at Aavaran; 19.9: Washing area in the Aavaran studio.

September 2017 | Shifting Blocks | Brinda Dudhat | 19

19.1

19.4

19.7

19.2

19.5

19.3

19.6

19.8

19.9

20 | National Institute of Design | Graduation Project | Textile Design (B.Des)

20.1

20.2

PRO DUC T S OF A A VA R A N Ethnic, minimal and comfortable are the key words that describes the products of Aavaran.

Aavaran aims to create a natural, organic indigo shopping experience. Aavaran mostly uses cotton fabrics for their products.

Their range of hand dyed and hand block printed products include garments, home furnishings and

20.3

20.4

accessories.

• Women’s wear: sarees, dupattas, stoles, scarves, kurtas, tunics, palazzos, trousers etc.

• Men’s wear: comprises shirts and kurtas • Kids’ wear: Indian wear for boys and girls.

• Bed linen: bedcovers, pillow covers, cushion covers etc.

• Table linen: tablecloths, table mats, napkins, coasters etc.

• Accessories: bags, pouches, footwear, wallets etc.

20.5

20.6

Images on the right are the upcycled accesories made by the local ladies working in other centers of Aavaran in the nearby villages of Udaipur. 20.1: Potli bags; 20.2: Pouches; 20.3: Tote bags; 20.4: Wallets; 20.5: warm water bags; 20,6: neckpieces; 20.7: Half-mojri; 20.8: Full-mojri 20.7

20.8

Images on the left shows the product range of aavaran beyond womens apparel. 21.1-21.4: kids wear; 21.5,21.8, 21.9: Men’s wear; 21.6-21.16: Home furnishing, kitchenwear and table-wear

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21.1

21.3

21.2

21.7

21.6

21.14

21.5

21.9

21.8

21.11

21.10

21.13

21.4

21.12

21.15

21.16

22 | National Institute of Design | Graduation Project | Textile Design (B.Des)

PREVIO US CO L L E CTIO NS O F A A VA R A N Back in 2012, when Aavaran started in Akola, fabrics were printed with the dabu blocks and dyed in indigo vats. In 2012, Sushmita Dutta, Textile Design (undergraduate) student from NID had developed the very first collection for Aavaran taking the traditional Pichwai paintings as her inspiration. Aftab Khan, Apparel designer from IICD, Jaipur, designed the traditional Indian silhouettes for the first collection of Aavaran. Sushmita’s designs and Aftab’s silhouettes had given a strong design direction and an unique identity to Aavaran.

Since then Aavaran is known in the market for its indigo dyed dabu printed fabrics stitched in flared skirts, kurtas, anarkalis and other Indian silhouettes. After the success of their first collection, Aavaran continued to develop print designs in similar direction. The block designs for the collections that followed were inspired from Manadana - traditional floor paintings in Rajasthan, blue pottery, Indian birds and peepal leaves, Indian flowers, weaves of north-east India, Phad paintings, Gond paintings and stories of Panchtantra.

Images on the left are the garments from the initial collections of Aavaran (Year: 2012-13-14) , images on the right are the garments from the recent collections of Aavaran (Year: 2015-16).

September 2017 | Shifting Blocks | Brinda Dudhat | 23

24 | National Institute of Design | Graduation Project | Textile Design (B.Des)

A A V A RA N W ORKSH O P

24.1

Located in the outskirts of the historic city of lakes - Udaipur, Aavaran workshop is a quite serene place. Aavaran workshop is spread across an area of 40,000 mt square , located on the Sukher highway, overlooking the beautiful mountains that surrounds the city of Udaipur.

The current setup was established in the year 2012 and gradually the infrastructure is being improved.

Entire dyeing and printing process happens at the main unit of Aavaran in Chitrakootnagar, Udaipur.

There are eight printing tables, four indigo vats

24.2

and other dyeing facilities, also there are around 25 stitching machines at the main unit.

Printing yardages and garment sampling process happens at the main unit.

24.3

24.1: Cloudy day at Aavaran workshop in Udaipur; 24.2: fabrics of the collection ‘Shifting blocks’ drying before dyeing; 24.3: Kashish dying in the washing area of the studio; 24.4: Map of Aavaran workshop in Chitrakootnagar, Udaipur, Rajasthan..

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24.4

26 | National Institute of Design | Graduation Project | Textile Design (B.Des)

A BOU T THE P ROJE CT Aavaran, an NGO based in Udaipur had come for the NID placements in Dec 2016. Alka Sharma, Owner of the brand was here to offer a graduation project opportunity to the students from Textile Design discipline based on their work, knowledge and willingness to work with the craft-sector. I got shortlisted in the interview and accepted their offer. And that is how the journey of this graduation project began.

During the interview, initial brief of the project given was to design fabrics for the women’s apparel collection (sarees, stoles, dupattas, garments) for Aavaran with an Indian inspiration as a theme (like all the previous collections of the brand) and yet giving an edgy, contemporary look to the final product. Other important point stated in the brief was that the brand wants to introduce a new range of natural colours with this collection, apart from the Indigo blue and kashish grey which are their trademark. Thus Aavaran wanted to introduce a collection that gives a new shape to their existing brand identity and place them among the top contemporary designer brands of the country.

PRO JECT BRI E F A S GIVE N B Y T HE S PO NS O R • Develop a range of print designs for women’s apparels ( stoles, duppattas, sarees and garments) keeping in mind the traditional technique of dabu (mud resist block printing) printing process.

• No. of designs expected in a collection (Print surfaces for Sarees: 04, Stoles: 06, Duppattas: 04, Yardage: 06)

• Inspiration could be anything, preferably Indian, student will have to do a thorough research on it. Both direct and indirect research.

• In the past, various inspirations of our collections were : - Backdrop of Lord Krishna - Mandana: Floor art of Rajasthan - Blue pottery - Indian birds with peepal leaves - North-eastern weaves of India - Indian flowers - Phad painting - Gond painting.

• Currently, Aavaran deals majorly with the Indigo and kashish natural dye, we would like the student to add one or more natural color to the new collection.

• The student will have to keep in mind that all their blocks should be fit for dabu printing.

September 2017 | Shifting Blocks | Brinda Dudhat | 27

P ROJE CT SCOP E This project provided me an opportunity to learn about the dabu block printing technique and do parallel studies of other printing traditions (Bagru, Sanganeri, etc,.), crafts and culture of Rajasthan. A through market study was conducted that included visiting high-end designer stores in Delhi and Jaipur to understand the variety of client groups and identify the target client for the upcoming collection of Aavaran. Project also provided opportunity to explore and experiment with a range of colors in natural dyes along with the existing indigo and kashish dyes. And finally exploring various silhouettes for women’s apparel range and learning about technicality of garment construction and thus proposing a range of garments for the print surfaces designed.

I have always wanted to do a project that involved design intervention in the field of craft sector. The best part about this project was the interactive workshops with the craftspeople - which eventually helped creating a platform where ideas and information can be exchanged between a designer and the artisan. With this project I got to experiment and combine modern aesthetics with the traditional printing technique and the endproduct resulting into a blend of contemporary silhouettes and refined elements of Indian visual traditions.

28 | National Institute of Design | Graduation Project | Textile Design (B.Des)

I NITIA L P ROJE CT P RO PO S AL

O BJE CTI VE ‘Culture is the fountain of our progress and creativity and must be carefully nurtured to grow and develop.’

Quoting from an article on The contribution of culture to sustainable development from the document published in world heritage papers about ‘Community development through world heritage’ at UNESCO world heritage center in 2012.

Here UNESCO argues that placing culture at the heart of our strategies is both the condition for enabling sustainable development, and a powerful driving factor for its achievement.

Objective of this project is to take the local conditions and cultural background of the craft community into account and come up with more context-sensitive and equitable outcomes that includes active participation of the crafts people in the design process.

PR O PO S E D ME T H OD OL OG Y The methodology of the project will be to involve the crafts people in the design process. This will ensure that they get to participate and experience the whole process of design, as undertaken by a trained designer. This will have a twofold outcomenot just a new range of blocks and prints and colours but along with it, more design informed artisans.

September 2017 | Shifting Blocks | Brinda Dudhat | 29

Successful co-creation requires two key steps:

A. Setting the Market context and Idea Generation: The project will start with a small workshop for

B. Selecting the viable ideas: A survey will be conducted to identify the traditional motifs and designs that a craftsmen

craftspeople, wherein they will be introduced to

easily relates to and the same will be interpret to

the concept of a ‘collection’ and how it sells in

arrive at a theme board. Selection of the design

the market, design trends in the market and how

ideas will be made keeping in mind the feedback

a forecast is used to derive inspiration and design

from the current market and creatively combining

a collection. They will be shown how the designs

the design contribution of crafts people and the

have evolved with the evolving needs of the urban

season’s trend forecast.

Indian and the international market. Thus creating

Thus coming up with a research driven collection

design and market awareness among the crafts

that best suits the craftsmen (in terms of making

people and getting them involved in the design

and relating to) and the client (in terms of usage

process.

and aesthetics).

• Idea Generation: The crafts people will then be invited to propose their own cultural theme, in response to international trends and forecast. Based on a common theme board, they will be encouraged to then draw stories and motifs from their cutlural theme and draw/ paint/ compile (collage technique) print surface concepts etc.

30 | National Institute of Design | Graduation Project | Textile Design (B.Des)

P R OJE CT TIM E LIN E Project Duration : Eight Months Date of commencement: 15th February

FEBRUARY - MARCH

A PR I L

Phase 1: Information collection

Phase 2: Analysis and synthesis

Study of craft, infrastructure facilities, the

Interpret the above information and arrive at a theme

market, the user feedback, trend research,

board and brainstorming for inspiration to create mood-

forecast study, etc..

boards and initial artworks

Conducting an interactive workshop with crafts people to understand their skills and design sense and empowering them through upgrading their understanding of design.

R E DE FI NI NG THE DE SI G N B R I E F Phase 3: Design Conceptualization Developing final artworks for print surfaces and ideating possible layouts with the block designs before handing over the final designs for making of the wooden blocks.

Also a tentative colour palette of natural dyes and final product ideas were decided at this stage.

G U I DE VI S I T 1

September 2017 | Shifting Blocks | Brinda Dudhat | 31

M AY - JUNE

JU L Y

AUGUST SEPTEMBER

Phase 4: Sampling and Refinement

Phase 5: Garment construction

Phase 6: Photoshoot

First stage was experimental, a variety of layouts

and finishing

and documentation

were explored with different combination of

Silhouettes and patterns for the

the blocks, and all the samples were dyed in

final garments were decided

different natural colours to figure out the possible

during the sampling stage itself.

combinations. Thus the outcome of the first stage

So once the printed fabrics gets

of sampling was a variety of layouts tried out

ready they could go for the

on different materials, dyed in different natural

cutting and stitching process

dyes. These were then analysed and formed into

and finally the end finishings and

a limited number of print surfaces that follows a

detailings.

similar visual language and could be presented as one collection.

Second time sampling was a refinement process wherein a colour palette with four natural dyes was finalised and a limited 12-15 print surfaces were created that would directly go for garment construction.

G U IDE VIS IT 2

32 | National Institute of Design | Graduation Project | Textile Design (B.Des)

2 INFORMATION COLLECTION

September 2017 | Shifting Blocks | Brinda Dudhat | 33

• W HAT W A S I L O OKI N G F OR ?

34

• L I S T O F W E L L - F OU N D E D B R A N D S

35

• ABR A HAM AND T H A KOR E , B I A S

36

• BL O CK S HO P, A I S H

37

• VI S I TI N G DE L HI F OR M A R KE T S T U D Y

38

• MA R K E TI NG C HA N N E L S OF A A V A R A N

40

• TAR G E T MAR K E T F OR N E W C OL L E C T I ON

42

• BL O CK PR I NTI N G

44

• DABU PR I NTI NG

46

• CHE E PO N K A A A KOL A

46

• PR O CE S S O F MA KI N G D A B U

48

• N ATU R AL DY E I N G A N D M OR D A N T S

50

• L O CA L NA TUR A L D Y E S

52

34 | National Institute of Design | Graduation Project | Textile Design (B.Des)

W HAT WAS I LOOKING FO R ? ( MA RKET S TU DY) ‘A variety of bareness is better than monotony of

I have always imagined a world where people

repetition’

are more empathetic towards sustainable ways of living, upcycling, recycling and ethical practices.

There are a gamut of brands coming up wherein

Increasing industrialisation, globalisation, fast

young designers are rewriting the fashion

fashion and ever-growing buying power among

vocabulary in India. Designers are in search of

people has popularised a culture of quick

a new vocabulary of design independent of the

disposable fashion.

influence of traditionalists, yet distinctly Indian.

Now some of the trends and practices are

Thus for the market study in this project I was

changing for the better. The slow fashion

looking at the emerging Indian brands that

movement is gradually taking over, but it does

are redefining the conventional practices in

demand change in the way we perceive clothing.

craft sector, young Indian designers who are

It is heartening to see the growing awareness and

rediscovering the appeal of traditional textiles and

people supporting the revolutions concerning

weaving a whole revolution out of them and the

these issues like,

fresh global aesthetics that have transformed how

• ‘Fashion revolution’ which is a global

urban India looks at the craft sector.

movement calling for greater transparency, sustainability and ethics in the fashion industry.

After looking at all of Aavaran’s previous

• Campaigns like ‘Cotton is cool’ and ‘I

collections and studying their block print designs,

wear handloom’ initiated by Union Minister

I could get a complete picture of the brand’s

of Textiles Smriti Irani to celebrate Indian

identity and where it stands compared to the other

summers and to support the handloom weavers

emerging apparel brands in the country. So the

in India.

next set of block prints to be developed in this

• At the Lakme Fashion Week, with the Gen

project has to raise the aesthetic standard of the

Next shows, there was a definitive shift in

brand and introduce a new design direction.

fashion vocabulary with young designers trying

I was looking for ways in which the rawness of the

to be political and social with their collections.

unique dabu printing technique could be brought

• The Craft is Cool show at Lakme Fashion week

out, such that every print surface begins to look

is a good initiative that helps the traditional

like a painted canvas and thus making the printing

artisans to directly showcase their work.

technique itself a strong USP (Unique selling point)

With these collaborations, the textiles story

of the brand.

is getting carried forward with crafts also becoming the talking point.

September 2017 | Shifting Blocks | Brinda Dudhat | 35

LIS T OF WELL-FOU N DE D

35.1

35.2

35.3

35.4

BRANDS S TUDIED

• • • • • • • • • • • • • • • • • • • • • •

Abraham and Thakore, Delhi Bias, Delhi Bodice, Delhi Blockshop, LA

35.5

Aish, Kolkatta Shift, Mumbai Vrajbhoomi Runaway bicycle, Mumbai ITR by Khyati Pande Eka,Delhi Pero,

35.6

35.7

Injiri, Jaipur Urvashi kaur, Doodleage, Delhi eleven eleven, Delhi Maku Textiles, Kolkatta Paromita Banerjee, Kolkatta Mogechea, Goa Payal Khandwal, Mumbai Aakaro, Delhi Anavila, Mumbai Kasha 35.8

Brand Identity, 35.1: Anavila; 35.2: Blockshop, LA; 35.3: Doodlage; 35.4: ITR by Khyati Pande; 35.5: Shift by Nimish, Mumbai; 35.6: Maku Textiles, Kolkatta; 35.7: Runaway bicycle.

Mumbai; 35.8: eleven eleven; 35.9: Vrajbhoomi

35.9

36 | National Institute of Design | Graduation Project | Textile Design (B.Des)

STU DYIN G OTHE R BR ANDS

36.1

36.2

36.3

36.4

36.5

36.6

ABRAHAM AND THAKOR E , DE L HI Abraham and Thakore is one of the India’s most successful and respected design resource for fashion and accessories as well as textile products for home. Each Abraham and thakore collection continues the exploration of developing a quite and modern design voice while simultaneously drawing on the rich traditional vocabulary of Indian design and craft.

Brand Identity:

The design sensibility is low-key yet highly

distinctive, with a strong respect for material, form and craft.

36.7

36.8

BI AS , DE L HI Gaining recognition as indie-eco-conscious; the label works with local artisans from underprivileged communities in New Delhi.

BIAS was started to break stereotypes// predictability; challenge perceptions and ideas on fashion and femininity. Inspired by nature, paradoxes, subcultures and admirers of ingenuity.

Brand Identity:

Minimal + Expressive + Ethics + Aesthetics = BIAS Their clothes are straight-forward and anti-fuss,

pieces one would want to live in from morning to night.

September 2017 | Shifting Blocks | Brinda Dudhat | 37

BLO CK SHO P TEX TI L E , L A

37.1

Our products are a collaboration between sisters Hopie and Lily Stockman in Los Angeles and a family of printers and dyers in Bagru, Rajasthan.

Our entire process is manual: we design on paper, print with wooden blocks, and dye in small batches – the same way it’s been done in India for more than three centuries. No two textiles are exactly alike.

Brand Identity:

Block Shop is a textile company that marries the

37.2

37.3

37.4

traditional Indian hand block printing process with a modern California aesthetic.

37.5

AI S H, C A L C U T T A Aish is a travel wear brand of Indian origin.

It specializes in artisan made textiles like Khadi, Jamdani, Shibori and intricate surface embroidered fabric.

AISH works with indigenous weaving clusters who weave fabric to their design.

Brand Identity:

The aesthetic is global - distilling the modern from the ancient.

37.6

38 | National Institute of Design | Graduation Project | Textile Design (B.Des)

VISITING DELHI FOR MA R K E T S TU DY During mid-March, a three day trip to Delhi was

Analysis

organised specially for the purpose of market study and material sourcing.

1. All the high-end stores of Delhi, in the category

While in Delhi we were hoping through the

of daily wear women’s apparel have

designer stores in the posh markets like Haus

• minimal designs • lose, baggy, comfortable garments • overall smart and contemporary look

Khas, Khan Market, Lodhi colony, Santhushthi, Meherkchand market, etc.. Looking and feeling all the garments, I was majorly influenced by the work of some of the brands like,

2. Colours spotted: Though each brand has their

• Eleven eleven for their minimal block print

unique colour story with every season, some of the

designs, beautiful vegetable dyed colours and

major colours observed were:

hand woven fabrics used in smart cuts and

• whites, off-whites and unbleached natural colour of the yarn

silhouettes.

• Maku for their very light, airy, soothing handwoven Jamdani fabrics with minimal motifs stitched into baggy dresses.

• Eka for their pastel palette, minimal prints and layered garments.

• Urvashi Kaur for their zero waste policy, hand-

• • • •

indigo blue soft pastels dull earthy tones and shades of grey a little bit of mustard yellow, deep red, Indian pink, purple, etc.

frayed hem in garments and an overall raw,

3. Fabrics used: A variety of raw, texturous,

earthy look.

handloom fabric was seen. Almost all the well-

• Kaveri (K.clothing) a small brand from Chennai

founded designer brands have their own fabric

for their simple, comfortable and contemporary

stories to tell. Fabrics used were sourced from

clothes.

various handloom weaving clusters across the county.

While in Delhi, we visited different fabric markets in Lajpat nagar and Okhla industrial area to get a general idea about variety of fabrics and costing.

Images on the right page are from the brands like, 39.1: Aish; 39.2: Bodice; 39.3: Bias; 39.4: Urvashi Kaur; 39.5: Kasha; 39.6: Mogachea; 39.7: Shift; 39.8: Ikai; 39.9: Mogachea from Goa; 39.10: Maku and 39.11: Anavila.

September 2017 | Shifting Blocks | Brinda Dudhat | 39

39.1

39.2

39.3

39.4

39.5

39.6

39.7

39.8

39.9

39.10

39.11

40 | National Institute of Design | Graduation Project | Textile Design (B.Des)

M ARKE TIN G CH A N N ELS Aavaran has its own store in Udaipur and Jaipur.

Exhibition at Options, Ahmedabad

Apart from these they sell through participating

During my time as an intern at Aavaran, I

in exhibitions across the country year around.

got an opportunity to be a part of one of

Following is the list of various marketing channels

Aavaran’s exhibition that was held at Options in

of Aavaran:

Ahmedabad. This was the first time for Aavaran to

• Aavaran is a private label for brands like

do a solo exhibition in a high-end designer store.

Fabindia, Cottons, RUH, Godrej, etc..

• Retail through designer wear stores like Ogaan

It was a three day exhibition (15-16-17 June 2017), where Aavaran displayed all its products and

(Delhi), Anonym (Hyderabad), Cinnamon

collections. Being a part of this show was a great

(Bangalore)

learning in terms of direct customer feedback and

• Retail though stores carrying hand crafted

observing customer behaviour.

products like Anantam (Gurgaon), Good Earth (Delhi), Neemrana (Delhi), Options (Ahmedabad), Kamla (Delhi)

• Retail though periodic craft exhibitions

Clientele of Aavaran The existing clientele of Aavaran particularly for

promoted by Concern India Foundation (Pause

the women’s apparel are the ladies of the age

for a Cause), Dastkar (Nature Bazaar and

group 32-45 and onwards. Best selling garments

others), Delhi Crafts Council (Sarees exhibition),

of Aavaran have been the flared Indian silhouettes

Dastkari Haat Samiti etc

like Anarkali, angrakha, wrap-around pants, skirts,

• Exports for companies like Blue Bear (Japan)

palazzos, long kurtas and long tops.

Modus-Vivandi (Italy) Artisans of Fashion (Australia) Realm Clothing (New Delhi).

• Permanent online space at jaypore.com • Aavaran has launched its own website recently and planning to sell all its products online through it.

Images on the right page: 41.1,41.2,41.3: Aavaran’s Exhibition display at Options in Ahmedabad; 41.4,41.5: Aavaran’s permanent store in Jaipur; 41.6: Aavaran’s Permanent store in Udaipur; 41.7: Aavaran’s display for an Exhibition at EPCH, Delhi.

September 2017 | Shifting Blocks | Brinda Dudhat | 41

41.1

41.2

41.3

41.4

41.5

41.6

41.7

42 | National Institute of Design | Graduation Project | Textile Design (B.Des)

T A RGET MARK ET FO R THE NE W

42.1

COLLECTION Aim of the project was to create a collection that would elevate the brands identity so that their products could be sold through niche retail outlets of the country like Bunglow 8, Ogaan, Ensemble,etc. Target age group for new collection is comparatively younger women who are in their 20’s and 30’s.

42.2

42.3

42.1: Display at Ogaan store in Delhi; 42.2: Concept store- Bunglow 8 in Mumbai; 42.3: Exhibition ‘Please Touch: The Handloom Experience’ at Artisan’s Gallery in Kalaghoda, Mumbai.

September 2017 | Shifting Blocks | Brinda Dudhat | 43

WHO WILL BE THE C US TO ME R S ?

Women of Age group 22-32

• • • • • •

College going girls Single ladies Independent working women Artists, Designers Writers, Journalists Models, Bloggers, Stylists

Women of age group: 32-44

• • • • • •

Married women Mothers House wives Teachers, Activists Buisness women Doctors, Lawyers, Bankers

Characteristics of the potential clients of the target market would be ,

• • • • • • • •

Empowered women Ethical and informed buyer Appreciates organic, natural, raw appeal Possesses good aesthetic sensibilities well-travelled and well-read Inclined towards arts, understands and appreciates it Believer of environment friendly and sustainable practices Appreciator of natural local materials and local production

44 | National Institute of Design | Graduation Project | Textile Design (B.Des)

44.1

44.2

44.3

44.4

44.5

44.6

44.1: Existing blocks at Aavaran workshop in Udaipur; 44.2. Blockrpinting internet image; 44.3: Dabu block printing at Aavaran; 44.4-44.5. Block-making for the collection ‘Shifting Blocks’ in Jaipur with block maker Hukamji; 44.6: Fine block carving internet image.

September 2017 | Shifting Blocks | Brinda Dudhat | 45

BLOCK P RIN TIN G IN RAJAS T HAN Rajasthan is known for its traditional, colourful art, which is spread across the state. The block prints, tie and dye prints, zari embroidery, meenakari, woodwork, metal work articles are major products of Rajasthan’s art and craft. The traditional process of hand block printing on textiles, with rich natural colors, has been practiced in Rajasthan for around 500 years. Block printing was introduced to the Jaipur region of Rajasthan by the Chhipa community. This community was originally located in Bagru Village, an area now famous for its vegetable dye and mud resist (dabu) block prints.

The art of block printing has been passed down for generations within families and communities and has branched out in recent decades to other regions of Rajasthan.

Block carving A print starts with the design, drawn on paper and carved into the Sheesham wood block. Designs are meticulously carved by hand into the blocks which are approximately 18-25 cm across. The physical block is the design for a single repeat which is then stamped in rows across the fabric. Each colour in the design is carved into a separate block. The outline block or ‘rekh’, is the most intricate and usually stamped first; it is typically the outline for a floral or lattice type design. Next comes the fill block or ‘datta’ and possibly the ground colour block or ‘gad’ depending on the colour scheme used. Block carving is in itself an art requiring years of apprenticeship to gain mastery and is done entirely by hand.

Printing process Each color pattern is stamped individually onto the fabric. The slight human irregularities — inevitable in handwork — create the artistic effect emblematic of block prints.

The printing master must carefully align each block as he prints, using the ‘guide’ carved on the left edge of the block as his marker. The subtle gaps and overlaps are a beautiful reminder of the hand work and give block printing it’s iconic look. All prints exemplify this aesthetic and have a subtle pattern of light/dark across the design.

46 | National Institute of Design | Graduation Project | Textile Design (B.Des)

DA BU P RIN TIN G ‘Dabu’ is the local name of the resist paste

Their craft speaks of skill and years of experience,

which is applied on those areas of the fabric

as the craftsmen swiftly pattern the clothes. The

(plain/dyes/printed) whose colour is sought to

application of resist and dye are done several

be protected and sealed off from the effects of

times, painstakingly with great artistry, to get

further treatments that the cloth undergoes in the

various shades of ground and motif color. As time

subsequent processes.

passed, Alizarin pigment used to impart red color

Dabu printing is essentially a village handicraft

was replaced by Naphthol and the craftsmen

which is being practiced in many rural villages of

began to use tar instead of mud in case of designs

Rajasthan. Earlier, Rajasthan province was densely

which require sharper contrasts.

peppered with dabu printing clusters. Now, very few remain to live the legacy. One of the few

Like the essence of earth, dabu prints remain the

clusters is the Akola village, which thrives solely on

primeval printing method. The prints are now

the fabric demands of neighbouring villages.

popularly known as Akola Dabu prints. And like the patterns , these fabrics are deeply embedded

Cheepon ka Akola: Where Aavaran Began its

in the cultural identities of various Rajasthani

Journey

communities. The forms in which these fabrics

According to an oral lore the Cheepa community

are worn are changing with time, organizations

of block printers and the Neelgar community

like Aavaran and COS-V are giving new direction to

of indigo dyers have been working and living in

this unique craft, yet the soul of the craft is carried

‘Cheepon Ka Akola’ - the Akola of the Printers

forward, untampered, by the motifs and hues.

since at least 600 years, their memories extending back ten generations. Their clients, longestablished dwellers in these parts belong to the tribal and peasant communities of the Jat, Gujjar, Raigar, Mali and others.

The village is a self sufficient system for dabu printing. Block carvers sculpt the blocks, the earth lends mud and the river bestows water. The fabrics are sourced from Kishangarh and pigments come from Udaipur.

Pictures on the right page were taken during visit to Akola village on 10th march 2017.

47.1: 200 year old blocks of Ayad printing community in Rajasthan; 47.2-47.8: Traditional ‘Phetiya’ printing process in Akola; 47.9: Chippa woman and man in akola in their traditional attire; 47.10: Printed fabric for Phentiya.

September 2017 | Shifting Blocks | Brinda Dudhat | 47

47.1

47.2

47.3

47.4

47.5

47.6

47.9

47.7

47.8

47.10

48 | National Institute of Design | Graduation Project | Textile Design (B.Des)

THE P ROCE SS OF M AKING DABU The process of dabu printing starts with the

The mitti is soaked in water overnight, so that

preparation of ‘dabu’ (mud-resist). dabu paste

it becomes soft and usable next day. Chuna is

being made at Aavaran follows a different process

added to the wetted mitti and the whole mass

from the traditional dabu making process of Bagru

is then trampled by foot for two hours. This

that uses Bidhan (wheat chaff).

mixture of mud and lime is strained into another vessel through a fine nylon mesh by which the

Main ingredients of the dabu are

undissolved grits are removed. Then water, gond

1. Clay (mitti) - Soil dug out from a nearby dried

and oil is added to the gelatinous mass to make a

pond is used.

2. Calcium hydroxide (chuna) 3. Binding agent - gum (Gond) and oil (mungfali

semi thick paste and the dabu is ready.

This kind of dabu paste can withstand processing of the material in dye bath for two-three times.

tel). Natural gum made out of acacia or babul

Sometimes the mud resist areas on the fabric

seed is used.

develop cracks due to surface tension and the dye colour seeps in through these cracks during the

The mud-resist is freshly prepared everyday before

dyeing process. This results into beautiful texture

printing. Proportion of ingredients used are as

of cracks which is a unique quality of dabu resisted

follow:

surface.

Clay (mitti) - 40 kg Lime (Chuna) - 2 kg Gum (Gond) - 4 kg Oil (Tel) - 0.5 kg

Images on right shows the dabu making process followed at Aavaran workshop in Udaipur.

49.1: Helper team cleaning the mud aquired from a nearby dry river; 49.2-49.5: Helper Raju mixing lime(chuna) and mud; 49.6: Gawar paste (Gond) is mixed with the mud and the mixture is sieved through a thin nylon cloth into aluminium vessel; 49.7: Dabu paste being used for printing.

September 2017 | Shifting Blocks | Brinda Dudhat | 49

49.1

49.3

49.6

49.2

49.4

49.5

49.7

50 | National Institute of Design | Graduation Project | Textile Design (B.Des)

N ATU RA L DYE IN G

50.1

Throughout history, people in every part of the world have perfected ways of colouring textiles and other objects with dyes extracted from locally available plants and of fixing them onto different substrates. Dyeing with natural colorants, however, is a complicated matter. For these colourant molecules often have only a week chemical affinity with the textile fibres and need to be fixed with the help of variety of other substances, called ‘Mordants’.

Mordants Mordants are the substances that acts as a bridge or bond between the molecules of the fibre being

Aluminium Sulphate (alum)

50.2

dyed, and the substance that is being used to dye it. Mordants maybe applied before, during or after dyeing. These processes are commonly called pre-mordanting, simultaneous or co-mordanting, and post mordanting. There are infinite variations in colour that can be achieved depending on what mordant is applied and at what stage, not to mention what process and temperature have been selected to dye the chosen material. Mordants can

Ferrous Sulphate (iron)

help to assure light- and wash-fastness, prevent colour bleeding and brighten or change some dye

50.3

colours.

Mordant substances have traditionally included such compounds as ammonia, urea, acetic acid, tannic acid, gall nuts, various bark extracts, etc and metallic substance such as various combinations or soluble salts of sodium, chromium, aluminium, iron, copper, arsenic and tin.

Copper Sulphate (blue stone)

September 2017 | Shifting Blocks | Brinda Dudhat | 51

M ORDA N TS U SE D IN NAT URAL DYEING PRO C ES S AT AA VA R A N Alum

Copper

Potassium Aluminium Sulphate generally referred

Copper sulphate (blue vitriol or blue stone) is used

as ‘alum’, is the most universally used mordant. In

in the form of crystals that are a beautiful blue

appearance it takes the form of small transparent

in colour. Copper mordant also alters the natural

crystals. It is used to mordant cellulose fibres and

dye colours, it tends to turn them blue-green. It

protein fibres as well. It is considered a neutral

can be used as both an after-bath to adjust an

mordant, in that it does not result in a colour

alum-mordanted colour, or it can be used as a pre-

that is appreciably different than that of the dye

mordant on its own. The colours dyed with copper

bath.(Exception: when silk fabric is pre-mordant

are generally more colourfast than those dyed with

with alum, yellow dyes gives pink colour.) Alum

alum.

considered to have good colour fast properties.

Iron

Tin Tin salt Stannous chloride is commonly used as a

Unlike aluminium mordants, iron salts alter the

mordant. It takes the form of highly hydroscopic

colour of dyes making them duller. Yellows

white crystals. Tin is considered to be a generally

become olive, and pinks become plummy purples.

neutral mordant. It can be used as a pre-mordant

Furthermore they react with plants rich in tannin

in a separate step, like alum.

(Harda) to form greenish to bluish-black or reddishbrown to black compounds depending on the class

During the final sampling process in this project,

of the tannins present. Iron mordant is generally

alum was used as a pre-mordant so that it would

used for post mordanting purposes to modify the

help the base dye colour to adhere to the fabric

colour of dyed fabric pre-treated in alum.

and iron was used post-mordant to get variations in the shades of natural dye after every layer of dabu paste applied.

52 | National Institute of Design | Graduation Project | Textile Design (B.Des)

L OCA L N A TU RA L DYES US ED AT AAVARAN Manjeestha

Babul Chika

Patang Ki Lakadi

Madder is one of the oldest

Acacia Arabica locally known as

Sappan wood or Brazil wood,

dyestuffs known. It is most

babul is an ayurvedic herb useful

Locally known as ‘Patang ki lakadi’

frequently used to produce turkey

in skin diseases, dhat syndrome,

is found in abundance in Aravalli

reds, mulberry, orange-red,

bleeding disorders, treat

mountain range in Rajasthan. It

terracotta, and in combination

intestinal worms, etc.. This tree is

yeilds shades of reds, Indian pinks

with other dyes and dyeing

found in the dry regions of whole

and dark wine with iron sulplhate.

procedures can yield crimson,

of India. Dyestuff is extacted from

Sappan colours range from orange

purple, rust, browns, and

the roots and the bark of the tree.

to blue red on wool, silk, and

near black. The primary dye

It yeilds a beautiful reddish-brown

cotton depending upon the acidity

component is alizarin, which

colour on cotton fabric.

of the dye bath.

is found in the roots of several plants and trees.

52.1

52.2

52.3

September 2017 | Shifting Blocks | Brinda Dudhat | 53

Naashpaal

Harda

Indigo

Pomegranate - An extract from

This dyestuff consists of ground

Natural indigo powder is an extract

the rinds of pomegranates (Punica

nuts of the Terminalia chebula

prepared from Indigofera tinctoria

granatum), this dyestuff is high

tree. It may be classed as both a

which is cultivated for this purpose.

in tannin and improves the light

mordant and a dye, giving a light

Indigo is the legendary source of

and wash-fastness of any dye

buttery yellow when applied. It is

colourfast blues and its ability to

with which it is mixed. It is used

an important tannin based mordant

produce a wide range of shades

as both a dye and a mordant.

for cotton due to the light warm

has made it the most successful

Pomegranate yields soft yellows

colour it imparts to the cloth.

dye plant ever known. Indigo can

to green-yellows.

Myrobalan is a good foundation for

give clear blues that range from

overdyeing.

the tint of a pale sky to a deep navy that is almost black.

53.1

53.2

53.3

54 | National Institute of Design | Graduation Project | Textile Design (B.Des)

A N A LYSIS A N D SYN THES IS : REDEF INED PRO JECT BRIEF After comprehensive and reflective study of the

PO INT 2: NEW D E SIGN D IR E CTIO N

brand, its design language, the traditional dabu

F O R T HE BRAND

printing process, market study and trend research, a redefined design brief was created with following points,

P O IN T 1 : CO-CRE A TIO N USE CO CREATION APPR O AC H TO ENABLE BLO CK PRINTE R S TO I DE ATE F OR A RANGE O F BLOC K PR I NTE D NATURAL DYED YARDAG E S

TO I NTR O DUC E A N E W D E S I G N DI R E CTI O N I N D E P E N D E N T OF T H E I N FL U E N CE O F C ON V E N T I ON A L APPR O AC HE S B E C A M E T H E P U R P OS E OF THI S PR O JE C T This project could be used to redefine the block print vocabulary, drawing a new meaning from the emerging standards of urban aesthetics that is making its mark in the progress of a maturing

After years of struggle, today Aavaran has a well

society. Thus the co-creation workshops to be

established studio set-up with master printers,

carried out in this project will become a medium

dyers and other helpers working with them who

of discovering a deviant design direction that

have become self sustainable through their skill

is rooted in the local and speaking a global

development and economic empowerment. Thus

language. Unconventional printing approaches

it was a time to now use this project as a chance

were to be experimented to introduce design

to engage them in the design process, beyond the

interventions in the field of dabu block printing

capacity of mere skilled labourers, and encourage

thus developing a new design language breaking

them to respond from the domain of their cultural

away from the traditional approach.

knowledge.

With this project, Aavaran wants to launch a Thus it was decided to initiate the concept of

collection that will make its place among the best

co-creation with the craftspeople at Aavaran and

designer stores of the county like Ogaan, Bunglow

together figure out the possibilities and areas of

eight, Ensemle, etc.. So the product quality, design

interventions both in the dyeing technique and the

aesthetics and the final cuts and silhouettes of

design process.

the garments has to be the best, original and thoughtfully created.

September 2017 | Shifting Blocks | Brinda Dudhat | 55

P OIN T 3 : FIN A L PRO DUCT

So as I started working with the re-defined design

A GARMENT CO LLE CTI O N THAT

brief,

PO RTRAYS THE CO NC E PT O F THE PROJECT In order to bring the project to a conclusion and culminate all the ideas into a final product, it was essential to come up with range of garments that portrays the concept of the project. The idea to be conveyed through the final product was the conscious revival of the long-established traditions and adapting an eco-conscious lifestyle.

Inspiration for the garment collections is influenced by the mori-girl fashion subculture of Japan. ‘Mori’ means forest in Japanese and a simple definition of a ‘Mori-girl’ is a girl who looks like she lives in a forest. In her own quiet way, mori girl is an individualist with a bold, independent, free-spirited personality. Loose dresses and smocks in layered ensemble is the style of mori girl. Thus the final products were layered garments in baggy silhouettes and earthy tones of natural dyes based on the theme of autumn winter.

• The first step was interaction with the craftspeople through workshops.

• Second step was to build the concepts from the interferences of the workshops, create inspiration boards and arrive at final designs for block making.

• Third step was the sampling stage where different block layouts were explored along with experiments in natural dyeing. Outcomes of these experiments were analysed and further carried on for final sampling and garment construction.

56 | National Institute of Design | Graduation Project | Textile Design (B.Des)

4 DESIGN APPROACH

September 2017 | Shifting Blocks | Brinda Dudhat | 57

• C O - C R E ATI O N

60

• C O NTE NT O F TH E W OR KS H OP

62

• DO CU ME NTA R Y S C R E E N I N G S

63

• W O R K S HO P DA Y 1

64

• W O R K S HO P DA Y 2

66

• W O R K S HO P DA Y 3

68

• I NDI VI DU AL PR IN T E R W OR KS H OP

70

• W O R K S HO P W I T H D Y E R S

76

• W O R K S HO P A T OT H E R C E N T E R S

78

58 | National Institute of Design | Graduation Project | Textile Design (B.Des)

K ALA RA KSH A V IDH YALAYA In July 2016, I had a chance to witness the annual

Kala Raksha Vidhyalay : An Institute of Design for

convocation show of the artisans of Kala Raksha

Traditional Artisans, is an educational institution

Vidhyalay. It was a three day event organised in

open to working artisans of Kutch, conservatively

Ahmedabad where the artisan designers - fresh

estimated at 50,000. It aims to provide knowledge

graduates of Kala Raksha Vidhyalay presented their

and skills directly relevant to the artisan’s

work and explained the design process they’ve

traditional art to enable market appropriate

followed to create the same. Their coursework

innovation, while honouring and strengthening the

includes sessions on color, basic design, market

tradition.

orientation, concept and communication, finishing and collection development, and presentation.

I was inspired with this idea of design education

It was very impressive to see the traditional

for the traditional artisans. So when I got this

artisans presenting beautiful products that are the

opportunity to do a project with Aavaran, I wanted

result of their refined skills and design knowledge

to make it about design intervention in the field

gained as a part of the design education

of craft sector, that involves the craftspeople in

programme, a Kala Raksha Trust initiative.

the design process. Learning about the company’s profile and the fact that Aavaran works with the crafts people, triggered the possibility of adopting a co-creation approach.

Below are the images of artisan training programmes of Kala Raksha Vidhalaya of Kutch. Source: Internet 58.1: Judy Frater with traditional rabari woman artist; 58.2: Design workshop for craftspeople; 58.3:Jury presentation of a fresh design graduate artisan from Kala Raksha.

58.1

58.2

58.3

September 2017 | Shifting Blocks | Brinda Dudhat | 59

CO-CRE A TION An article about ‘Community Development

Hence, inspired from the concept of ‘Community

Through World Heritage’ was published by

involvement’, the idea of ‘Co-creation with the

UNESCO World Heritage Centre in 2012.

craftspeople’ as an approach to this project was

An important aspect of ‘Community involvement’

thought of.

has been discussed in this article. The discussion is about how the fifth “C”, for ‘Community’,

So the project started with an objective of

adopted by the World Heritage Committee in

undertaking the local conditions and cultural

2007, is a crucial and complementary element to

background of the craft community into account

the “Four Cs”, Credibility, Conservation, Capacity-

and to come up with more context-sensitive and

Building and Communication adopted as strategic

equitable outcomes that will include an active

objectives of the World Heritage Convention. It

participation of the craftspeople in the design

offers an illustration of how local communities

process.

can make a positive difference in the sustainable management of World Heritage Properties.

The range of issues discussed in this article provides a useful conceptual and practical map with which one can look at their own sites and the issues they face. One can find parallels to their own situations and potential answers to their problems, as well as encouragement to continue their efforts to safeguard, interpret and sustain the relevance of World Heritage to their communities and to the world.

60 | National Institute of Design | Graduation Project | Textile Design (B.Des)

C O N TE N T OF THE W O RKS HO P • Duration: Two weeks

introduction to the various sources of information

• Venue: Main unit of Aavaran workshop in

collection and inspiration for developing concepts

Chitrakoot nagar, Bhuwana, Udaipur.

• Participants: Eight printers of Aavaran who are traditional block printers from Jaipur, Sanganer and Bagru in Rajasthan and Farukhabaad in UP.

Objective of the workshop was to empower the crafts people with some inputs on basic design.

Craftspeople were introduced the various aspects of a design process and expected to respond in its context.

Content of the workshop is as below:

1. To begin with they were introduced to the concept of a Textile ‘Collection’: different elements

during a design process, Eg:

• Trend and colour forecast • Seasons: Spring Summer, Autumn Winter, Festive,

• mood boards, inspiration boards They were shown the design documents of previous graduation projects at Aavaran. Through these examples of project which they have witnessed, the process of design was explained to them.

3. Along with this they were also given an introduction to market scenario and different types of clientele that Aavaran caters to. With the

that comes together to form a collection. Like,

examples of various sustainable clothing brands in

• The main print surface and its co-ordinates • Colour combinations that compliments each

natural dyes, sustainable living and the concept of

other These aspects of a collection were shown to the crafts people with examples from previous collections of Aavaran, fashion magazines and

the country, they were explained the importance of slow fashion.

4. And finally the block printers were introduced to the language of modern, minimal aesthetics

brochures of other handloom brands.

and contemporary designs. Hence they were

2. After introducing the basics of what constitutes

block printing. They were given the freedom to

a textile collection, the block printers had a brief

encouraged to experiment with different ways of explore unconventional block printing and narrate their stories through their unique block printing style.

This entire process happened step by step over a period of two weeks through interaction with the printers in groups and individually.

September 2017 | Shifting Blocks | Brinda Dudhat | 61

DOCUMENTARY SC R E E N I N G DUR I NG W O R K S HO P Tanko Bole Che (The stitches speak)

Baat wahi hai (It’s all the same!)

Tanko Bole Chhe (The Stitches Speak) is an

In the film ‘Baat Wahi Hai’ (It’s the Same Story) two

animated documentary which celebrates the art

storytellers argue about their version of a story on

and passion of the Kutch artisans associated with

Shravan Kumar, as listeners are free to interpret

Kala Raksha. The film traces multiple journeys

it in their own ways. The art for the film uses the

made by the participants towards defining their

painted images from wooden portable shrine

identities and towards forming the Kala Raksha

called the Kaavad. The film is a collaborative work

Trust and the School for Design.

between traditional Kaavad storytellers and the Kaavad artists from Rajasthan, together with the

The film uses their narrative art of appliqué and

filmmaker. A combination of animation and live-

embroideries through which they articulate their

action, the film is an interpretation of two stories

responses to life, and events as traumatic as the

told by the storytellers, which are fused in the act

earthquake and as joyful as flying a kite. Through

of telling and retelling.

conversations and memories four voices share their involvement in the evolution of a craft tradition.

below: snaps from the documentary ‘Tanko Bole Che’ 61.1

61.2

below: poster of the documentary ‘Baat Wahi Hai’ 61.3

62 | National Institute of Design | Graduation Project | Textile Design (B.Des)

DAY 1 On the first day of workshop with the printers, they

internet. Next they were shown some examples

were shown the documentary ‘Tanko Bole Che’ -

of design project documents and explained how

Journey of embroidery artisans of Kala Raksha - An

a story from our surrounding can be transformed

NGO in Kutch, Gujarat.

to the design motifs they print and then they were asked to talk about the stories from their villages,

With the example of Kala Raksha NGO and

about their traditions, festivals and things that

‘Somaiya Kala Raksha Vidhyalay’ - design school

inspires them.

for artisans, crafts people at Aavaran were encouraged to express their stories by narrating it, sketching or doodling on paper making collages, etc..

RESPONSE As this was the very first time the craftspeople were introduced to the process of design and were asked to respond from the background of

The significant part of the first workshop was about

their cultural knowledge, it was difficult for them,

introducing the crafts people with the different

they were very hesitant and did not talk much on

aspects of designing, making them aware about

first day. Though they were able to understand

the market scenario and introducing them different

the things being explained to them, they were

concepts as discussed previously in ‘Content of

not confident to come up and openly share their

the Workshop’. Most importantly the printers were

stories. Some of the printers said they need a day’s

encouraged to share their stories and experiences

time to think about this as it is something very new

in the fields of block printing which they have been

and difficult for them but they would like to try.

practicing for decades.

Some printers also refused to participate further

W ORKSHOP

saying this is a designers’ job and they would only do their printing job.

Workshop started with asking them a question ‘what do you think is design?’ and their response was - ‘That which is there on a block is design’.

INFERENCE Documentary screening was the most effective part

Then it was explained to them where ‘that which

of the workshop. Crafts people were able to relate

is there on a block’ comes from. A design process

to the stories of artisans of Kala Raksha Vidhyalaya.

of deriving a motif from a pichwai painting as

Hence it was understood that visual reference has

an inspiration was demonstrated to them from

more impact than the theoretical explanation of

a design document of previous collection of

the concept.

Aavaran. Then conception of ‘trend and forecast’ and ‘inspiration from nature and surroundings’ were explained through them through the examples in trend magazines and pictures from

September 2017 | Shifting Blocks | Brinda Dudhat | 63

63.1

63.6

63.2 63.7

63.3

63.8

63.4 63.1-63.5: Pages from Sushmita’s graduation project document at Aavaran, where the process of deriving motifs from a pichwai painting is explained.

63.6-63.9: First day of workshop with the printers in the stock room of Aavaran’s main unit in Udaipur.

63.9

63.5

64 | National Institute of Design | Graduation Project | Textile Design (B.Des)

DAY 2 On the second day the documentary ‘Baat whai

they like. And finally the most challenging part

hai’ was screened. This beautiful documentary

of the workshop explaining them the meaning of

demonstrated how a single story has different

‘abstract’ through the paintings of Raza an dother

versions and the listeners are free to interpret

modern art painters. It was cited to them that

in their own ways. It is the art of narrating the

how just through the composition of shapes, lines

story and conveying the message through it

and colours deep feelings and thoughts can be

that matters. On the second day it was also

expressed.

explianed to them how elements of a story could be simplified to minimal shapes and can be arranged in meaningful composition which can

RESPONSE Many printers showed an encouraging response

be interpreted in different ways. This concept

on the second day. As they were asked in the first

was demonstrate through paintings of Raza and a

workshop to narrate their stories and talk about

couple of Norman McLaren’s animated videos that

things that interests them, today some of them

shows the art of movement of simple shapes.

had come prepared. They started talking about their childhood memories in their villages, the

After the first days’ workshop I started interacting

evolving scenario of the block printing they’ve

individually with the printers as it was more

seen, stories of moral and wisdom, Stories of

comfortable for them. On their printing tables

their travels and families, politics and government

during tea-breaks, they would talk about stories of

policies. Some printers also started doodling and

their families, their life when they were young and

scribbling their stories with colour pens on paper.

many different things.

Some of the things they were drawing were a bow

W ORKSHOP With the story of ‘Baat What hai’ printers

and an arrow, cycle, umbrella, shivling, a scene of bhramand (outerspace, galaxy), map of India, circles and triangles, etc..

were again encouraged to respond through narrating the stories of their culture, surrounding environment and myths and traditions that’ve

INFERENCE Colour pens, paper cutouts, and other such

grown with. More examples of different designer’s

stationery was an entirely different medium

works and various brands were shown to them

of working for the printers. Though they were

through pictures. More stories of empowerment

creatively expressing their ideas through this

of craftspeople were told to them to build up

medium, it was felt that the printers should be

their confidence and make them believe that

given an opportunity of exploring in their medium

they too can design. They were given materials

of expertise- that is block printing on a fabric with

like colour pens, papers, gum and scissors and

the mud resist.

asked to scribble, doodle, cut and paste however

September 2017 | Shifting Blocks | Brinda Dudhat | 65

65.1

65.2

65.8

65.3

65.9

65.4

65.5

65.10

65.6 65.1-65.7: Doodles and sketches of printers from first-day’s workshop on visual representation of their stories.

65.11

65.8-65.11: Second day of workshop in the intern’s room at Aavaran, Udaipur.

65.7

66 | National Institute of Design | Graduation Project | Textile Design (B.Des)

DAY 3 Before the third workshop, printers were asked to voluntarily try out random block printing on some pieces of rough fabrics to discover new

RESPONSE By the time of the third workshop, printers had

block printing possibilities, different from their

a fair idea of what is going on and they showed

conventional printing style. The idea was to

enthusiastic participation. They found the idea of

place the blocks non-consecutively - merging,

unconventional printing a little off-beat, unsure of

overlapping, unplanned orientations and varying

its repercussions and yet they were willing to try as

distances to create eccentric unconventional

it was something they had never done before.

surfaces.

They started giving their viewpoints about the block-designs of Aavaran’s previous collections,

Two of the printers - Kalyanji and Surendarji,

what they like and dislike about them, practicality

willingly experimented in this different block

of designs in block printing and mud resist.

printing style with the existing blocks of previous collections of Aavaran. Final outcomes of these experiments were presented to the rest of the printers and further discussions happened on it.

W ORKSHOP

INFERENCE Seeing the enthusiastic response of the block printers, it was decided that further explorations in block printing will be done with individual printers in the coming week. This would help identify the

With Kalyanji and Surendarji’s block printed

printing style and design aesthetics of individual

sample as an example it was explained to other

printers.

printers how simple block designs could be used to create exceptional convoluted artworks. To

For the Individual workshop, each printer was

further explain the concept of ‘abstract artwork’,

asked to select three different types of blocks

small paper frames of 5”*5” were made and

from the existing blocks of Aavaran’s previous

pasted on the sample fabric. Composition of

collection. One with fine carving, second block

shapes inside the frame was assumed as a single

with little bolder carving and third block should

block and a repeat pattern with that block was

have boldest shapes. Different printing possibilities

imagined. With examples like this the printers

were further explored.

were explained how to look at the print surface with a different vocabulary, like a surface that goes from bold to intricate forms, a shift from dense to sparse and how the variation in the intensity of dabu could create surfaces that feel like music, like leaves blowing in wind, like a sun setting, like a bird singing, like a painting.

September 2017 | Shifting Blocks | Brinda Dudhat | 67

67.1

67.4

67.5

67.2

67.3

67.6

67.1-67.3: S.H. Raza painting and mix pattern surfaces in garments showed to the printers to explain the concept of ‘Abstract’ 67.4-67.7: Workshop day 3 in the main office of Aavaran, Udaipur.

67.7

68 | National Institute of Design | Graduation Project | Textile Design (B.Des)

KALYAN CHIPPA Age: 36 Native place: Jaipur Kalyan Chippa is a master printer and dyer at Aavaran. He is working with Aavaran for last four years. He’s been trained under the famous dyer and printer of Jaipur - Brij Ballabh Udaiwal.

With the three different blocks chosen, he experimented random printing style creating a beautiful collage of blocks overlapping finer and bolder shapes together such that the final surface has evenly distributed, balanced composition. In the first layer of dabu he made a collage with the finer blocks placed with unplanned orientation at random distances. In the second layer he overlapped the first surface with bold blocks all over. The final surface looked like fine butttis floating on the surface of bold dabu patches.

Images on the right page are samples of master printer Kalyan Chippa.

--Sample one 69.1: First layer of dabu blocks on a harda dyed fabric base 69.2: Second layer of dabu blocks after dipping the fabric in Indigo dyebath 69.3: Final result after washing --Sample two 69.4: First layer of dabu blocks on a harda dyed fabric base 69.5: Second layer of dabu blocks after dipping the fabric in Indigo dyebat 69.6: Final result after washin

September 2017 | Shifting Blocks | Brinda Dudhat | 69

69.1

69.4

69.2

69.5

69.3

69.6

70 | National Institute of Design | Graduation Project | Textile Design (B.Des)

RO O PNARAYAN Age: 42 Native place: Sanganer Roopnarayanji loved the technique of masking with newspaper and printing the design inside the shape created through the mask. He created masks of circles, squares and triangles and printed the block designed inside these shapes. Then in the second layer of resist printing he covered the previously printed designs with the big circle blocks of the size of initial masks. So the final surface appears like an arrangement of many circular windows through which the underneath layer of print design is seen. He also made a map of India with state boundaries and filled each state with different patterns through masking.

Images on the right page are exploration samples of the printer Roopnarayan.

71.1: Newspaper mask with circle cutouts 71.2: First layer of pigment block print 71.3: Second layer of dabu covering the first surface 71.4: Final result after dyeing in Kashish --71.5: Map of India with different pattern in each state 71.6: Second layer of dabu patches after dipping the fabric in indigo dyebath 71.7: Final outcome -India map --71.8-71.11: other similar exploration with masking and random printing.

September 2017 | Shifting Blocks | Brinda Dudhat | 71

71.1

71.5

71.2

71.8

71.9

71.6

71.3

71.10

71.7

71.4

71.11

72 | National Institute of Design | Graduation Project | Textile Design (B.Des)

SURENDRA CHIPPA Age: around 60 Native place: Jaipur Surendarji is the oldest among all printers, working with Aavaran for last four years. Surendarji was the one who showed how an entire print surface can be created with a single block. He took one block with fine geometric pattern and created the first layer by repeating it all over. In the second layer he overlapped the same block on the first surface in an unplanned manner. Entire surface was filled with dabu pasted distributed unevenly creating a beautiful mess where the dabu intensity changes rhythmically with no definite shape or pattern but a texturous gradation.

Images on the right page iare the pictures of exploration samples of printer Surendarji Chippa.

--Sample one 73.1-73.2: First layer of dabu blocks on a harda dyed fabric bas 73.3: Final result after two layers of dabu and washing --Sample two 73.4: First layer of dabu blocks on a plain fabric 73.5: Final outcome after dipping the fabric in Indigo dyebath.

September 2017 | Shifting Blocks | Brinda Dudhat | 73

73.1

73.4

73.2

73.3

73.5

74 | National Institute of Design | Graduation Project | Textile Design (B.Des)

W ORKSHO P WITH THE DYE R S As mentioned in the brief of the project, sponsor wish to add more natural colours to the existing colour palette of Aavaran. Previously at Aavaran 70% of products are dyed in Indigo blue (with the mud resist printing) and 30% are dyed in Kashish (mineral Ferrous Sulphate) that yields shades of greys. recently some natural dyes like Naashpaal, Harda and Haldi are being used to achieve shades of yellow.

Before the beginning of the project a small dyeing workshop was conducted that would help understand the natural colours and use of mordants in its practical aspects.

Experiments were done with different fabrics pre-mordanting and post-mordanting them while natural dyeing to see the variation in the tones with the use of different mordants.

Images on the right are from the sunday workshop with the dyers carried out on 5th March 2017.

September 2017 | Shifting Blocks | Brinda Dudhat | 75

75.1

75.4

75.8

75.2

75.5

75.9

75.6

75.10

75.3

75.7

76 | National Institute of Design | Graduation Project | Textile Design (B.Des)

W ORKSHO P AT O THER C E N TE R S O F A AVA R AN Looking at the successful execution of workshop with the printers, it was suggested that similar kind of workshops be organised at other centres of Aavaran.

Apart from the main unit of Aavaran in the city of Udaipur, there are four other units in the nearby villages of the city where the local women are trained and all the final finishing of the garments (tassels, buttons, appliqué, embroidery and small up-cycled accessories) is taken care of.

Workshops with the women of other centres consisted mainly of documentary screening, ‘Tanko Bole che’ and ‘Baat What hai’ followed by a small session of introducing them to the design process, market scenario and modern minimal aesthetics.

To follow up on the first day of workshop, on the second day they were given paper cutouts and different colouring material and asked to make garment designs and print surfaces of their imagination.

The idea behind this workshop was to initiate the process of design thinking in the minds of these local women and making them aware about the bigger picture of the value chain of which they are an integral part.

Images on the right page are from the two-day workshop conducted with the local ladies working at other centers of Aavaran in the nearby village of Udaipur - Debari (01 March 2017)

September 2017 | Shifting Blocks | Brinda Dudhat | 77

77.1

77.4

77.2

77.5

77.3

77.6

78 | National Institute of Design | Graduation Project | Textile Design (B.Des)

5 CONCEPTS

September 2017 | Shifting Blocks | Brinda Dudhat | 79

• W HY A BS TR AC T E XP R E S S I ON I S M ?

80

• A DO PTI N G FR O M T H E A R T M OV E M E N T S

80

• S HI FTI NG BL O C KS B R A I N S T OR M

81

• S E MI O TI C S

82

• I NS PI R ATI O N BOA R D

83

• S . H. R A ZA

84

• A L E X ANDE R G I R D A R D

85

• L Y UBO V PO PO VA

86

• FR A N CI S PI CA BI A

87

• BL O C K L AYO UT I D E A S A N D S KE T C H E S

88

• FI NA L BL O C K DE S I G N S

91

80 | National Institute of Design | Graduation Project | Textile Design (B.Des)

SHIFTIN G BLOCKS Co-creation workshops with the block printers

Why Abstract Expressionism ?

at Aavaran helped in creating a background of

Abstract art is a subject that could be as heavy

ideas and concepts that could be further worked

and as light as one wishes. It is like an experiment

upon. Printers had shown creative ways of

where visual metaphor represents the reality. With

layering and overlapping the blocks at different

abstract art paintings as inspiration, I have tried

stages of the dabu printing and dyeing process.

to break away from the accepted convention of

Many possibilities of creating unconventional

block printing designs and introduce a new design

experimental designs had opened up by studying

language where stories are narrated through

and interpreting the outcome of the workshop

shapes and spaces. Using abstraction, the material

with the printers. It was interesting to see how

of the printing technique itself, like the dabu resist

with a single block printers could create multiple

paste, shapes of the blocks and the natural colour

variations. One major direction that had emerged

dye bath have been manipulated with every layout

from these possibilities was to create a small set

to create a unique painting like surface.

of blocks that could be used in different ways and allows multiple layout possibilities. Thus creating

Adopting from the evolution in art movements

a set of blocks simple in shape and that could be

In early 19th century, Art has been expected to

played around with.

picture reality according to the approaches and styles that are acceptable to most people - a lovely

To arrive at the final shapes of the blocks,

landscape, portraits, daily objects. But then in

inspiration boards were created influenced by

late 19th century, new ideas about reality meant -

the abstract expressionism movement among the

painters could picture reality as patterned shapes.

painters and artists in the world and the elements

In the early 20th century cubist painters responded

of Indian visual traditions were appropriated

to this change by picturing reality as flatten

and reinterpreted through modernist form and

shapes. Few years later abstract art responded

techniques.

to cubism with shapes and spaces only. Famous Russian painter Kandinsky who is considered as the Lord of abstraction says - Abstraction is created from inner necessity and it didn’t need nature to picture, it contained all of nature anyway, just in abstract art shapes and colours.

Abstraction stripes

September 2017 | Shifting Blocks | Brinda Dudhat | 81

everything down to form, FORM IS FEELING

Visual metaphor

celebrating colour and form as a sheer,

represents the reality

overwhelming, spirit-lifting force

‘Our heads are round,

art could be like music - it

so our thoughts can breaking away from the

affects profoundly but dosen’t

change direction’

necessarily represent anything

traditional printing forms

- layering - gradiation - background/foreground

depecting ideas about reality

- negative/positive

with shapes and colour

- overlap/overprint

each surface is like a painting,

- placement

like a song,

Bold geometric

Abstract Art

Introducing a new design language that retains the essence of Indian visual traditions

Forms

Unconventional Appreach

SHIFTING BLOCKS

capturing the character/ texture of dabu,

Dabu Blocks

natural colurs and the dabu resist paste

mud cracks

small set of blocks with

Natural Colours

experiment of combining

color seeping in through

multiple layout possibilities

Surface layout - dense to sparse

involving craftspeople in

- noisey and calm

the design process

Naashpaal (pomegranate)

(sappanwood)

नाशपाल

Design intervention

- busy to quite

Patang पतं ग की लकड़ ी

shapes that eco the basic shape they

in printing technique and process

appear on, with the Harda (Myroballan) हरड़ ा

Babul (Acacia Arabica) बबू ल छिलका

Natural Indigo इं ड िगो (नील)

double dabu technique

82 | National Institute of Design | Graduation Project | Textile Design (B.Des)

Visual perception theories of Gestalt and principles of Semiotics were studied to create concepts and ideas for the block designs.

SE MIO TICS Semiotics is a general philosophical theory of signs and symbols that deals especially with their function in both artificially constructed and natural languages and it is divided into branches of syntactics, semantics, and pragmatics Table below shows the parallel application of elements of semiology to the workshop outcomes for deriving block designs.

Analysis of co-creation workshop

Semiology

Workshops with craftspeople:

Syntax: Syntax is defined as a set of

Craftspeople were exposed to the process of design, the market sce-

rules in language(such as grammar or

nario and they were asked to express their stories and ideas in form of

word structure) that must be followed

sketches, narrations and finally explorations in block printing technique.

in order to make the sentence mean-

This helped form a platform of communication through which ideas can

ingful.

be exchanged.

Response of craftspeople:

Semantics: Semantics is concerned

Given the freedom to express themselves by exploring the unconven-

with the conveyance of meaning of

tional techniques in block printing, the craftspeople creatively respond-

visual information or linguistic ex-

ed in different ways opening up the many possibilities of interpretations

pression. It mainly deals with the

in block print style.

connotations of the sign.

Inference of workshop :

Pragmatics: Like semantics, it is

Analysing the outcomes of printing workshop it was understood that a

concerned with the deciphering of

set of blocks should be created that has multiple interpretation possibil-

an image. Pragmatics deals with the

ities.

context of the sign and how it may change its meanings in different ‘situations’.

Deriving shapes for blocks:

Abstraction: Abstraction involves

Abstract art is art that does not attempt to represent an accudepiction of induction of ideas or the synthesis a visual reality but instead use shapes, colours, forms and gestural marks of particular facts into one general to achieve its effect

theory about something.

September 2017 | Shifting Blocks | Brinda Dudhat | 83

Different artists, painters, architects and designers sharing common aesthetics were studied.

83.1

83.2

83.3

83.1: 83.2: 83.3: 83.4:

83.4

‘Plurality’ by S.H.Raza, 2013 Alexander Girad Lyubov Popova Fransic Picabia

84 | National Institute of Design | Graduation Project | Textile Design (B.Des)

I N SP IRA TION 1 : S. H RAZA A Modernist who, connected the contemporary art

Key Observations

of India, independent of the colonial rule, with that

• Most of Raza’s paintings have anchor points or

of the European ‘modernity’ as early as 1956.

centres of gravity that are dark and emanate

His paintings imbibed intensely all the shifting

outwards.

details in making of a day, light, sound, touch and smell and the visual.

• The symmetry and vibrancy • Effortless bold geometry

The most celebrated of Raza art series has indeed been the ‘Bindu’ informed by the Indian

Colours

conceptual of Sunya or the abstract of nothingness

A rich colour palette, with deep, strong greens,

and yet the ability to add value to whatever it is

bright azures, and vibrant teals

affixed.

Raza always maintained that at the heart of his work was symbolism meant to indicate the five elements; fire, water, earth, wind, and sky, which he expressed with his own unique geometric

Forms ‘Bindu’(circle), Concentric shapes, Static triangles, Square grid, lines

framework.

84.1

84.2

84.1: ‘Neela’ (blue) by S.H.Raza, 2013 84.2: ‘Prakruti’

by Raza

September 2017 | Shifting Blocks | Brinda Dudhat | 85

IN SP IRA TION 2 : ALEXANDER GIRARD An architect, interior designer, furniture designer,

Key Observations

industrial designer and a textile designer, Girard

• • • • •

is widely known for his contributions in the field of American textile design, particularly through his work for Herman Miller (1952 to 1975). As head of the textile division at the Herman Miller

Implication of third dimension on a 2d surface Every shape divulges the other shape Positive and Negative Spaces Stark Contrast in his compositions Girard took his inspiration from folk art all over

Company, Girard created numerous textile patterns

the world, which he collected throughout his

and products reflecting his love of festive colours,

life.

patterns and textures. He favoured abstract and geometric forms in a variety of different colour

Colours

constellations, typically featuring a cheerful

White, Yellow, Orange, Blue

palette.

With primary colours, concise geometric patterns, and a touch of humour, he injected joy and spontaneity into his designs.

Forms Creative compositions with the basic geometric forms that redefines the fundamental qualities of beauty and usefulness.

85.1

85.2

85.1: ‘rain’ by Alexander Girard in 1954.

85.2: Alexander Girard designed door for Robert Scoren, 1969.

86 | National Institute of Design | Graduation Project | Textile Design (B.Des)

I N SP IRA TION 3 : LYU BO V PO PO VA A Russian avant-garde artist (Cubist, Suprematist

Key Observations

and Constructivist), painter and designer.

• One of the most influential Russian avant garde

Her bold use of colour and geometric shapes and love of clashing and contrasting patterns remains influential today. Also worthy of celebration is her

artist

• ‘Painterly Architechtonic’ Compositions • In 1915, she developed her own variant of non-

fearless attitude to designing and her belief that

objective art based on a dynamic combination

good design belonged to everyone, not just those

of principles of icon painting (flatness, linearity)

who could afford it. Rather than using the floral

and avant-garde ideas.

motifs of traditional Russian fabrics, the design has been stripped back to a deceptively simple arrangement. Over time, the construction elements

Colours Browns, Beige, black, reds, blues

in Popova’s painting increased, progressing from Painterly Architectonics of 1916 to Painterly Constructions of 1920 and Painterly Force

Overlapping planar forms where planes tilting at

Constructions of 1921.

86.1

Forms different angles slice into each other

86.2

86.1: ‘Painterly Architectonic’ Painting by Lyubov Popova, 1918; Medium: Oil paint; Genre: Abstract art 86.2: ‘Space Force Construction’ Artwork by Lyubov popova, 1921; Period: Suprematism; Genre: Abstract art

September 2017 | Shifting Blocks | Brinda Dudhat | 87

IN SP IRA TION 4 : FRANCIS PICABIA A French avant-garde painter, poet and

Key Observations

typographist. He became known for a rich variety

• He began to use text in his pictures and collages

of work ranging from strange, comic-erotic images

and to create more explicitly scandalous images

of machine parts to text-based paintings that

attacking conventional notions of morality,

foreshadow aspects of Conceptual art.

religion, and law.

After experimenting with Impressionism and Pointillism, Picabia became associated with Cubism. His highily abstarct plannar composotions

• Figurative imagery was central to Picabia’s work • With his wildly diverse aesthetics he became the founder of Dada art movement

were colourful and rich in contrast. He shifted easily between abstraction and figuration at a time when artists clung steadfastly to one approach.

“Artists, so they say, make fun of the bourgeoisie; me, I make fun of the bourgeoisie and the artists.”

Colours Browns, black, greys, whites, beige, blues,...

Forms Machine components, over lapping human figures, transparency, collages, homogenious compositions

87.1

87.2

87.1: ‘Machine Turn Quickly’ Artwork by Francis Picabia, 1917; Genre: Abstract art 87.2: La Source (The Spring)

by Francis Picabia, 1912; oil on canvas; Genre: Cubism

88 | National Institute of Design | Graduation Project | Textile Design (B.Des)

BLOCK LAYOUT IDEAS 88.1

88.4

88.5

88.2 88.6

88.7

88.8

88.9

88.10

88.11

88.3

September 2017 | Shifting Blocks | Brinda Dudhat | 89

89.1

89.4

89.7

89.1

89.8

89.2

89.5 89.9

89.3 89.6

89.10

90 | National Institute of Design | Graduation Project | Textile Design (B.Des)

90.1

90.3

90.2

90.4

90.5

September 2017 | Shifting Blocks | Brinda Dudhat | 91

91.1

91.2

Pictures on page 88 are the paper cutouts of three basic geometric shapes for the blocks- square, circle and triangle. the cut-outs are in the proportion of 1:4 of the actual block size.

Pictures on page 89 are the initial sketch conceptsfor the block layouts and variations in block designs.

Pictures on page 90 are the final block designs pinned-up on a softboard at Aavaran studio in Udaipur.

90.6: Block maker Hukamji carving the block designs in Jaipur.

91.2: Freshly carved blocks of the collection ‘Shifting Blocks’

92 | National Institute of Design | Graduation Project | Textile Design (B.Des)

6 SAMPLING PROCESS

September 2017 | Shifting Blocks | Brinda Dudhat | 93

• S A MPL I NG S TA G E 1

94

• S TE PS O F S A MPL I N G P R OC E S S

95

• PR E - PR O CE S S E S

96

• FR A BR I C PR E - PR OC E S S I N G

98

• PR O C E S S I N G N A T U R A L D Y E S

100

• S TA G E S O F DYE I N G A N D P R I N T I N G

102

• S TA G E - 1 S AMPL E S

104

• FI NA L S A MPL I NG

114

• G A R ME NTS

116

• MO R I - G I R L MO OD B OA R D

117

• FI NA L G A R ME NT S

120

94 | National Institute of Design | Graduation Project | Textile Design (B.Des)

SA M P LIN G: STA G E 1 First stage of sampling was the process to discover

Steps followed :

different possibilities emerging with the technique

• • • • • • • • • • • •

of dabu resist printing and natural dyeing together.

Explorations were done with different materials like Mulberry silk, Mushroo silk, Crape silk, Chanderi, Linen (raw and bleached), Rayon, Khadi, Kala cotton, Cotton with jacquard buttas, etc..

Cold dyeing and hot dyeing were carried out at different stages of dabu printing with local natural dyes like Manjistha, Laal chandan, Patang ki lakadi, Babul chilka, Naashpaal, Harda, etc..Also the traditional method of shyahi-begar was carried out with different processing. Along with this different block layouts were explored in each sample.

Outcome of this extensive sampling was a variety of results in different directions.

This chapter provides a detail description of each of the sampling process carried out from the beginning till its final result.

1: Fabric Scouring and material selection 2: Pre-processes 3: Pre-Mordanting 4: Dyeing for base colour 5: First layer of dabu 6: Dyebath 1 7: Second layer of dabu* 8: Dyebath 2* 9: Final wash 10: Pattern cutting 11: Garment construction 12: Final finishing

September 2017 | Shifting Blocks | Brinda Dudhat | 95

1.

2.

3.

FABRIC S O URCING

PR E - PR O CE S S E S

PR E - MO R DA N T I N G

AND MATERIAL

Preparing the printing

To ensure even

SELECT ION.

blocks, printing table

penetration of natural

and other printing

dye material and good

equipments.

colour fastness, fabric is

Washinfg and scouring

mordanted before the

the fabric to be printed.

natural-dyeing process.

Variety of material used for experiments in first satge of sampling were: raw linen, bleached

4.

DYEING Boiling the fabric in the solution of natural dye material to create a base colour.

linen, cotton double cloth, Khadi, Slub rayon, Mulberry silk, Mushroo, crape chiffon, etc..

8.

7.

6.

5.

D YEBATH 2

DA BU 2

DYE BA TH 1

DABU 1

Kashish

In some cases fabric was

Kashish

First layer of dabu

Patang

washed after dyeing

Patang

blocks

Naashpaal

first layer of dabu and

Naashpaal

Haldi

reprinted again, in other

Haldi

Natural indigo

cases second layer of

Natural indigo

dabu was applied directly after dyeing first dabu.

9.

F INAL WAS H For the final wash, the fabric is hand washed in a long labourintensive process to clear the dabu from its surface.

10.

11.

12.

PATTE R N C UTTI NG

G A R ME NT

FINISHING/

Once the printed fabric

C O NS TR U CTION

DETAILING

is ready, it goes to the

Attaching tassels,

garment section where

buttons, buttonholes,

the first step is pattern

heming, tags, label,

cutting.

packaging, etc.

96 | National Institute of Design | Graduation Project | Textile Design (B.Des)

P R E -P ROCE SSE S Various pre-processes are carried out before the

Equipments for printing paste

actual printing work begins like: Preparing the

‘Saj’ is the local name for the wooden tray that

blocks, preparing the printing table and other

contains printing paste/dabu. Saj is filled with the

printing tools, processing the fabrics to be printed

dabu paste/ printing paste solution and a ‘Taati’ is placed over it. ‘Taati’ is a metal frame with nylon

Preparing the blocks

thread interlacement. Then a two layer of coarse

When the new blocks arrive, they are soaked in

handloom cloth of wool or felt is placed over the

the solution of mustard oil (sarson ka tel) or pea-

taati, inside the saj filled with printing paste. It is

nut oil for 3-4 days. It strengths the wooden books

called ‘Kambal ki gaadi’. This arrangement serves

and increases their longevity so the block will not

as a springy cushion when the printing block is

be broken easily. Then the blocks are washed and

pressed onto the tray to take up the printing paste,

cleaned with detergent soap.

it also ensures even distribution of the paste onto the block surface. The Saj is then carried around

Printing Table

the printing table on a wooden trolley rack with

The long rectangular wooden/metal table is

two shelves called ‘Gaadi’. Gaadi has four wooden/

covered with 8-10 layers of coarse jute fabric under

iron wheels attached to its legs so that it could be

the top layer of thick cotton sheet. This provides

easily moved around the printing table. On the

good cushioning for the printing.

upper shelf the ‘Saj’ and the blocks in use are kept,

Saw dust powder is spreaded evenly on the table

other handy blocks are kept in the lower shelf.

before printing with dabu paste. Saw dust powder

When not in use the ‘Saj’ filled with printing paste

helps the dabu paste to dry quickly by absorbing

is covered with other empty saj on top to prevent

the excess moisture and it ensures the penetration

the printing paste from drying out.

of mud paste through the fabric. Also it acts as a binder and prevents colour penetration in the resist area during dyeing.

97.1: Blocks kept in oil pan for 2-3 days being taken out; 97.2: Oily blocks soaked in water before washing; 97.3: Washing the oily blocks with detergent soap; 97.4&97.7: Blocks drying after washing; 97.5: Printer spreading the saw dust powder on printing table; 97.6: Printer preparing the dabu paste in ‘saj’; 97.8: Printer marking the fabric to be printed; 97.9: ‘Gaadi’ to carry ‘saj’.

September 2017 | Shifting Blocks | Brinda Dudhat | 97

97.1

97.4

97.7

97.5

97.8

97.2 97.9

97.3

97.6

98 | National Institute of Design | Graduation Project | Textile Design (B.Des)

FA BRIC P RE -P ROCE SS ING Scouring and Washing

Pre-mordanting

First stage of fabric processing is scouring and

The celluloid fibres like cotton and linen need

washing. Scouring is done to remove natural

special treatment to be able to take up natural

waxes and other impurities from the fabric. Proper

dyes efficiently. There are several mordanting

scouring is absolutely essential to good dyeing.

methods used in the process of natural dyeing.

It helps ensure even colour and good penetration

A common pre-mordanting process was followed

of dye. For the scouring process, a large vessel is

with all materials (Cotton, Linen and Khadi)

filled with enough water so that the fabric can be

throughout the sampling process of this project.

well covered. Then the solution of TRO washing

One of the conventional pre-mordanting process

soap is added to the water and the fabric is kept

for cellulose fibres was used, it involves a mixture

immersed in it overnight. In the morning the fabric

of Alum and washing soda (sodium carbonate)

is taken out and washed throughly to remove the

For 1 kg weight of the fabric (approx 4 mt length)

soap and other impurities. A visible brightness and

40 gm of alum and 20 gm of Soda was used.

softness is seen in the fabric after the scouring and

Alum and Soda are first dissolved separately in a

the washing process.

vessel containing hot water and then added to a

traditional scouring methods:

larger mordanting vessel. Fabric is then immersed and kept in the mordanting pot overnight.

Images on the right page shows the preparations and pre-processes carried out before the actual dyeing and printing proicess starts.

99.1, 99.2: helper grinding alum mineral to be used for pre-mordanting; 99.4- 99.6: sieving and measuring the quantity of alum to be required; 99.3: printer Kalyanji preparing the solution of soda ash and alum in boiling water; 99.7: alum+soda-ash solution is transfered to big steel containers and fabric is immered in it and kept for a night.

September 2017 | Shifting Blocks | Brinda Dudhat | 99

99.1

99.2

99.3

99.5

99.4

99.7

99.6

100 | National Institute of Design | Graduation Project | Textile Design (B.Des)

P R OCE SSIN G N A TU RAL DYES The traditional approach to extracting plant dyes was followed here. The dried plant material, bark and branches of the tree are crushed and reduced to chipping or sawdust so that as much surface area as possible is presented to the liquid (mostly water) that will makeup the brew. For 1 kg of dyestuff 10-12 litres of water is taken in a Aluminium container. Then heat is applied to it with gentle simmering for 2-3 hours. The brew is then allowed to cool down and the liquid is strained off with a piece of muslin. For hot dyeing of the fabric, the filtered liquid dye is again applied heat and the textile is immersed in it.

Fabric in the boiling dye pot is stirred continuously and when the desired shade is attained the sample is removed and allowed to dry in shade for at least a day and it is rinsed the next day.

Images on the right page shows the processing of natural dye from its raw state to the final colour on the fabric.

101.1: Bark of the local tree ‘Patang’; 101.2: helper ponding the pieces of bark to crush it into smaller pieces; 101.3: Boiling the crushed dye material for 2-3 hours; 101.4: Boiled dyestuff is allowed to cool down and the liquid is strained off with a piece of cloth into other vessel; 101.5and 101.6: more water is added to the residue dyestuff and all the colour is squeezed out of it; 101.7-101.9: The colour liquid squeezed from the boiled dyestuff is again applied heat and the fabric is added to the boiling dye pot and stirred continuously till the desired shade is attained.

September 2017 | Shifting Blocks | Brinda Dudhat | 101

101.1

101.2

101.3

101.4

101.5

101.6

101.7

101.8

101.9

102 | National Institute of Design | Graduation Project | Textile Design (B.Des)

STA GE S OF P RIN TIN G AND DYEING Dabu Printing

Dye Bath For Printed Fabrics

Dabu paste is applied to the pre-dyed fabric to

Generally the dabu printed fabrics at Aavaran

create the first layer of pattern. After applying

are dyed in Indigo and Kashish ( Mineral Ferrous

dabu, fabrics are kept to dry under the sun for

Sulphate) that yields shades of blues and greys

15-20 mins .Then they are folded and stored in

respectively. During the sampling process of this

shade (under the printing tables of the printers

project, experiments were carried out with different

who printed it) for next 6-8 days. This resting

natural dyes to figure out ways for achieving natural

period ensures strong bonding and through

colour along with mud resist technique. Experiments

penetration of dabu through the fabric. Next, the

were carried out by trying hot-dyeing, cold-dyeing

printed fabric in dipped in a dye bath to achieve

and using various mordants at different stages

the desired colour. After first dyeing, based on

of dabu block printing. Hot-dyeing could not be

the requirement either the fabrics are washed to

carried out successfully because the mud-resist

remove the dabu paste or they are dried in the sun

paste would melt in the hot-dye solution. In the

and taken for second layer of dabu blocks. This

cold dyeing process it was observed that the affinity

process is called ‘Double dabu’ when two layers

of natural colour to the fabric is not good enough

of dabu are applied onto the fabric, one after

resulting into poor colour fastness and dull shades.

another. with the double dabu technique, three different colours can be achieved ( first is the base colour of the fabric, second is the colour of first dye bath after the first resist layer and the third shade is of the second final dye bath.) More than two layers of dabu generally do not give a very successful result as the mud resist paste starts to come off the fabric after multiple dips in the dye bath.

Images on the right page shows the main printing and dyeing stages of the sampling process.

103.1: fresh dabu printed fabric dring on the tabe immediately after printing; 103.2: dabu printed fabric drying in the sun for 15-20 mins; 103.3: pile of dabu printed fabrics kept inside the aavaran studio before going for first dye bath; 103.4: Second layer of dabu printing after first dyebath 103.5-103.8: washing the fabric after second dye bath 103.9: reprinting with Syahi blocks 103.10: reprinting with dabu blocks 103.11: cold-dyeing the dabu printed fabric in natural dye - patang 103.11: boiling the fabric in the dye-pot with alizarine to get the red-begar colour.

September 2017 | Shifting Blocks | Brinda Dudhat | 103

103.1

103.2

103.3

103.4

103.5

103.6

103.7

103.8

103.9

103.10

103.11

103.12

104 | National Institute of Design | Graduation Project | Textile Design (B.Des)

104.1

104.3

104.2

Sample no. 01

first dabu (104.1)

Material: Organic Khadi

Dyebath 1: Natural Indigo (104.2)

Pre-mordant: Alum + Soda Overnight

second dabu (104.3)

Base dye: Harda (Cold dyeing)

Dyebath 2: Ferrous Sulphate (kashish)

Sample no. 07

first dabu (104.5)

Material: Mulberry silk

Dyebath 1: Natural Indigo, Boiled in Naashpaal

Pre-mordant: Alum + Soda Overnight

second dabu (104.7)

Base dye: Manjeestha (Hot dyeing)

Dyebath 2: Patang ki Lakadi (cold dye)

104.5

104.6

104.7

104.4

104.8

September 2017 | Shifting Blocks | Brinda Dudhat | 105

105.1

105.2

105.3

Sample no. 13

first dabu (105.1)

Material: Linen

Dyebath 1: Natural Indigo (105.2)

Pre-mordant: Alum + Soda Overnight

second layer: Shyahi blocks (105.3)

Base dye: Manjeestha (Hot dyeing)

Dyebath 2: boiled in Warm water to fix shyahi

Sample no. 14

first dabu (105.5)

Material: Linen

Dyebath 1: Natural Indigo (105.6)

Pre-mordant: Alum + Soda Overnight

second layer: Shyahi blocks (105.7)

Base dye: Harda (Cold dyeing)

Dyebath 2: boiled in Warm water to fix shyahi

105.5

105.6

105.7

105.4

105.8

106 | National Institute of Design | Graduation Project | Textile Design (B.Des)

106.1

106.2

106.3

Sample no. 15

first dabu (106.1)

Material: Mushroo silk

Dyebath 1: Ferrous Sulphate (kashish)

Pre-mordant: Alum + Soda Overnight

second dabu: circle blocks (no image)

Base dye: Harda (Cold dyeing)

Dyebath 2: Natural Indigo

Sample no. 16

first dabu (106.4)

Material: Mushroo silk

Dyebath 1: Natural Indigo (106.6)

Pre-mordant: Alum + Soda Overnight

second dabu: Circle blocks (no image)

Base dye: Manjeestha (Hot dyeing)

Dyebath 2: Ferrous Sulphate (kashish)

106.4

106.5

106.6

106.7

September 2017 | Shifting Blocks | Brinda Dudhat | 107

107.1

107.2

107.4

107.5

107.3

107.6

Exploration samples of introducing syahi with dabu printing and natural dyeing

107.1-107.2: First layer of dabu on manjeestha dyed linen fabric dipped in indigo dyebath; 107.4: dipped in Indigo dye bath 107.5: dipped in kashish dye bath 107.6: Fabrics are washed after first dyebath and shifting syahi blocks are printed inside the shapes 107.3: Ready garments

108 | National Institute of Design | Graduation Project | Textile Design (B.Des)

108.1

108.2

108.3

108.4

Sample no. 25

first dabu (108.1)

Material: Rayon

Dyebath 1: Natural Indigo (108.2)

Pre-mordant: Alum + Soda Overnight

second dabu (108.3)

Base dye: Harda (Cold dyeing)

Dyebath 2: Ferrous Sulphate (kashish)

Sample no. 21

first dabu (108.5

Material: Organic Khadi

Dyebath 1: Natural Indigo (108.6)

Pre-mordant: Alum + Soda Overnight

second layer: Shyahi blocks (108.7)

Base dye: Kusumal (Hot dyeing)

Dyebath 2: boiled in Warm water to fix shyahi

108.5

108.6

108.7

108.8

September 2017 | Shifting Blocks | Brinda Dudhat | 109

109.1

109.2

109.3

109.4

Sample no. 3

first dabu (109.1), Dyebath 1: Natural Indigo (no image)

Material: Organic Khadi

second dabu (109.2), Dyebath 2: Natural Indigo

Pre-mordant: Alum + Soda Overnight

third dabu (109.3), Dyebath 3: Patang (cold dye)

Base dye: Manjeestha (Hot dyeing)

final wash.(109.4)

Sample no. 30

first dabu (109.5)

Material: Organic Khadi

Dyebath 1: Natural Indigo (109.6)

Pre-mordant: Alum + Soda Overnight

second layer: (109.7)

Base dye: Kusumal (Hot dyeing)

Dyebath 2: boiled in Warm water to fix shyahi

109.5

109.6

109.7

109.8

Syahi - Dabu - Kashish

110.1

110.2

Syahi-begar is the traditional printing style of Bagru and Sanganer in Rajasthan. Syahi printing paste is prepared using scrap iron, horseshoes and Gur (jaggery) in an earthenware vessel. It yeilds deep black colour and ‘begar’ is the bright red which the outcome of alizarin reacting with alum on the fabric.

A combination of Shyahi-dabu-kashish was tried out during the sampling. (begar-red was annihilated by avoiding the alum premordanting process)

110.3

110.4

Step 1: Syahi blocks were printed on harda dyed fabric. (Harda functions as a pre-mordant link between the fibers and the various other ingredients of syahi paste.) Image: 110.1,110.2

Step 2: Syahi printed fabrics are boiled in hot water with ‘dauli fool’ to fix the syahi paste and then it is throughly washed in water. This results in clear white background and rich black syahi color.

Step 3: Dabu blocks were stamped over the syahi printed fabric. Then the dabu was allowed to dry for 110.5

110.6

4-5 days.Image: 110.3, 110.4

Step 4: Dabu printed fabric was dipped in the dyebath of ferrous Sulphate (kashish).

Step 5: Final wash.

September 2017 | Shifting Blocks | Brinda Dudhat | 111

Syahi - Dabu - Begar

111.1

111.2

When the fabric is pre-mordanted with Alum, during the colour fixing stage the colours obtained in conjunction with the two mordants are red (with alum) and black (with ferrous).

Step 1: Syahi blocks were printed on harda dyed, Alum-mordanted fabric. Image: 111.1, 111.2

111.3

111.4

Step 2: Fixing of colour Boiling is carried out in large copper vessels (‘tambri’) which are heated by wood fire. Alizarin filled in small cloth-bags (‘potali’) is dipped in the vessel. The quantity of alizarin dye is calculated by the experienced dyer. ‘Dhawadi phool’, a local flower is boiled along with alizarin to avoid patches and staining. Alizarin reacts with alum in the fibers and gives deep red and also fixes and brightens the colour of syahi.

Step 3: Dabu blocks were stamped over the syahibegar fabric. Then the dabu was allowed to dry for 4-5 days. Image: 111.3,111.4

Step 4: Dabu printed fabric was dipped in the dyebath of ferrous Sulphate (kashish).

Step 5: Final wash.

111.5

111.6

112 | National Institute of Design | Graduation Project | Textile Design (B.Des)

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Page-136

Page-136

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Page-140

Page-142

Page-142

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Page-132

Page-132

Page-134

Page-134

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Page-138

Page-138

Page-140

Page-142

Page-144

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114 | National Institute of Design | Graduation Project | Textile Design (B.Des)

FI N A L SA M P LIN G Outcomes of the first stage of sampling were

After caring out experiments in dyeing and

analysed and block layouts and colour palette

mordanting with the dabu printing process during

were finalised.

the first stage of sampling, one of the most affective methods devised for final sampling

• Layouts for the final surfaces were kept

process is as follow:

minimal, over-printing and overlapping of blocks was reduced to make the process

• 1: Washing

shorter and production-friendly.

• 2: Pre-mordanting

• Colour palette of the final samples was limited to four colors, they were - yellows of harda and naashpaal, Brown from babul chilka and natural indigo blue.

• Silhouettes for the garments were decided

• 3: Hot-dyeing • 4: Dabu 1 • 5: Dye bath 1 • 6: Dabu 2 • 7: Dye bath 2 • 8: Final wash

before the second stage of sampling so that the quantity of fabric to be printed for final sampling can be decided ordered accordingly.

Three different kind of fabrics were used for final sampling, 1. Kala cotton sourced from Khamir in Kutch, Gujarat 2. Handwoven organic cotton sourced from Dastakar in Andhra.

3. Georgette chiffon silk from K.C. creations in New Delhi.

115.1: Samples from the first state of sampling displayed in the intern’s room at Aavaran workshop in Udaipur.

115.2: Final colour pallete for the Autumn-Winter collection before the second stage of sampling.

115.3: Worksheets with the planning for final sampling 115.4: Final samples

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115.1

115.3

115.2

115.4

116 | National Institute of Design | Graduation Project | Textile Design (B.Des)

116.1

116.2

116.3

G AR ME N TS Silhouettes of the garments were decided before the second stage of sampling process.

Images on left forms the inspiration board for the garment silhouttes.

Emulating the concept of the project, the garments of the collections were emanating qualities like,

116.4

116.5

116.6

• • • • • • • • •

fulsome, free-flowing, comfortable, loose-fitting, cozy, relaxing, raw, organic, earthy.

All these qualities are perfectly embodied in the mori girl fashion subculture that originated in 116.7

116.8

116.9

116.10

116.11

116.12

Japan.

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WHAT IS MORI GIR L ?

117.1

117.2

Mori means forest in Japanese, simplest description of Mori girl is - a girl who looks like she live in the forest. Mori girls are often seen in loose dresses or smocks, vintage blouses, puffed sleeves, A-line skirts and many-layered ensembles.

They delight in beautiful fabrics and textures, preferring natural materials, and are impartial to 117.4

autumnal shades reminiscent of forest glades such as deep reds, greens, blues and browns. While every Mori girl is a child at heart, they are endlessly fascinated by objects with a history.

Mori girls are also characterised by certain attitudes to life. While most Mori girls really

117.3

live in the city, they maintain a pace of life that may be considered slow by others, preferring to stop and savour the tiny delights that many deem insignificant. Mori girls like to explore old neighbourhoods, discover hole-in-the-wall shops and read in cafes.

In her own quiet way, the Mori girl is an individualist. She does not care that the world

117.5

117.6

117.7

117.8

may live differently from her. She lives consciously and chooses her own lifestyle.

Images on right: mood board pictures for the garment collection.

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Above fashion illustrations are the ideation of ‘Mori girl’ concept and silhouette designs for the final garment collection.

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120.1

120.3

Balloon Dress

120.2

120.4

120.5

120.6

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121.1

121.5

Halter-neck Dress

121.2

121.3

121.6

121.4

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122.1

122.5

Shirt Dress

122.2

122.3

122.6

122.4

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123.1

123.3

Novel dress

123.2

123.4

123.5

123.6

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124.1

124.4

Square Top, Bias Dress

124.2

124.5

124.6

124.7

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125.1

125.5

Indigo triangle dress

125.2

125.3

125.6

125.4

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126.1

126.5

Box Dress

126.2

126.3

126.6

126.4

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127.1

127.3

Jump suit

127.2

127.4

127.5

127.6

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7 SAMPLES AND SPECIFICATIONS

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• E X PL OR A T I ON S A M P L E S

130

• C O L O U R S W A T C H E S

146

• FI NA L S A M P L E S A N D C OS T I N G

154

• C O L L EC T I ON L OOK B OOK

166

• C O NC L U S I ON

190

• R E FE R E N C E S

192

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Material: Organic Khadi

Material: Organic Khadi

Material: Mushroo Silk

Scouring and Washing in TRO

Scouring and Washing in TRO

Scouring and Washing in TRO

Pre-mordant: Alum + Soda (Overnight)

Pre-mordant: Alum + Soda (Overnight)

Pre-mordant: Alum + Soda (Overnight)

Base dye: Kusumal (Hot dye)

Base dye: Manjeestha (Hot dye)

Base dye: Manjeesthal (Hot dye)

dabu 1:

dabu 1:

dabu 1:

Triangle-2 blocks

Triangle-1 blocks Square-2

Dyebath 1: Natural Indigo

Dyebath 1: Natural Indigo and wash

Dyebath 1: Natural Indigo

dabu 2:

dabu 2:

dabu 2:

Triangle-1 blocks

Triangle-2 Circle-2 blocks

Circle 1 (Small)

Dyebath 2: Patang ki Lakadi (cold dye)

Dyebath 2: Babul Chika (cold dye)

Dyebath 2: Kashish (Light shade)

Final Wash.

Final Wash.

Final Wash.

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Material: Mushroo Silk

Material: Rayon

Material: Linen

Scouring and Washing in TRO

Scouring and Washing in TRO

Scouring and Washing in TRO

Pre-mordant: Alum + Soda (Overnight)

Pre-mordant: Alum + Soda (Overnight)

Pre-mordant: Alum + Soda (Overnight)

Base dye: Harda (cold dye)

Base dye: Harda (cold dye)

Base dye: Harda (cold dye)

dabu 1:

dabu 1:

dabu 1:

Circle-2 Square-2

Triangle-1 blocks

Dyebath 1: Kashish (Light shade)

Dyebath 1: Natural Indigo

Dyebath 1: Natural Indigo

dabu 2:

dabu 2:

dabu 2:

Circle 1 (Small)

Triangle-2 Circle-2 blocks

Circle 1 (Small)

Dyebath 2: Natural Indigo (2-3 dips)

Dyebath 2: Kashish (Meduim Shade)

Dyebath 2: Kashish (Light shade)

Final Wash.

Final Wash.

Final Wash.

Square-2

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Material: Linen

Material: Linen

Material: Linen

Scouring and Washing in TRO

Scouring and Washing in TRO

Scouring and Washing in TRO

Pre-mordant: Alum (5 mins)

Pre-mordant: Alum (5 mins)

Pre-mordant: Alum + Soda (Overnight)

Base dye: Kusumal (Hot dye)

Base dye: Red sandalwood (hot dye)

Base dye: Harda (cold dye)

dabu 1:

dabu 1:

dabu 1:

Circle-2 Triangle-2

Triangle-1 blocks

Dyebath 1: Naashpaal (cold dye)

Dyebath 1: Patang ki Lakadi (cold dye)

Triangle-1 Triangle-2 Triangle-3

dabu 2:

dabu 2:

Dyebath 1: Natural Indigo dabu 2:

Circle 1 (Smallest) Triangle 1 (Smallest)

Triangle-2 Circle-2 blocks

Dyebath 2: Kashish (meduim shade)

Dyebath 2: Kashish (Meduim Shade)

Final Wash.

Final Wash.

Triangle-1(Small) Triangle-1(Smallest) Dyebath 2: Patang ki Lakadi (cold dye) Final Wash.

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Material: Cotton with Jacquard buttas

Material: Cotton with Jacquard buttas

Material: Cotton with Jacquard buttas

Scouring and Washing in TRO

Scouring and Washing in TRO

Scouring and Washing in TRO

Pre-mordant: Alum (5 mins)

Pre-mordant: Alum (5 mins)

Pre-mordant: Alum + Soda (Overnight)

Base dye: Kusumal (hot dye)

Base dye: Red sandalwood (hot dye)

Base dye: Harda (cold dye)

dabu 1:

dabu 1:

dabu 1:

Circle-2

Circle-1 Triangle-2

Triangle-2

Dyebath 1: Manjeestha (cold dye)

Dyebath 1: Natural Indigo

Dyebath 1: Natural Indigo

dabu 2:

dabu 2:

dabu 2:

Circle-2

Circle-2 (small)

Circle 1 (Small) Circle 1 (Smallest)

Dyebath 2: Kashish (Light shade)

Dyebath 2: Patang ki lakadi (cold dye)

Dyebath 2: Kashish and Patang

Final Wash.

Final Wash.

Final Wash.

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Material: Organic Khadi

Material: Organic Khadi

Material: Cotton with Jacquard buttas

Scouring and Washing in TRO

Scouring and Washing in TRO

Scouring and Washing in TRO

Pre-mordant: Alum (5 mins)

Pre-mordant: Alum + Soda (Overnight)

Pre-mordant: Alum (5 mins)

Base dye: Red Sandalwood (hot dye)

Base dye: Harda (cold dye)

Base dye: Red Sandalwood (hot dye)

dabu 1:

dabu 1:

dabu 1:

Square-2

Square-1

Square-2 Circle-2 Triangle-2

Dyebath 1: Manjeestha (cold dye)

Dyebath 1: Natural Indigo and washi

Dyebath 1: Kashish (light shade)

dabu 2:

dabu 2:

dabu 2:

Circle-2

Square-2 Circle-2

Square-1 (Smallest) Circle-1 (Smallest) Triangle-1 (smallest)

Dyebath 2: Patang ki lakadi (cold dye)

Dyebath 2: Patang ki lakadi (cold dye)

Dyebath 2: Patang

Final Wash.

Final Wash.

Final Wash.

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Material: Cotton silk

Material: Georgette Satin Silk

Material: Mulberry silk

Scouring and Washing in TRO

Scouring and Washing in TRO

Scouring and Washing in TRO

Pre-mordant: Alum + Soda (Overnight)

Pre-mordant: Alum (5 mins)

Pre-mordant: Alum + Soda (Overnight)

Base dye: Kusumal (hot dye)

Base dye: Red sandalwood (hot dye)

Base dye: Manjeestha (hot dye)

dabu 1:

dabu 1:

dabu 1:

Triangle-3

Triangle-2 Triangle-3

Dyebath 1: Patang (cold dye)

Dyebath 1: Patang ki lakadi (cold dye)

Dyebath 1: Natural Indigo

dabu 2:

dabu 2:

dabu 2:

Circle-2

Triangle -1

Circle 1

Dyebath 2: Kashish (Light shade)

Dyebath 2: Babul and then Kashish

Dyebath 2: Kashish and Patang

Final Wash.

Final Wash.

Final Wash.

Circle-2

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Material: Cotton with Jacquard buttas

Material: Cotton with Jacquard buttas

Material: Cotton with Jacquard buttas

Scouring and Washing in TRO

Scouring and Washing in TRO

Scouring and Washing in TRO

Pre-mordant: Alum (5 mins)

Pre-mordant: Alum (5 mins)

Pre-mordant: Alum + Soda (Overnight)

Base dye: Kusumal (hot dye)

Base dye: Red sandalwood (hot dye)

Base dye: Harda (cold dye)

dabu 1:

dabu 1:

dabu 1:

Triangle-1

Square-1

Dyebath 1: Manjeestha (cold dye)

Dyebath 1: Natural Indigo

Dyebath 1: Natural Indigo

dabu 2:

dabu 2:

dabu 2:

Circle-1(small)

Triangle-1 (small) Triangle-3

Circle-3 Square-3

Dyebath 2: Kashish (Light shade)

Dyebath 2: Patang ki lakadi (cold dye)

Dyebath 2: Kashish and Patang

Final Wash.

Final Wash.

Final Wash.

Triangle-3

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Material: Cotton with Jacquard buttas

Material: Cotton with Jacquard buttas

Material: Cotton with Jacquard buttas

Scouring and Washing in TRO

Scouring and Washing in TRO

Scouring and Washing in TRO

Pre-mordant: Alum (5 mins)

Pre-mordant: Alum (5 mins)

Pre-mordant: Alum + Soda (Overnight)

Base dye: Kusumal (hot dye)

Base dye: Red sandalwood (hot dye)

Base dye: Harda (cold dye)

dabu 1:

dabu 1:

dabu 1:

Circle-1

Circle-1 Square-1

Dyebath 1: Manjeestha (cold dye)

Dyebath 1: Natural Indigo

Dyebath 1: Natural Indigo

dabu 2:

dabu 2:

dabu 2:

Circle-1 (small)

Circle-1 (small)

Circle 1 (Small)

Dyebath 2: Kashish (Light shade)

Dyebath 2: Patang ki lakadi (cold dye)

Dyebath 2: Kashish and Patang

Final Wash.

Final Wash.

Final Wash.

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Material : Suvin Cotton Dye: Babul (Alum Pre-mordant)

Material : Dastakar Cotton Dye: Babul (Alum Pre-mordant)

Material : Kala Cotton Dye: Babul (Alum Pre-mordant)

Material : Suvin Cotton, Dye: Babul (alum pre-mordant, ferrous post-mordant)

Material : Dastakar Cotton, Dye: Babul (alum pre-mordant, ferrous post-mordant)

Material : Kala Cotton, Dye: Babul (alum pre-mordant, ferrous post-mordant)

Material : Suvin Cotton, Dye: Babul, (alum pre-mordant, ferrous post-mordant*2)

Material : Dastakar Cotton, Dye: Babul, (alum pre-mordant, ferrous post-mordant*2)

Material : Kala Cotton, Dye: Babul, (alum pre-mordant, ferrous post-mordant*2)

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Material : Suvin Cotton Dye: Laal Chandan (Alum Pre-mordant)

Material : Dastakar Cotton Dye: Laal Chandan (Alum Pre-mordant)

Material : Kala Cotton Dye: Laal Chandan (Alum Pre-mordant)

Material : Suvin Cotton, Dye: Laal Chandan (alum pre-mordant, ferrous post-mordant)

Material : Dastakar Cotton, Dye: Laal Chandan (alum pre-mordant, ferrous post-mordant)

Material : Kala Cotton, Dye: Laal Chandan (alum pre-mordant, ferrous post-mordant)

Material : Suvin Cotton, Dye: Laal Chandan (alum pre-mordant, ferrous post-mordant*2)

Material : Dastakar Cotton, Dye: Laal Chandan (alum pre-mordant, ferrous post-mordant*2)

Material : Kala Cotton, Dye: Laal Chandan, (alum pre-mordant, ferrous post-mordant*2)

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Material : Suvin Cotton Dye: Naashpaal (Alum Pre-mordant)

Material : Dastakar Cotton Dye: Naashpaal (Alum Pre-mordant)

Material : Kala Cotton Dye: Naashpaal(Alum Pre-mordant)

Material : Suvin Cotton, Dye: Naashpaal (alum pre-mordant, ferrous post-mordant)

Material : Dastakar Cotton, Dye: Naashpaal (alum pre-mordant, ferrous post-mordant)

Material : Kala Cotton, Dye: Naashpaal (alum pre-mordant, ferrous post-mordant)

Material : Suvin Cotton, Dye: Naashpaal (alum pre-mordant, ferrous post-mordant*2)

Material : Dastakar Cotton, Dye: Naashpaal, (alum pre-mordant, ferrous post-mordant*2)

Material : Kala Cotton, Dye: Naashpaal, (alum pre-mordant, ferrous post-mordant*2)

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Material : Suvin Cotton Dye: Harada (Alum Pre-mordant)

Material : Dastakar Cotton Dye: Harada (Alum Pre-mordant)

Material : Kala Cotton Dye: Harada (Alum Pre-mordant)

Material : Suvin Cotton, Dye: Harada (alum pre-mordant, ferrous post-mordant)

Material : Dastakar Cotton, Dye: Harada (alum pre-mordant, ferrous post-mordant)

Material : Kala Cotton, Dye: Harada (alum pre-mordant, ferrous post-mordant)

Material : Suvin Cotton, Dye: Harada (alum pre-mordant, ferrous post-mordant*2)

Material : Dastakar Cotton, Dye: Harada, (alum pre-mordant, ferrous post-mordant*2)

Material : Kala Cotton, Dye: Harada, (alum pre-mordant, ferrous post-mordant*2)

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Material: Dastakar Cotton (plain weave,stripes) Pre-mordant: Alum + Soda (overnight) Base Dye: Babul (hot dye) dabu 1, Dye bath 1: Kashish dabu 2, Dye bath 2: Kashish Production cost : Rs.150 per metre

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Material: Dastakar Cotton (plain weave,stripes) Pre-mordant: Alum + Soda (overnight) Base Dye: Laal Chandan (hot dye) dabu 1, Dye bath 1: Kashish dabu 2, Dye bath 2: Kashish Production cost : Rs.150 per metre

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Material: Dastakar Cotton (plain weave,stripes) Pre-mordant: Alum + Soda (overnight) Base Dye: Naashpaal (hot dye) dabu 1, Dye bath 1: Kashish dabu 2, Dye bath 2: Kashish Production cost : Rs.150 per metre

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Material: Dastakar Cotton (plain weave,stripes) Pre-mordant: Alum + Soda (overnight) Base Dye: Harda (hot dye) dabu 1, Dye bath 1: Kashish dabu 2, Dye bath 2: Kashish Production cost : Rs.150 per metre

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Material: Kala Cotton from Khamir, Kutch (plain weave) Pre-mordant: Alum + Soda (overnight) dabu 1, Dye bath 1: Patang ki lakadi and wash dabu 2, Dye bath 2: Kashish Production cost : Rs.200 per metre

Material: Kala Cotton from Khamir, Kutch (plain weave) Pre-mordant: Alum + Soda (overnight) dabu 1, Dye bath 1: Kashish and wash dabu 2, Dye bath 2: Kashish Production cost : Rs.200 per metre

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Material: Kala Cotton Pre-mordant: Alum + Soda (overnight) Base Dye: laal chandan (hot dye) dabu 1, Dye bath 1: Kashish and Cold dye in Patang dabu 2, Dye bath 2: Kashish Production cost : Rs.200 per metre

Material: Kala Cotton Pre-mordant: Alum + Soda (overnight) Base Dye: naashpaal (hot dye) dabu 1, Dye bath 1: Kashish and Cold dye in Patang dabu 2, Dye bath 2: Kashish Production cost : Rs.200 per metre

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S H I F T I N G B L O C K S WINTER 2017-18 MUD RESIST

NATURAL DYED COLLECTION B Y

A A V A R A N U D A I P U R

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OUR HEADS ARE ROUND SO OUR THOUGHTS CAN CHANGE DIRECTION ~FRANCIS PICABIA, MOMA

SH IFTIN G BLOCKS LOOK BOOK

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CON CLU SION The Journey of this degree project has been

These six months also had some very confusing

the most exciting and enriching experience for

times. Overcoming the challenges and hardships

me. I had the creative freedom of making all the

of working in the craft-sector, following an

decisions from the sourcing of the raw material,

unconventional design approach and taking the

building a concept for the collection, conducting

critical feedbacks has only helped strengthen my

interactive workshops with the craftspeople of

confidence.

Aavaran, creating a natural dye colour palette by experimenting with local natural dyes, freedom to

The joy of creating a colour palette from the

try out different block layouts with the printers to

natural materials and the happy mistakes and

figure out the variety of possibilities in dabu block

surprises that come by combining plant materials

printing and finally designing silhouettes for the

and mordants confers me sanctity. I can only

final garment collection.

be happy when I am working with the content I believe in. I believe this project is my very first

After completing four years at National Institute

step towards designing with conscience, rooted

of Design, I took along with me a certain

in the local and speaking a global language and

individualistic approach, a certain aesthetic and

contributing in changing the craft sector scenario

taste. This project gave me a chance to develop

in the country with innovation and creativity.

my own design sensibilities, preferences and approach. It gave me an opportunity to apply my

I will treasure this unique experience of living,

skills and knowledge in a real-time situation, very

learning and growing in the beautiful city of

different from any classroom projects done earlier.

Udaipur while designing a dream collection from

Learning about the value chain in a craft-sector

its inception to the conclusion.

industry and the number of people involved in the making of a single product was an eye-opening experience.

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I M A GE RE FE RE N CE S • 12.1, 12.2, 13.1, 13.2: www.nid.edu • 19.2,19.4, 19.7: Aavaran Facebook page • Page 20-23: Previous collections of Aavaran • Page 39: Brands: Anavila, Block shop, Doodleage, Itr, Shift, Maku, Runaway Bicycle, eleven eleven, Vrajbhoomi

• 50.2: Ferrous Sulphate - https://commons. wikimedia.org/wiki/File:Iron(II)-sulfate-heptahydrate-sample.jpg

• 50.3: Copper sulphate- https://www.tradeindia. com/fp3019872/Copper-Sulphate-Large-BlueCrystals-2-5-CM-Lumps-.html

• 53.3: Indigo - http://maiwahandprints.blogspot. in/2013/08/

• 36.1-36.6: Abraham and Thakore Autumn Winter 2014 at Wills Lifestyle India Fashion Week Delhi (Source: pinterest)

• 36,7.36.8: Bias facebook page • 37.1-37.4: Block shop (www.blockshoptextiles. com)

• 37.5,37.6: Aish, Kolkatta facebook page • 42.1: Ogaan ,Delhi - https://www.cntraveller. in/story/shopaholics-guide-central-delhi/#scustpot-plant; 42.2: Bunglow eight - http:// www.bungaloweight.com/; 42,3: Artisans, Mumbai - https://twitter.com/lakmefashionwk/ status/767995350498107392

• 58.1: Judy Frater - https://ishankhosla.wordpress.com/2011/08/06/sangam-the-confluenceof-craft-and-design/

• 58.2, 58.3: http://www.kala-raksha-vidhyalaya. org/

• 61.1,61.2: ‘Tanko bole che’ http://animamundifestival.blogspot.in/2010/07/animation-and-documentary.html

• 61.3: ‘Baat wahi hai’ documentary - http://www. thealternative.in/lifestyle/craftsmen-take-centre-stage-at-hastakala/

• 67.1: S.H. Raza Painting -https://www.artisera. com/collections/s-h-raza

• 44.2: http://www.space118.com/events/event/ block-printing-workshop-by-shyamala-rao/

• 44.6: http://mokshaonline.in/block-printing/ • 50.1: Alum - https://www.alibaba.com/showroom/crystals-mordant.html

• 67.2: Dries Van Noten – Fall 2017 - http://blog. patternbank.com/dries-van-noten-fall-2017-rtwparis-fashion-week-print-pattern-highlight/

• 67.3: - Lakme fashion week 2017

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• 83.1: http://www.akarprakar.com/portfolio_ item/s-h-raza-manish-pushkale/

• 83.2: https://girardstudio.com/ • 83.3: https://www.google.com/search?biw=1440&bih=803&tbm=isch&sa=1&q=b180dfb0c88b27a2c8fcf20f24c39ed3&oq=b180dfb0c88b27a2c8fcf20f24c39ed3&gs_l=psy-

• 83.4: https://www.moma.org/calendar/exhibitions/1670

• 84.1: S.H. Raza - http://www.akarprakar.com/ portfolio_item/s-h-raza-manish-pushkale/

• 85.1: Alexande Girard - http://collection. cooperhewitt.org/objects/18677827/

• 85.2: http://www.srtajara.com/category/hauses-and-architecture/page/6/

• 86.1: Lyubov Popova - https://www.nationalgalleries.org/art-and-artists/798/painterly-architectonic

• 86.2: Francis Picabia - https://en.wikipedia.org/wiki/Francis_Picabia#/media/ File:Francis_Picabia,_1912,_La_Source,_ The_Spring,_oil_on_canvas,_249.6_x_249.3_ cm,_Museum_of_Modern_Art,_New_York._Exhibited,_1912_Salon_d%27Automne,_Paris.jpg

• pg 116: Garment inspiration - https://in.pinterest.com/bdudhat/a-dress/

• pg 117: Mori girl inspiration - http://www.mymodernvintage.com/2011/10/inspiration-monday-mori-girl-fashion.html

• Page 166-189: Collection Photoshoot Photo Credits • Radha Dutta, Art University Bournemouth, UK (2013-2016) • Mahak Nyati, Nift Gandhinagar (2013-2017)

• Models: Anzori, Gargi and Shruti from Nift Gandhinagar • Special thanks to Ronak Mistry and Mahak Nyati.

• Venue Credits: Oladar Cafe and Motionads Photo studio in Udaipur All other images belongs to the author.

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B I BLIOGRA P HY WEB REFERENCES

• http://whc.unesco.org/documents/publi_wh_ papers_31_en.pdf

• http://www.kala-raksha-vidhyalaya.org/ • https://sanu5i.wordpress.com/2010/09/01/ week-4-visual-syntax-semantics-pragmatics/

• http://www.artnewsnviews.com/ view-article.php?article=s-h-raza-themodern&iid=29&articleid=801

• https://www.moma.org/calendar/ exhibitions/1670

• https://maiwa.com/pages/natural-dyes • http://www.handprintingguiderajasthan.in/ appendix-5-sources-for-natural-dyes/

• http://morigirl.blogspot.in/2009/10/who-aremori-girls.html

• http://gaatha.com/dabu-print-akola/ • www.aavaranudaipur.com • www.nid.edu

BO O K R E FE R E N C E S

• Eco Colour; Author- India Flint; Year published2014, Murdoch books, Crows Nest.

• Naturl dyes: Sources, Tradition, Technology

and Science; Author- Dominique Cardon; Year published- 2007, Archetype publications, London.

• Natural dyeing processes of India; Author- Bijoy Chandra Mohanty, K.V. Chandramouli and H.D. Naik; Year published- 1987, Calico Museum of Textiles, Ahmedabad, India.

• Block printing and dyeing of Bagru, Rajasthan; Author- Bijoy Chandra Mohanty, Jagadish Prasad Mohanty; Year published- 2004, Calico Museum of Textiles, Ahmedabad, India.

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196 | National Institute of Design | Graduation Project | Textile Design (B.Des)