NOI MOHI ৈন মহী
Noi Mohi / Daksha Salam / 1
2 / National Institute of design / Textile Design (B.Des) / Graduation Project
“The external world is produced when the seeds perfume the consciousness”
Noi Mohi / Daksha Salam / 3
4 / National Institute of design / Textile Design (B.Des) / Graduation Project
“Moromor dighdi, senehar bani loi Hepahar anchure boa Swaponar phulere, phulam mor bihuwan Mondi ebili loa.” “Oh my beloved, do take the bihuwan with all your heart; i have woven it with the warp of my love and the weft of my affection. It is bordered with my tender desire and adorned with dreamy flowers”
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6 / National Institute of design / Textile Design (B.Des) / Graduation Project
Acknowledgment
This project, or an endeavor as I would rather call it, has been a very significant process of learning for me. I have been very lucky to be able to access this expanse of resources and knowledge in the short span of 8 months, and for this, I have a lot of people to thank. I am using this opportunity to express my gratitude to everyone who supported me throughout the course of this project. I am thankful for their inspiring guidance, invaluable constructive criticism and friendly advice during the project work. First and foremost, I’d begin by acknowledging my mentors and partners in this venture, Priyanka and Prayaag, without whom this brand would have never manifested. I am so glad that they approached me at the right moment to begin this wonderful venture and took me under their wings. Thank you for being the pillars in this project, and sharing the vast experience and knowledge that
helped mould this brand and project. I am eternally thankful for the experience and the endless amount of discussion taken to conceptualise a brand like Noi Mohi and being a part of my journey from its very inception. This project would definitely not have been possible without the artisans of Noi Mohi - Fatema Bibi, Hasina Bibi, Jyotsna Bibi and Sahera Bibi. Without their active participation and their enthusiasm to teach and learn, we would have not been able to execute the vision of co-creating with them. Through their eyes, I was able to see textiles from a whole different perspective. The most heartfelt gratitude to my guide Sakthivel, for being there for me since I first joined the textile department - for constantly listening to all of my problems and solving them in the most eccentric and creative way for me to learn, and for helping me carve a path for myself in the field of handloom textiles. A sincere thank you to the entire faculty member of the textile department who has always shown encouragement and support with my work and vision. A special mention to Prabhat Bhai and Paresh Bhai for instilling in me the joys of dyeing which led me to this project.
A special thank you to my long time mentor from school, Priyanka Joshi. Thank you for always believing in my work and guiding me in the field of design from a very young age. A big thank you to my batch-mates, juniors and senior here at NID. A special mention to my very own textile batch for being the most enriching group of people which formed a perfect dynamic for a creative to grow. To Hemakshi for her short but fruitful helping hand with the brand. To Ruchi for allowing me to be me and helping me put my thoughts into words. To my second family Gepi, Taar, Pen, Yoosh, Annu, Mehek, Sarah, Ru, Jojo, Ambi, Sups and Shaun for constantly supporting me and being my friend. Lastly, a most heartfelt thanks to my family for their unconditional love and support. To Mamma and Pabung for instilling the seed of creativity and nurturing it, and for convincing me that you don’t always have to seek out and instead reach within for oneself to grow. And to my beautiful sister, Che for being my best friend.
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Contents
8 / National Institute of design / Textile Design (B.Des) / Graduation Project
Acknowledgment
Gamosa / 8
- 12
- 177
NID
Boko Saree / 9
- 14
- 185
Synopsis
Learning and Experience
- 22
- 210
Context / 1
Future of Noi Mohi
- 24
- 212
About the Project / 2
Upcycling for Noi Mohi
- 34
- 214
Branding / 3
Specification / 10
- 45
- 220
Marketing / 4
Costing / 11
- 68
- 262
Analysis and Synthesis/ 5
Bibliography
- 88
- 264
Design Approach / 6
Sareespotting
- 90
- 267
Design Process / 7 - 105
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Fig. 0.1
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National Institute of Design On April 7, 1958, the Eameses presented the India Report, to the Government of India. The Eames Report defined the underlying spirit that would lead to the founding of NID and the beginning of design education in India. The report recommended a problem-solving design consciousness that linked learning with actual experience and suggested that the designer could be a bridge between tradition and modernity. The report called upon future designers to re-examine the alternatives of growth available to the country at the time. Based on the recommendation made in the India Report, the Government of India with the assistance of the Ford Foundation and the Sarabhai Family established the National Institute of Industrial Design, as it was originally called as an autonomous all India body in September 1961 at Ahmedabad. He revived the philosophy of the Bauhaus Design movement which was learning by doing. The unique curriculum and revolutionary educational philosophy remain part of NID to the present day.
of the Ministry of Commerce and Industry, Government of India. NID has been declared ‘Institute of National Importance’ by the Act of Parliament, by the virtue of the National Institute of Design.
Today, the National Institute of Design is internationally acclaimed as one of the first educational and research institutions for design. It its an autonomous institution under the aegis
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Textile Design Textile design is an understanding and creation of textiles to solve design problems. It involves keen observation and assimilation of traditional techniques as well as modern mass production methods. The textile Design programme at NID takes inspiration from both art as well as craft tradition and it equally lays emphasis on the production potential of these materials. The curriculum at NID offers a wide range of courses such as, elementary, ergonomics, textile fibres, colours, composition and basics of textile design. It strives to develop innovative and synergistic approaches to design for divers sectors of the textile industry, markets and the social sector informed by an appreciation of the cultural heritage, socio-economic and environmental concerns that is developed through field work and research. Exposure to all levels of industrial and craft production is given through field visits and short training with industry. Documentation of crafts introduces the students to fieldwork and research methodology and enables the students to develop a deeper understanding of the cultural issues that impact design.
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Fig. 0.2
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Fig. 0.3
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Graduation Project The end of the students academic tenure at the National Institute of Design is marked by the culmination of a substantial investigation in the field of design on a topic closely allied to their discipline of study. It is through the graduation project and subsequent documentation of the same that this investigation takes place. The graduation project is an opportunity for students to demonstrate their expertise as independent practitioner of design. The project must be done with academic rigour incorporating systematic inquiry and informed design decisions. The phrase ‘systematic enquiry’ implies the presence of structure and method by which the student must carry out their project. The graduation project reflects leadership manifested through creativity and innovation. The project leads to new knowledge creation and should align with broader objectives of the institute.
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Synopsis
create its core values, philosophies and aesthetic principles. The proposition also entailed working on the branding and the marketing, leading into which a few collections would to be created focusing on the handlooms of Assam. Since we were building a brand from its inception, the brief was open-ended with many a changes made along the way.
When it was time for me to seek out inspiration for my graduation project, I was inclined towards going back to my roots. Even though I grew up in Assam, I never looked at it with the eyes of a textile designer. Thus, beginning my journey in this industry, I thought it best to start whence I came.
Noi Mohi wants to be known as a unique, simple yet sophisticated, value-for-money handloom brand in the north-east of India. The goal of Noi Mohi is to become a socially conscious brand that is rooted in the values of mother nature.
After a month-long internship at Fabric Plus in the beginning of 2018, I started to venture out of the realm of prospects of working in the textile industry in Assam, which mainly consisted of the handloom sector. I felt it important to revive the traditional motifs and patterns that have existed in Assam and aid it with the design eduction that I’ve been imparted with at NID in the past 4 years. This is when I was approached to help start the brand, Noi Mohi. My initial project brief was to create a design language for Noi Mohi - to
As a transparent brand, we want to promote the heroes of our brand - the farmers, weavers, the creators of our product. We offer more than just apparel to our customers. They get a taste of the north-east and an experience that will last in their wardrobe for more than just a “ season�. Our designs are empathetic and timeless in nature and can be worn in different styles, therefore reducing the size of their wardrobe while maintaining the same variety. We chose a group of weavers in a village in Boko called Pairanga, who were skilled weavers who did not have to be trained much as they inherit the skills
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from their families, and made for an exceptional addition to the team. They were enthusiastic and keen on learning new things, and eager to do more. They mostly specialise in sarees as the weavers here make two-piece ones, which is also their local attire. It was also an enriching community-building opportunity, as the Rabha and the Muslim communities came together for big orders. Furthermore, the availability of natural resources i.e. natural dye material, hand-spun silk, etc., in and around the village was a logistical boon. It was completely new territory for me to be working with a new dialect/language while working with the weavers, co-creating, helping them understand contemporary aesthetics, plus the exchange of ideas. I have a new-found appreciation for the natural resources found in the region, and hence, have to come up with a strategy to make them more sustainable, because it is a small group of weavers currently at work, and that would not be sufficient in order to scale up.
Fig. 0. One of the many kacha lanes in Boko Village.
Fig. 0 Noi Mohi / Daksha Salam / 17
Fig. 1.1 18 / National Institute of design / Textile Design (B.Des) / Graduation Project
Context / 1
Assam / 1.1 Handloom in Assam / 1.2 Dyeing in Assam / 1.3
Fig. 1.1. Anita Baideu’s wall in at her home in Bamundi Village, Sualkuchi.
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Assam Assam is a thinly populated hilly tract lying on the eastern part of India. Popularly called as the land of the red river and blue hills, Assam is the gateway to the northeastern part of India. Assam is a mixed ethnic society with diversified culture. Located in the South Eastern Himalayas along the Brahmaputra and Barak River valleys. The present name of the province is said to be the anglicised form of Assamese word ‘Assam’ meaning ‘unparalleled’.
Fig.1.2. Lush organic tea garden in Dimakuchi, Udalgudi district.
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Fig. 1.2
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Fig. 1.3
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Handloom in Assam
In Assam weaving is carried out as a household activity. It is the second largest activity after agriculture in northeast of India. Mostly practised by women folk during there leisure time. It is unlike other parts in India where only certain communities practise it. In Assam every community and tribe has a loom in their households. All the activities involved such as spinning, reeling and weaving are practised by women weaver all over the state irrespective of their cast, creed or tribe. The women folk utilise their weaving skills to aid their families financially. Most times the skills of these women are inherited from the previous generations or they are self trained. At times their skill remain inadequate and does most match up to the demands of the current market scenario. The weaving population of Assam can be divided broadly into three categories on the basis of their skills and the techniques utilised by them.
There are non tribal Assamese communities in the plains who uses a two shaft fly shuttle loom with handpicked extra weft. They mainly weave cotton and eri products. They are mostly set trained unskilled weavers who work form their households. Some of them are trained by NGOs and govt schemes giving them extra skills in dyeing and weaving techniques. Sualkuchi, is a popular village about 35 km from Guwahati where there is a collective number of highly skilled weavers. They function in Jacquard looms where both men and women weave. The tribal communities in Assam have their own distinct language. They have a unique colour, motif, patterns which are skilfully woven. They use extra warp and extra weft technique with stripes and checks in their designs. A little higher above in the hills the tribes use back strap looms. The tribal communities consist of Bodo, Mishing, Kacharis, Rabha, tai phakes and karbis.
Fig. 1.3. Jyotsna Bibi setting up a warp in Pairanga, Boko.
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Over the decades handloom industry has generated large scale employment in rural areas. It uses diverse traditional knowledge and skills, locally available rich resources and low capital investments which can easily generate income for the rural villages. Assam being blessed with its tropical climate it thrives with natural resources and abundance in flora and fauna. Where in activities like silkworm rearing, growing foliage as food for silk worm, yarn making and weaving generates income for thousands of families in the villages. Hand spinning and hand weaving becomes a solution for employment of a large sector of people in the rural communities who can utilised there weaving skills to supplement their families income.
exactly alike. Personality of the weaver, her hereditary skill, her innate sense of colour and balance all help to create a unique product. Weaving in Assam is so replete with artistic sensibility and so intimately linked to folk life that Gandhiji, during his famous tour to promote khadi and swadeshi, was so moved that he remarked: “Assamese women weave fairy tales in their clothes!�
The traditional handloom silks still hold their own in world markets They score over factory-made silks in the richness of their textures and designs, in their individuality, character and classic beauty. No two handwoven silks are
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Drawbacks Over the year there has been major drawbacks in the handloom sector causing a stagnant growth in the sector.
The foundation Unlike other places in India weaving has always been an informal leisure activity carried out as a hobby and not as a source of income. Therefore it becoming an important commercial activity is only a new idea and lacks professionalism.
New generation There is a tendency of the newer generation to move away from the traditional activities. Wherein the transfer for knowledge from one generation to the next is lost.
Inefficiency in production There is a constant pressure to increase
the productivity where restoring the age old craft is overlooked. In the name of marketing there is rise in the degradation of quality. The weavers are also influenced highly by the growth in the use of man made material in the name of decreasing the price. They have started using synthetic yarns to reduce prices where the handloom products begins to compete with cheap mill made products in domestic markets.
Lack of infrastructure and finance. Govt. Of IndiaEven though the govt of India has been providing monetary and non monetary aid the sector it hasn’t been able to reach to the grassroots levels. The role of the govt maybe be one of the only reason why the handloom sector is still surviving.
Role of NGOs There are several attempts from NGOs in helping promote and sustain the craft through their own unique models. There have been attempts in organising young
weavers in groups such as self help groups or joint lability groups by NGOs and govt did not generate expected results . Young girl leave the groups formed by them after marriage and some continue weaving individually at home.
households in the villages buy cocoons from local market make their own yarn and sell it in the local markets. Thereby there is no constant supply of the same count and colour yarn with high fluctuation on prices. In the weaving section too the shopkeepers collect textile pieces from different weavers households.
Promoting Eri silk For many years non-mulberry silk variety hasn’t not been given importance as compared t that of mulberry. Silk such as eri has been looked over other variants such as muga and mulberry commercially. But with abundance exotic rare variety of wild silks and traditional weaving skills, there is immense scope for promoting Assam handloom in the domestic and international market.
An unorganised sector The industry is highly unorganised especially in the spinning and the weaving sectors. There are very few private owners with organised set up for spinning and weaving. Most of the time individual
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Dyeing in Assam
Textiles in Assam, especially handlooms is adorned with various hues. Even though the warp remains the natural hue of cotton and eri the ornamental borders the woven with dyed yarns. Historically it is recorded that Assam has a great wealth of indigenous natural dye. But there never has bee n a class of people that would specifically engage themselves solely in the practice of dyeing as a source of livelihood. But in recent years the art of dyeing is on the verge of extinction. The Dyeing Sector in Assam exist in certain individual dyeing facilities, but they are unable to contribute substantially to the textile sector. Lack of proper dye facilities and are devoid of proper operational frameworks and sustainable business models. The dyeing that does takes place is also due to large amount of imported dye from across India, some companies
The most predominant methods for dyeing are: Acid dyeing Azo Free dyeing Natural dyeing The predominant dyeing hubs are in Chaygaon and Guwahati and for natural dye in Iora in Kaziranga. Narmohan Das and ‘Silk N Dyes are known to be the primary hubs for Natural Dyes as well. Other organisations that conduct dyeing activities are - Grameen Sahara, Fabric Plus, Ajit Ramshri, DWWC, Sara Foundation/Fashion.
even sourcing their dye from the South making the end product very expensive and availing it to only niche segment of the consumers.
Fig. 1.4. Jyotsna Bibi stirring a pot of segun paat (teak leaves) to dye.
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Fig. 1.4
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Fig. 2 28 / National Institute of design / Textile Design (B.Des) / Graduation Project
About the Project / 2
About the Company / 2.1 Initial brief / 2.2 Project scope / 2.3 Project Timeline / 2.4
Fig. 2.1. Paat silk (mulberry) being spun into bobin from a Sereki
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Fig. 2.2
About the Company
Noi Mohi is a brand of KOSHA INDIA , a sericulture and handloom based firm in Guwahati Assam. It is a small scale handloom and craft brand focussed on telling the stories of traditional artisans and farmers of North East. Noi Mohi offers the best in quality and experience of textiles and products connecting artisans and rural farmers to the end consumers. These products are made using pure and eco friendly raw materials that have low impact on the environment. Our strength lies in ensuring quality products and fair trade policies amongst our craftspeople while maintaining sustainability. Kosha is a social organisation that aims to foster the growth of the sericulture and handloom industries across North East India by organising, restructuring and scaling up indigenous resources. It aims to accelerate the growth of North East India
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and uplift the underprivileged segments of our population by the means of offering innovative solutions to current market needs. Kosha was born out of gratitude to the lands of the North East India and the cultural heritage that it encompasses. We go by the tenets of sustainability and embrace the values of the people we work with, the planet we live on and the profit we share. KOSHA INDIA is a partnership between Priyanka Kaushik and Prayaag Barooah.
Fig. 2.4
Company Profile
Fig. 2.5
Priyanka Kaushik
Prayaag Barooah
Priyanka Kaushik is an Eri Silk enthusiast who began her journey into the world of handloom after her encounter with century old handwoven textiles of Eri silk at a museum. She started her career with IMG, Mumbai, and gained valuable insights into the world fashion and textiles. In her career of 10 years in fashion and sustainability, she has worked with a gamut of artists and designers from across the globe. Having travelled through the country scape and interacting with rural artisans, she co-founded “The Yard�, a project supporting local craftsmen in promoting their art in Europe. Returning to her roots with her experiences and a fresh outlook she is able to re-connect with the inherent values of the land and contribute towards building a promising North East.
Traditional textiles and handlooms have been part of his upbringing and family dinner conversations. As a child, he grew up playing with silk worms and has been fascinated by them ever since. An art enthusiast and a performing musician Prayaag is steeped into the creative expressions of life. Having completed his business studies at ESADE, Spain, he has begun an exploration into the facets of business and anthropology particular to the traditional arts and crafts of the North East. He has pursued this further through research work in traditional textiles. And as a research analyst for the NEC/NEDFi, he has contributed towards developing policy guidelines and changes for the sericulture industry of the NER.
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Fig. 2.6
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Initial Brief Creating a sustainable brand – Noi Mohi in the Northeast of India. My initial project brief was to create a design language for Noi Mohi - to create its core values, philosophies and aesthetic principles. The proposition also entailed working on the branding and the marketing, leading into which a few collections of Sarees would be created focusing on the handlooms of Assam. Since we were building a brand from its inception, the brief was open-ended with many a changes made along the way.
Fig. 2.6. Paat silk (mulberry) being spun into bobin from a Sereki
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Project Scope
Brand conceptualisation - helping in the conceptualisation process of the Brand Noi Mohi. From mind mapping, sensitising, ideation.
Inventory management - Helping the local artisans to concise and document their dye information from which they can benefit in the future.
Adopting the value of sustainability and slow fashion.
Documentation – documenting the different stages of making of the brand through illustrations and visual media.
Building the Logo – understanding the brand’s expression and identity. Resource management – mapping availability of raw materials, sourcing. Operation and logistics.
Marketing – planning timelines and visual marketing of the brand (website, social media etc)
Co creating – working in tangent with the local weavers in Assam. Understanding their potential and helping them express their ideas independently. Design development will be based on the research and fieldwork conducted to sensitise us the local artisans.
Fig. 2.7. Anita Baideu’s mother in law cleaning the newly spun eri yarns.
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Fig. 2.7
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Project Timeline
March -
April / May - Contextualisation
June / July - Mapping
Industrial experience at Fabric Plus, Guwahati
Brand conceptualisation Helping in the conceptualisation process of the Brand Noi Mohi. From mind mapping, sensitising, ideation.
Resource management – mapping availability of raw materials, sourcing. Operation and logistics.
Adopting the value of sustainability and slow fashion. Building the Logo – understanding the brand’s expression and identity.
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July / August - Co – Creating Co creating – working in tangent with the local weavers in Assam. Understanding their potential and helping them express their ideas independently. Design development will be based on the research and fieldwork conducted to sensitise us the local artisans. Inventory management - Helping the local artisans to concise and document their dye information from which they can benefit in the future. August / September / October - Branding and documentation Documentation – documenting the different stages of making of the brand through illustrations and visual media. Marketing – planning timelines and visual marketing of the brand (website, social media etc)
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Fig. 3.1 38 / National Institute of design / Textile Design (B.Des) / Graduation Project
Branding / 3
What and Why? / 3.1 Analysis and scope / 3.2 Brand Value/ 3.3 Process / 3.4 Deliverables / 3.5
Fig. 3.1. Flower from the kumura plant (ash gourd) that inspired noi mohi’s logo.
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Branding
What is Branding and Why? By definition branding is the process of giving a meaning to specific company, products or services by creating and shaping a brand in consumers’ minds. Branding aims to establish a significant and
of a brand is the “why” behind your existence. With your values, it defines the soul of your organisation, and engages your audience emotionally through a series of shared beliefs, solved problems, and in-
differentiated presence in the market that attracts and retains customers.
herent meaning.
The purpose of branding is knowing and consistently living from a true identity. So that executive leadership, sales, marketing, product, support, operations, and corporate culture all align and mature in a compelling manner that is meaningful to anyone who encounters the collection of people who make up a brand. A brand is the story of people headed in a direction, inviting you to journey with them. Today, brands need something more to stand out, something to create a connection with the audience. Through this we can inspire loyalty, persuade your customers to trust and relate to us. The purpose
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Brand purpose outlines “why” you exist. Your brand purpose is the meaning behind your existence, an idealistic view of what you want to become to your audience Brand values explain the ethics and behaviours you’ll use to get to your destination. Your values establish the qualities you idealise as a company, such as innovation, inclusivity, or creativity. Brand mission defines what you need to do to reach your goals. Your mission might outline specific tactics or initiatives you have in mind for operational excellence, product development, or brand communications.
Analysis and scope I divided the process into three broad categories-
Research Conceptualisation Development For the identity of Noi Mohi it was essential to go step by step from its inception to execution. To begin it all, the members of the brand sat down to discuss what would be the brands value and the model of functioning. So we could inscribe the message well into our Logo. As a new brand entering the market it was important for us to know our audience and the existing brands in the market. Researching on the market competition was important. It enabled us to see existing designs and made sure how our brand would set apart.
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Brand Value (Noi Mohi) Noi Mohi is a socially conscious brand that is rooted in the values of mother nature. The language it speaks is that of harmony and balance and contains the various details that are crucial to life.
contemporary market and to reinforce the idea that sophistication in simplicity is a virtue inherent to the people of the northeast. It was important for us to inculcate in the weavers a sense of dignity and pride
It acknowledges both the perils and pleasures that surround us and pursues them through the channels of creative design. Through hard work and diligent meditation such principles become apparent in are translated into various kinds of undertakings. As a transparent brand, we want to promote the heroes of our brand — the farmers, weavers, makers that make our products.
for their own creation and skills and their work and the consumers to take away a sense of pride from the brand.
Weaving being the second largest activity in Northeast India after agriculture, Noi Mohi’s core value lied in redefining luxury by making people more aware of the values of traditions and the experiences that come with it. We wanted the brand to be the foundation of the revival of traditional textiles in Assam for the
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As a brand we want to bridge the gap between the craft and the designer and to bring an amalgamation in the skill and mindset. Educate and sensitise consumers about the lives of the people and the kind of effort that has been put into the fabrics making.
Core Brand Values Internal - Empowerment of local weavers in the villages - Co creating and making the artisans heroes of the brand - Provide sustainable income to the artisans - Revival of traditional Motifs - Using indigenous materials sustainably
Brand Experience External - High quality eri fabric made with love by local artisans - Use of natural resources locally available - Making the consumers aware of the Artisan story
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Process
Competition After having understood the ideologies of Noi Mohi, as a brand, It was vital for us to look into the market and identify such similar brand already existing.
List of brands studied working with sarees and with similar language of sustainability and empowering artisans -
In India there are several sustainable brands working with the handloom sector, as part of developing the identity of Noi mohi it was essential to study the logotypes and the brand positioning. Most of these brands have existed in the market for sometime and have acquired a name. It was essential to these brands giving me an idea of the steps to be taken for Noi Mohi’s identity. It was essential to understand how competition in the market would or could affect my design process, what works, what has been done, what to avoid, how to be different and check the colour palette of another brand. It was important to know what the logotype and branding looked like, to know what to avoid and avert future confusions.
Anavila, Mumbai
Ekaco, Delhi
Injiri, Jaipur Raw Mango, Delhi Maku, Kolkata Gangamaki, Uttarkhand Anka Fabrics, Kerala Silk Concept, Assam Oi Qua, Assam Parisera, Hyderabad Anokhi, Jaipur Fabindia, Delhi
Ultimately it is vital for us a brand to also learn from the pros and cons of the competitor brands that has already been tried and tested in the market.
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Brand identity, Fig. 3.2. The Silk Concept, Fig. 3.3. Maku Textiles, Fig. 3.4. Gangamaki, Fig 3.5. Anka, Fig. 3.6. Anavila, Fig. 3.7. Injiri, Fig. 3.8. Oi Qua, Fig. 3.9. Ekaco, Fig. 3.10. Anokhi
Fig. 3.2
Fig. 3.3
Fig. 3.4
Fig. 3.5
Fig. 3.6
Fig. 3.7
Fig. 3.8
Fig. 3.9
Fig. 3.10
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Keywords Having positioned our brand we started narrowing down keywords that were the true essence of our brand. Words that would best describe the brand Noi Mohi stood as. This guided me in various exploration for the identity . This stage of the project is the most crucial part of the process, it forms the basis of research and process. The Keywords wereCalm, natural, greenery, relaxed, happiness, bonding, contemporary, craft. To put in words Noi Mohi provides for a platform to bring in the artisans into the contemporary market and help sustain the craft of the place.
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The focus area of Noi Mohi are- Sustaining the craft - revival - Giving an identity to the weavers - Being rooted in nature and sustainability
Its these keywords that will help me generate visuals for identity in the next stages. The interaction and layering these keywords in order of importance helps in coming up with visuals that truly defines Noi Mohi after generating keywords.
Fig. 3.11
Fig. 3.12
Fig. 3.13
Fig. 3.11. Initial Mind Map of Noi Mohi and what it stands for. ig. . . A more precise and refined mind map Fig. 3.13. Affection attached with the brand Fig. 3.14. Keywords to visually guide the brand
Fig. 3.14
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Positioning After having researched and creating the context of Noi Mohi it was essential to position the brand in the market with its competitors. Placing the brand in the market would give it a whole defining feature. In marketing positioning is the process by which marketers try to create an image or identity in the minds of their target market for its product, brand or organisation. 1. Brand attributes What the brand delivers through features and benefits to consumers 2. Consumer expectation What consumers expect to receive from the brand. 3. Competitor attributes What the other brand in the market offer through features and benefits to consumers.
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4. Prices An easily quantifiable factor your prices vs your competitors prices 5. Consumer perception The perceived quality and value of your brand is consumers minds . Positioning helped me segregate the brand into different concepts and generate a range of keywords suitable for the brand. After positioning under few concepts, i explored various visual languages suitable for the brand. After this i went to ideate and sketch down all the various possible visuals that could help in the identity design for mulberry.
Noi Mohi Noi Mohi is a small scale handloom and craft brand focused on telling the stories of traditional artisans and farmers of North East. A premium quality manufacturer and sellers of handmade textiles in North East India. Noi Mohi offers the best in quality and experience of textiles and products connecting artisans and rural farmers to the end consumers. These products are made using pure and Eco friendly raw materials that have low impact on the environment. Our strength lies in ensuring quality products and fair trade policies amongst our craftspeople while maintaining sustainability.
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Colour Palette Essentially, I wanted to use only earthy and organic colour palettes to bring out the attributes of the brand. I also explored certain colour that would change the experience you would have with the visual of the brand. Certain Vibrant colours would make the brand trendy and fashionable. Darker hues would bring out masculinity in the brand. Lighter hues tool away the firmness of the form. In my experience with colour, I realised that certain colours, especially pure hues would make the identity appear to be expensive, too feminine or very loud. Hence, explorations were necessary to know what colours to avoid and what to include in the final forms of the identity. The final selection was inspired from the main attributes of the brand. Taken from the colours found more naturally and rooted to the earth.
Fig. 3.15. Initially hand drawn palette mainly consisting of natural dye colour
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Fig. 3.15
Final Colour
Blue Green The green represents Assam, the greenery surrounding Noi Mohi. It represents the roots of brand. It represents the Noi of the brand, which means river. cmyk 49/23/43/1
Chrome yellow The chrome yellow represents hope and happiness. It a colour representation of the brand’s core values. It represents the Mohi or love of the brand. cmyk 2/16/68/0
Fig. 3.16
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Fig. 3.17
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Fig. 3.18
What the Flower represents The flower in Noi Mohi is an abstraction of the brand’s core beliefs. Holding a certain degree of sentimental value we came across this beautiful yellow coloured creeper plant grown in the village on Pairanga, which we came across while mapping the villages. We chose the flower to represent the growth of our brand. Also symbolising fertility and the abundance of resources we have been gifted by nature.
The yellow colour represents hope and happiness while the green in the stock represents nature. The positioning of the flower is also such that it represents a heart shape, signifying the love and effort put in by the heroes of the brand - the artisans.
ig. . . Different samples of the flower Fig. 3.18. Finalised Logo
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Fig. 3.19
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Fig. 3.20
Trials We went through a series of error and trials before coming to a final selection with the logo. We wanted to keep the logo very organic
logo with water colour. We decided to check both variation of all capitalised and small letters.
and thereby decided to hand write the Fig. 3.19. Initial rough sketches Fig. 3.20. Variation of the Type for Noi Mohi
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Deliverables
Logo A well designed logo is an essential element of the brand. The logo is the brands major graphical representation, anchoring the brands and becomes the key ingredient for the brands target market. The logo derives it form and meaning from its core values and puts it across visually a brands symbol. The Logo thereby becomes crucial in representing the brand in its simplest and truest form. ` It reads Noi Mohi at a glance, therefore recognisable and memorable. The visual symbol although structured in all capitalised it still has an organic sense with the use of colour. The green represents Assam, the greenery surrounding Noi Mohi. It represents the roots of brand. The chrome yellow represents hope and happiness. It a colour representation of the brand’s core values.
Fig. 3.21. The Final version of the Logo Fig. 3.22. A second version of the Logo for tags Fig. 3.23. A version of the Logo in Assamese
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What is in the Name?
Fig. 3.21
Noi means river and Mohi means earth in Assamese language. It depicts the very essence of the land where the mighty Brahmaputra flows. River meets earth, the message that it communicates is that of integrity and a sense of power of the rawness of nature. It was very important for us as a brand to have a name that would enable us inculcate the core value and stand out as a growing handloom sector of Assam. We wanted our brand name rooted in the values of mother nature. The language of the brand to speak from name of the brand itself. The language of harmony and balance and the various details that are crucial to life while acknowledging both the perils and pleasures that surround us and pursue them.
Fig. 3.22
After weeks of discussion and chalking out various names and dwelling deeper into the ideologies of the brand we unanimously came up with Noi Mohi.
Use of colloquial Logo name A valuable process of the branding for Noi Mohi was to inculcate a second logo in Assamese which is the main language for communicating with the weavers. Since Fig. 3.23
one of the main core value is to have the weavers take pride in the brand we want to inculcate a language we all speak.
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Hang Tags Hang tags are very essential for the branding as it used to convey the essence of the brand by providing the right amount of information to the customers. A well positioned tag makes a consumer aware of the product they would purchase and motivate their buying power. After several studies of competitors tags and studying tags which already exist in the market. Observing their placements, information, and its effects- Giving a brief information about brand giving the background of the brand. - The materials used in the particular product to show the eco friendly process and materials used by Noi Mohi.
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- A background on the artisan who has made the product, making it more personal and transparent to the consumer. - Distinctive Noi Mohi Logo. - Care and pricing information to make the brand feel more transparent.
Tag 1.
Tag 1.
This is first basic tag of the brand that would apply to all the product range. This is the tag that all the customer would interact first. This would provide the basic logo of the brand. It also has the product code, composition and dimension of the product, basic care info and the a box demarcated for the price. Dimensions- 2 x 4 inch Body text colour - C-42, M-23, Y-43, K-50 Paper : handmade cotton paper ;240 gsm
Tag 2.
Tag 2.
This tag is a more personalised tag. This would be in the form of a booklet. It Firstly introduces the the brand and what it stands for. It then gives an overview from where the product is coming along with a little map of the village. It also has a very personalised message from the head artisans of the respective village talking about the care of the product both in English and Assamese. Dimensions- 2 x 4 inch Body text colour - C-42, M-23, Y-43, K-50 Paper : handmade cotton paper ;240 gsm
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Sample 1
Sample 2
Stationary Business Card Sample 1
Sample 2
Dimensions- 3.5 x 2 inch Type face- Optima In weights as mentioned below :
Dimensions- 3.5 x 2 inch Type face- Optima In weights as mentioned below :
Name - 12 pts regular Phone number and email - 7 Pts regular Body text colour - C-39, M-15, Y-39, K-50 Paper : handmade cotton paper ;240 gsm
Name - 12 pts regular Phone number and email - 7 Pts regular Body text colour - C-39, M-15, Y-39, K-50 Paper : handmade cotton paper ;240 gsm
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Sample 1
Sample 2
Letter Head Sample 1
Sample 2
Dimension - A4 (297mm x 210mm) Typeface - Optima
Dimension - A4 (297mm x 210mm) Typeface - Optima
Address - 9pts regular Body text - 9.5 regular Body text colour - C-0, M-0, Y-0, K-0 Secondary colour - C-49, M-23, Y-43, K-50 Paper - DO white 80 gsm
Address - 9pts regular Body text - 9.5 regular Body text colour - C-0, M-0, Y-0, K-0 Secondary colour - C-0, M-0, Y-0, K-100 Paper - DO white 80 gsm
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Fig. 4.1 62 / National Institute of design / Textile Design (B.Des) / Graduation Project
Marketing / 4
What and Why? / 4.1 Story of Noi Mohi / 4.2 Soft Launch Campaign / 4.3 Scope / 4.4 Marketing Objectives / 4.5 Social Media Campaign / 4.6
Fig. 4.1. Boko Market, Boko. 35 km away from Boko is Darangiri, Asia’s largest banana market.
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Marketing
What is Marketing Marketing is activities of a company associated with buying and selling a product or service. It includes advertising, selling and delivering products to people. Marketing is about trying to get the attention of target audiences by using slogans, packaging design, celebrity endorsement and general media exposure. Marketing is everything a company does to acquire customer and maintain a relationship with them. The goal of marketing is to match a company’s products and services to the people who need and want them to ensure profitability. There are four Ps of marketing - product, place, price, and promotion Product refers to an item or items a business intends to sell. When examining a product, questions should be asked such as, what product is being sold? What differentiates the product from its competitors? Can the product be marketed
with secondary products? And are their substitute products in the market. Price refers to how much the product is likely to cost. Place refers to distribution of the product. Key consideration includes whether the product is going to be sold through a physical store front, Online or made available through both distribution channels. Finally promotion refers to the integrated marketing communications campaign. Promotional activities may include advertising, personal selling, sales promotions, public relations, direct marketing. One must be aware that consumers associate a product price and distribution with it quality, and would be prudent to take this into account when drives the overall marketing.
Fig. 4.2. The four Ps of marketing.
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Fig. 4.2
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Fig. 4.3 66 / National Institute of design / Textile Design (B.Des) / Graduation Project
Story of Noi Mohi The era of ethical consumerism is here, a conscious evolution is taking shape in human choices and lifestyle. It is substantially visible now as an authentic and commercial decision is being made by fashion retailers across the globe to venture into the slow fashion space which is in direct response to a growing consumer demand. This slow approach is not limited only to their homes, it also finds expression in the clothes they wear. They are interested in knowing who made their clothes, how the material was sourced, if fair wages and ethical means of engagement were employed overall. It isn’t enough anymore to be satisfied with “who they are wearing” they are now interested in knowing ’how it was made and why they are wearing it’. A classic timeless piece made of quality fabric and finish that would take its own time to move through a fashion cycle as opposed to something that would only last a season is the new demand of the conscious crowd. Noi Mohi is a socially conscious brand that is rooted in the values of mother nature. The language it speaks is that of harmony and balance and contains the various details that are crucial to life. It acknowledges both the perils and pleasures that surround us and pursues them through the channels of creative design. Through hard work and diligent meditation such principles become apparent in are translated into various kinds of undertakings. As a transparent brand, we want to promote the heroes of our brand - the farmers, weavers, makers that make our products. We offer more than just apparels to our customers. They get a taste of North East and an experience that will last in their wardrobe for more than a “ season”. Our designs are empathetic and timeless in nature and can be worn in different styles therefore reducing the size of their wardrobe while maintaining the same variety. We also make limited editions in order to avoid over production and wastage of resources. In order for us to sustain, we must reach out to our customers and build a strong client base.
ig. . . paddy fields in Boko illage.
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Soft Launch Campaign ( 6 months - 8 months) Stage 1 - Introduction of Noi Mohi - Setting the Mood ( 1 -3 Month) - Organic Store - Social Media Announcement - Logo and Stories - Social Media Launch of Look Book
Stage 2 - Test Marketing (1-6 Month) - See if the products are being appreciated - Observe if the pricing is working - Collect feedback to improve/add/delete product line
Stage 3 - Positioning (month 3-8) - Positioning Noi Mohi as a unique sophisticated value for money handloom brand - Redefining Luxury
Stage 4 - Wedding Market (month 1 >) - Enter the wedding market through world of mouth - Design Wedding Trousseau - Take orders
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Scope For Noi Mohi as a new brand it was vital to reach to its target audience. As a baby brand social media platform such as Facebook and Instagram would play a very important role in navigating the market for Noi Mohi. Certain other techniques to be achieved were- Formulation of a marketing Objectives, i.e. new way of thinking, experiences, slow-movement in fashion. - Formulating timeline for Soft Launch of the brand - Noi Mohi. - Making hang tags, brochure, postcards for spreading information - A better presence in the social media platform for better promotion.
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Marketing Objectives
New way of Thinking It is inherent to each North Eastern to be able to relate to simplicity and tradition. We will be engaging our audience through our campaigns on each of the above three thinking points. Simplicity That simplicity is good, fashionable and cool. That simplicity is sophisticated. And that simplicity can make you stand out in a way that too much of something may not necessarily. “Simplicity is the ultimate sophistication”~ Leonardo Da Vinci Tradition The value of tradition is incomparable. A campaign will be designed for the audience to be able to see it and understand it in a fresh way. A traditional motif, a traditional skill, the influence of art and culture in the people and the products is fashionable and acceptable
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Luxury The other campaign is about redefining luxury. It is no longer about having the power to purchase but the richness of experience. Not everyone has the access to some of the most unique experiences, even though they might have the money they may not have the knowledge or the access to them. We plan to use the same concept of richness of experience in the textiles.
Go Slow Campaign as Noi Mohi’s Marketing plan.
Slow Movement The slow movement advocates a cultural shift toward slowing down life’s pace. It began with Carlo Petrini’s protest against the opening of a McDonald’s restaurant in Piazza di Spagna, Rome in 1986 that sparked the creation of the slow food movement. Over time, this developed into a subculture in other areas as well. The “slow” epithet has subsequently been applied to a variety of activities and aspects of human culture.
Fig. 4.4
Geir Berthelsen and his creation of The World Institute of Slowness presented a vision in 1999 for an entire “slow planet” and a need to teach the world the way of slowness. Carl Honoré’s 2004 book “In Praise of slowness” first explored how the Slow philosophy might be applied in every field of human endeavour and coined the phrase “slow movement”. He says that the ‘slow approach’ intervenes as a
revolutionary process in the contemporary world because it encourages taking time to ensure quality production to give value to the product and contemplate the connection with the environment. ’It is a cultural revolution against the notion that faster is always better. The Slow philosophy is not about doing everything at a snail’s pace. It’s about seeking to do everything at the right speed. Savouring the hours and minutes rather than just counting them. Doing everything as well as possible, instead of as fast as possible. It’s about quality over quantity in everything from work to food to parenting.”
Fig. 4.4. Go Slow Campaign Logo.
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Slow Fashion The term slow fashion was coined by Kate Fletcher of Centre for Sustainable Fashion, UK in 2007. “Slow fashion is not a seasonal trend that comes and goes like animal print, but a sustainable fashion movement
fashion: consumers will keep an article of clothing longer than one season if they feel emotionally or culturally connected to the article of clothing.
that is gaining momentum.” The slow fashion ethos is a unified representation of all the “sustainable”, “eco”, “green”, and “ethical” fashion movements. It encourages education about the garment industry’s connection and impact on the environment and depleting resources, slowing of the supply chain to reduce the number of trends and seasons, to encourage quality production, and return greater value to garments removing the image of disposability of fashion. It’s key phrase “quality over quantity” summarises the basic principles of slowing down the rate of clothing consumption by choosing garments that last longer.
Taxation is in early stages of development in order to deter fashion companies from purchasing or producing materials that are not made with recycled, organic, or re-purposed materials. Utilising materials already made will reduce the industry’s carbon footprint.
Slow fashion production ensures quality manufacturing to lengthen the life of the garment. Developing a garment with a cultural and emotional connection is
Although price is sometimes a deterrent for purchasing slow fashion items, in the long run, one piece of well designed and well produced clothing will outlive five cheap pieces of clothing. Generally, the more a person spends on their clothes, the more value the item will hold. It makes the piece more special and therefore will make the person feel better about what they wear. Slow fashion clothing is made up of high quality materials usually with timeless designs that can be worn year round and never go out of style.
also pertinent to the purpose behind slow
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Planet/ People / Profit There is also an important movement towards companies being more transparent. The need for companies to show they’re manufacturing processes boosts the company’s reputation and can aid buyers to making more conscious decisions. In accordance with the slow movement there is a trend towards more conscious buying as well as companies attracting new consumers with their Ecofriendly processes. Many designers are trying to incorporate these sustainable practices into modern clothing, rather than producing “hippie clothes”. Due to the efforts taken to minimise harm in the growth, manufacturing, and shipping of the products, sustainable fashion is typically more expensive than clothing produced by conventional methods.
Brands focusing on Slow Fashion Eco-friendly, Green Fashion, Ethical Fashion, Responsible Fashion, etc. Are all peripherals of Sustainable Fashion and some Indian brands already following it are Nicobar By Good Earth
Fig. 4.5
Fig. 4.6
Fig. 4.7
Fig. 4.8
Shift By Nimish Shah Upasana Doodlage By Kriti Tula Eka By Rina Singh 11:11 Ethicus Ka Sha By Karishma Shahani Maku Injiri Fig. 4.5. Upasana, Auroville Fig. 4.6. Anavila, Mumbai Fig. 4.7. Ekaco, Delhi Fig. 4.8. Maku, Kolkata
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Fig. 4.9
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Fig. 4.11
Fig. 4.10
Experience Messaging It is a vital part of our marketing that the packaging speaks the same language as the brand. We tied up with A-khilapaat and recycle paper unit based out of Guwahati who specialises in handmade recycled paper including cloth waste. We are sourcing all paper materials from them. From the tags, business cards to the packaging.
Fig. 4.9. Postcard collection Fig. 4.10. Tag 2 Fig. 4.11. Akhil-a-paat Logo
Tags With the tags we wanted to bring in a personal touch by including a little care message from the weavers in Assamese and translated in English. We also give a brief overview of the village where the product is being made along with a hand drawn map directing where it is.
Postcards Since the retail space caters to a large crowd of tourist from around India and abroad, Postcards were another means through which we could market Noi Mohi and spread its message. The postcard would contain images of dyes processes and scenes of the artisans working. In sets of three of individually. Through our tags and packaging cards we have to send a message that takes the consumers straight to the artisan’s life. The idea is to establish a connection and a bond. The design elements are also empathetic in nature in order to be able to form a relationship with the brand and the customer
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Fig. 4.12
Store The retail space of Noi Mohi is at a premium hotel called The Guwahati Address(TGA) in the city. TGA is a premium boutique hotel in the heart of Guwahati city which will attract an audience not only from Assam but from all around the world. The store is being curated keeping in mind the elements of simplicity and sophistication. It will also encourage direct association and engagement with the customers. Allowing them to experience the textile and our journey first hand. The interiors of the store is being design using design concepts that incorporate the essence of simplicity and the using the crafts prevalent Northeast.
Retail outlets with Centre Point Group are the primary channels for sale. They will be strategically deployed across the region in order to gain maximum footfall and sale - within the premises of the hospitality partners as well as in Silk Village retail stores.
Fig. 4.12. TGA Centre Point Group Logo Fig. 4.13. Panoramic View of the space Fig. 4.14. The Facade of the Hotel Fig. 4.15. Corner Space of the retail
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Fig. 4.13
Fig. 4.14
Fig. 4.15
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Fig. 4.16
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Social Media Campaign
Social Media Marketing In the 21st century social media has become the perfect platform for businesses of all sizes to reach prospects and customers. In this day and age where every single person has access to the Internet and are on some form of social media, it plays a gigantic role in promoting a brand. Social media is such a platform where a large segment of customers can be reached without much effort. Social media marketing can aid in various ways, such as:
For Noi Mohi as a new brand, we have to trace our steps into the social media world very carefully. We had a clean canvas to work with creating new accounts on two very important form of social medium ;
facebook Instagram As a new brand we had to keep in mind of our target audience and how to reach to them. Also, what we as a brand can provide to our audiences.
Help form the identity of the brand ; create a brand image. Distinct and unique to th brand. Help carve out the position of the brand in the current market scenario. Build relation and conversation with consumers directly ; improving the communication with the audiences.
Fig. 4.16. A web representation of Social media heavily used in todays day and age
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Instagram Instagram is one of the most sought after medium in the 21st century. With its ever growing numbers of user it becomes an ideal platform for a brand or retail to function with is image centred views. Along with Instagram’s new feature of making business profiles it has become a tool for artist and brands to reach out to a larger audience. Instagram allows businesses to showcase the range of products in creative personalised forms. Noi Mohi Plan of Action The first step with Noi Mohi would first have to begin with Kosha’s Instagram page and start an initial teaser to Noi Mohi. Give an introduction to Noi Mohi. The later step was to create a business profile on Instagram under the name of Noi Mohi. The first few post of Noi Mohi would be an introduction the brands Logo and the Name!
Fig. 4.17
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Followed by teasers, to give the audience a feel of what Noi Mohi would provide.
The main feature of Instagram is to follow and get followed by different users. Through this we can follow influential people in the same field. We can keep in check by following similar brands from all over the world. To create a strong visual language for Noi Mohi in the forms of posts and stories. A very important feature of instagram is the use of hash-tags through which masses can be reached. The perfect hash-tags would provide the right audience. Stories- is a 24 hours feature on Instagram that allows audience to engage with the brand much more interactively. Through stories various campaigns can be launched to keep out consumers more engaged. Ultimately the overall goal is to able to reach our audience and get a feel of Noi Mohi and what it stands for. To be able to help our audience experience what it is to be part of Noi Mohi and thus developing a special bond with the audience.
Fig. 4.18
Fig. 4.17. Instagram updates of Noi Mohi through Kosha’s Instagram Fig. 4.18. Instagram stories highlighting the process
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Analysis and Synthesis / 5
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By this stage of the project we have addressed the brand’s identity formulating a main structure of the brand through it’s branding. This consist of the brands core values, experiences. We also positioned the brand and try to understand its competitions. This helped us form a unique design language for the brand and a distinctive logo. We also introduced Noi Mohi’s marketing campaign. Consisting of mostly Online campaigns, targeting women of 25 and above, focusing on - How simplicity is inherent and is fashionable; - How traditional designs and crafts are rare and of immense value; - How luxury is no longer about the ability to buy but is about the ability to experience. The next step in this project is to introduce the design intervention in our context. Which is to work with weavers from all backgrounds and skill sets, whose inherent understanding of the craft could be further enhanced. Working with resources that are indigenous to the place - hand-spun Eri silk, dye resources that are natural and have least environmental impact. An important aspect is working on traditional motif and interpreting it for a modern market. Engaging consumers in our activities through a visual medium and store experience. We also want the weavers and the consumers to take away a sense of pride from the brand. Inculcate in the weavers a sense of dignity and pride for their own creation and their work Bridging the gap between the craft and the designer and to bring an amalgamation in the skill and mindset. Educate and sensitise consumers about the lives of the people and the kind of effort that has been put into the fabrics making. We want to motivate and help young weavers become organised small entrepreneurs and give them relevant support to take up weaving as a significant economic activity. The objectives of Noi Mohi as a brand foundation was to revive the traditional textiles of Assam for the contemporary market. Redefining luxury by making people more aware of the values of traditions and the experiences that come with it. Reinforce the idea that sophistication in simplicity is a virtue inherent to the people of the north-east. Ultimately Noi Mohi’s goal is to being true to our brand philosophies in the workplace environment.
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Fig. 6.1
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Design Approach / 6
Introduction to Eri Silk / 6.1 Problem Statement / 6.2 Solution - Introduction to Noi Mohi / 6.3 Deliverables of the Project / 6.4 What is Aims to Achieve / 6.5 Co Creation / 6.6 Noi Mohi Language / 6.7
Fig. 6.1. Lanes in Boko Village leading to Fatema BIbi’s house
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Introduction to Eri Silk
History and Significance
Eri Silk Industry at Present
Eri silk or Samia Ricini is mostly prevalent in the North East India, and in some parts of China, Japan, Thailand and Ethiopia. The name Eri is derived from the Assamese word, “Era”, which means Castor, the plant
This wonderful silk has undergone enormous technical advancements in today’s time to be used in every kind of fashion and home décor products. As the production of this silk entails minimal use
food for the eri silk worms. It is said that eri silk worms were brought into the North East region of India by travelling Buddhist monks 2000 years ago. They cultivated eri silk for their own investments as these fabrics kept them warm in harsh winters. The entry of eri silk into this region brought with it a solution to address the lack of cotton for the native people of this land, who were quick to learn the process of cultivating this silk from the monks. Since then it has travelled through these lands for generations, coloured in aesthetics and symbolism of each tribe that it has found a home in.
of water and chemicals it has low impact on the environment. Also it is becoming a favoured choice of textile amongst conscious consumers who believe in sustainability. A further exploration into the properties of this silk and its by-products has revealed the potential for a wider range of its application. The sericin extract from cocoons is widely used in cosmetics and biotechnology; the pupae are a source of protein; and castor seeds are used in the manufacturing of biodiesel, all of which have enormous demand in the national and international market.
Eri Silk represents the virtues of mother nature for the properties that are symbolic of peace, grace and endurance. Known as the peace silk or the Ahimsa silk, it not only makes for a sustainable textile but also nurtures us just as mother nature does. Fig. 6.2. Drying of mill spun Eri in Bamundi Village
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Fig. 6.2
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Problem Statement
Over the years, there has been major drawbacks in the handloom sector causing a stagnant growth in the sector. It tends to be highly fragmented and unorganised. For the weavers, weaving has been an activity of leisure and the idea of it becoming an important commercial activity is only a new idea and lacks professionalism. There is also a tendency of the newer generation to move away from the traditional activities. Wherein the transfer for knowledge from one generation to the next is lost. There is a constant pressure to increase the productivity where restoring the age old craft is overlooked. At this rate, there is a stark possibility of losing the craft entirely in the next 50 years or so. Additionally, in the name of marketing there is rise in the degradation of quality. The weavers are also influenced highly by the growth in the use of man made material in the name of decreasing the price. Even though the govt of India has been providing monetary and non monetary aid in the sector it hasn’t been able to reach to the grassroots
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levels. The role of the govt maybe one of the only reason why the handloom sector is still surviving. There is also a lack of representation the Eri silk in the market. It hasn’t been given as much importance as the Mulberry or Muga silk of Assam. But with abundance of exotic rare variety of wild silks and traditional weaving skills, there is an immense scope for promoting Assam handloom in the domestic and international market.
Solution Description
Introduction of Noi Mohi
Objectives
Noi Mohi is a socially conscious brand of KOSHA INDIA a sericulture and handloom based firm in Guwahati Assam that is rooted in the values of mother nature. The language it speaks is that of harmony and
As a transparent brand, we want to promote the heroes of our brand - the farmers, weavers, makers that make our products. We offer more than just apparels to our customers. They get a
balance and contains the various details that are crucial to life. It acknowledges both the perils and pleasures that surround us and pursues them through the channels of creative design. Noi Mohi is a small scale handloom and craft brand focused on telling the stories of traditional artisans and farmers of North East. It offers the best in quality and experience of textiles and products connecting artisans and rural farmers to the end consumers. Our products are made using pure and Eco friendly raw materials that have low impact on the environment.
taste of North East and an experience that will last in their wardrobe for more than a “season�. Our designs are empathetic and timeless in nature and can be worn in different styles therefore reducing the size of their wardrobe while maintaining the same variety. We also make limited editions in order to avoid over production and wastage of resources. In order for us to sustain, we must reach out to our customers and build a strong client base. We estimate that by 2019 we will be able to cover a sizable portion of the local market and start doubling our profits
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Deliverables of the project
Ability to develop technically superior fabrics using handlooms and other methods Through Noi Mohi we want to focus on quality rather than quantity in order to develop the parameter of high end products. By focussing on their already mastered craft skills, the quality of the product can be enhanced form a local product to international standards. The ability of handloom to create unique customised pieces could serve as a big advantage, even a small scale of production in handloom become an advantage as high value products could cater to a niche clientele. Integration into a community based platform for the sharing of creative ideas and concepts When we view a broader picture of textiles in Assam, there is a lot of learning that can be shared between communities from various regions of India. Traditions of natural dye which isn’t very strong in the Northeast could be enhanced through training in the methods and processes of
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natural dyeing from local materials will add high value while designing unique products at minimal cost. Adding Value to our Products The textile industry typically has a high impact on the environment at various stages of production. At, Noi Mohi we have adopted a more ethical and eco friendly approach for our products. Since we work mainly with Eri silk, the qualities of the silk itself makes our products valuable in nature. The process of production involves least to zero wastage and requires minimum use of water or chemicals . The cocoon produces many (shorter) threads that has the typical quality of spun fibres. Unlike mulberry and Muga silk which produces one long silk thread, therefore, the worm doesn’t have to be killed in the process of yarn production. Although it is used traditionally as a source of nourishment by local indigenous tribes because of its high protein content. It is found that Eri Silk is fungus and bacteria resistant and also possesses thermal qualities The silk worm feeds off castor
leaves primarily and cultivation of castor is less land intensive and easier, on small plots of land alongside other crops, thus providing small and marginal farmers an alternative economic activity and income source. It is also known for its longevity as it is durable and can be passed for generations if maintained properly. The value addition is done keeping in mind the nature of the silk with a minimalistic approach, respectfully blending traditional and natural resources.
Organisational skills in the processes of handloom weaving (inventory management, cataloging) Management of materials and resources to minimise waste and cost effective methods of production will carve the path of becoming self reliant entrepreneurs. Through Noi Mohi we want to help create an understanding about the commerce and bringing a professional attitude amongst the artisans towards handloom.
Enhanced business acumen suitable for the local market dynamics (marketability of products communication strategies, post purchase marketing) The exposure and insight from a premier design institute has enabled us to find an amalgamation of thoughts and ideas between the designer and the artisan. Helping an artisan in adapting existing forms of textile to a diversified product which could help cater a bigger market and also help the Artisan to tune in into the current needs and demands in the local and international market.
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What it Aims to Achieve
High social impact Our products are made by artisans of local communities who belong to an under developed segment of our population. Through our approach and design to empower our weavers who are all women. We want them to have a voice through their design. We want these weavers/ artisans to be able to uplift their economy and social conditions. To be able to earn for their family. Makers are our Heroes: The makers of the garments have ownership in creative expression as well as a share of the profit that we make. As an inclusive organisation we believe in artisans having authority in creative expression as well as a sense of ownership in the company. Be Transparent This is important to us not because we have nothing to hide but because we want our consumers to connect with our heroes. We want them to know Noi Mohi. An inclusive environment not only helps us to create more authentic and unique pieces, it also empowers communities and social capabilities.
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Employ sustainable methods of production We aspire to minimise environmental impact as well as to give answers to ethical and social issues. That is why we work with local artisans and craftspeople to be able to make sustainable and socially responsible products. We produce garment using organic and sustainable materials which are environment friendly, non violent and free of hazardous elements such as nickel, lead, formaldehyde, amines, pesticides and heavy metals. The silk we use have thermal and protective properties and bear resistance to fungus and skin allergies. It can protect from UV rays, infections, and harsh weather conditions. Limited editions/Versatility Our garments are produced in limited editions; each piece created in a timeless in design so that it can follow its own clock and not fall through at the end of a fashion season. Some of our pieces can last generations for well over 100 years with minimum maintenance. Our 6 piece collection can make for 30 variations. This is in view of a minimalistic and slow approach. Avoid overproduction by
reducing waste: We are keen to keep our carbon footprint low during production and shipment. The material we use has low impact on the environment. Experience culture Experiencing the process lies at the core of what we do. By immersing oneself in the various traditional arts and crafts, we can gain a better understanding of our heritage and the stories it tells. Noi Mohi as an experience will walk us through to our roots; meeting the makers, understanding the process, and the values the crafts. Education Education is most effective when there is involvement. Noi Mohi encourages the sharing of creative ideas and concepts as a tool to inspire and invoke curiosity. We host workshops and seminars cultivate community involvement and the enhancement of local businesses.
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Why co creation
Textile weaving craft of different tribes in Assam is facing the same problem that indigenous cultures across the world is facing, the threat of modernisation. It is both a boon and a curse at the same time. It needs to channelised in the right direction and in equal proportion. Knowledge of incorporating traditionally used motifs and designs are fast disappearing with the younger generations fraying away from pursuing the craft of weaving, or any craft for that matter. This leads to an over degeneration of traditional textiles in Assam. Along with this downfall there is also a rapid growth in the designer market in Assam. With a rise in popularity of Fashion weeks and collection, designers across the state utilises the handloom sector to cater to a very short-lived life of textiles. Where the value of motifs have strayed immensely from its tradition. Since the inception of Noi Mohi, whilst setting the foundation of the brand we were certain to building a brand far from the institutional form of branding. We wanted to create a brand which
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would become a connector or a bond between each member of the brand sans the hierarchy. A brand in which every participant of the brand could take pride in. The brands motives were rooted in understanding the cultural background of artisans to aid a sensitised outcome that would benefit the artisans along with their active participation. As a student from the National Institute of Design, I needed to be self aware of my role in this brand and the design intervention that I would establish. It was vital for us to amalgamate the mindset and learning of a design student and the skill set of artisan. To bridge the gap that has existed in the handloom sector in Assam over the past few decades.
tradition for the contemporary. To make the artisans aware of the market and to help them cater to the market with their skills and resources. Giving them an insight to the sustainability aspects of weaving to help develop and preserve the traditional motifs. For us to become the voice of the artisans is crucial in order to address the problem. With our design intervention we aim to help merge the gap that exist in the handloom industry in Assam. One step at a time.
Thus, co creation with the artisans became the vital design approach. Through co creation we wanted to inculcate the idea of community involvement. To have a conversation with the local artisans and be able to give much more than we take. A brand with which we could revive the
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Fig. 6 96 / National Institute of design / Textile Design (B.Des) / Graduation Project
Noi Mohi Language In the era of ethical consumerism and a conscious evolution is taking shape in human choices and lifestyle. It is substantially visible now as an authentic and commercial decision is being made by fashion retailers across the globe to venture into the slow fashion space which is in direct response to a growing consumer demand. It isn’t enough anymore to be satisfied with “who they are wearing” they are now interested in knowing ’how it was made and why they are wearing it’. A classic timeless piece made of quality fabric and finish that would take its own time to move through a fashion cycle as opposed to something that would only last a season is the new demand of the conscious crowd. As new brand, it is important for us to set the visual language of Noi Mohi. For the first launch we wanted to draw the inspiration for the collection from the people of Assam. Being inspired by not only the visual aesthetics but the various aspects in traditional dressing which were inherent to the social environment structure of the people of Assam. In a state like Assam, where you will find a loom in every household in the village. Textile becomes an integral part of their lives. A piece of 3 metre fabric used to wrap becomes their second skin. Textiles and dress of traditional folk clothing is a very important part of their social interaction. For Noi Mohi we wanted our textiles to evoke the same feeling. Not following colour trends, forecast or season themes set by the industry but creating our own unique palette and visual identity.
Fig. 6. Sareespotting was born out of the search for visual reference for Noi Mohi. It helped channel and observe in the different ways a saree falls and drape capturing the silhouette of Assam. Saree spotting creates a visual journal of the variety in the drapes and design that inspires Noi Mohi.
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Sustainable Minimalistic A contemporary language for traditional textiles
Noi Mohi’s language is an amalgamation of the these key concepts.
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Fig. 7.1
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Design Process / 7
STAGE 1Mapping Villages / 7.1 Weaving In Assam / 7.2 Dyeing in Assam / 7.3 Process of Weaving / 7.4 Studying the Motifs / 7.5 Current Market Scenario / 7.6 Realisation / 7.7 STAGE 2 Weavers Profile / 7.8 Initial Conceptualisation / 7.9 Boko Natural Dye / 7.10 Sampling / 7.11 Realisation / 7.12
Fig. 7.1. Bobins filled with segun dyed eri yarn.
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Fig. 7.2
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Design Process
Before initiating the design process it was crucial for me to organise and understand the elements for emphasis and defining Noi Mohi’s role with the artisans, visualising the end results and ultimately maximise the result in a time sensitive project.
Mapping, identifying the artisans, understanding the journey, exploring and ultimately being able to co create with the artisans form the basic structure the design process helping me create a more efficient direction for the design process.
My process needed to balance between Noi Mohi’s motives, inputs and deliverables and the requirements of the artisans, all while under the given time period of the project. Since we had defined Noi Mohi’s ideology and motives in the initial stages we had to take the next step of mapping the villages with whom Noi Mohi would work in tandem. We took a linear process of understanding their socioeconomic condition, their skill sets internalising the information gathered and sorting it out to utilise the maximum information to move ahead.
Fig. 7.2.Boko Artisans showing us around the Village.
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STAGE - 1
Mapping - Villages After the idea of co creating with the weavers was initiated a crucial step in the design model was finding and working with a cluster of artisans and co creating. After months of traveling every nook and corner of Assam, we chose three different areas for trial and to focus on through Noi Mohi. These places were comparatively closer to Guwahati, which is the base of our operation.
Fig. 7.3
Fig. 7.3. Map of Assam/ areas Mapped Fig. 7.4. Map of Boko village
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Boko We chose a group of weavers in a village in Boko. Which is a model silk village introduced to us by the Indian Institute of Entrepreneurship. They are highly skilled artisans with abundant experience
Fig. 7.4
in the field and inherently talented with the craft. They have not just inherited the skills and the art from their mothers and grandmothers but also the passion that makes them perseverant and dictated about their work. They are an enthusiastic bunch and keen on learning new things, and eager to do more. They make for an exceptional addition to the team. The Boko artisans work especially with hand-spun eri silk. They also have a grasp on the idea of natural dye. The uniqueness of the artisans lies in the fact that they mostly specialise in sarees. They also make twopiece ones, which is also their local attire. It was an enriching community building opportunity, as the Rabha and the Muslim communities came together to fulfill big orders. Furthermore, the availability of natural resources i.e. natural dye material, hand-spun silk, etc., In and around the village was a logistical boon.
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Bamundi Bamundi is a small village that falls under the area of Sualkuchi, which is the premier weaving village in the north-east. They specialise in jacquard woven muga and mulberry silk. Bamundi is comparatively newer to the field of weaving than the others as their main source of income is fishery. They first came to our knowledge when they were approached by Fabric Plus in Guwahati. After several meetings with the villagers from Bamundi, we engaged with five artisans, who were ended up sampling “ few stoles for Noi Mohi. The Bamundi artisans lack training and, possibly, could be worked on in future projects with Noi Mohi.
Fig. 7.5
Fig. 7.5. Map of Bamundi Fig. 7.6. Map of Dimakuchi
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Dimakuchi Dimakuchi is a village in Bhergaon Tehsil in the Udalguri district of Assam. Dimakuchi became “ part of Noi Mohi through a potential collaboration with Jeev Anksh CBS, an organic agro-social venture in Assam. The village of Dimakuchi came into the picture fairly recently. Their artisans are highly skilled weavers of the Bodo community. The artisans of Dimakuchi are trained in special Bodo weaving techniques, mainly working with cotton provided by the government. They specialise in weaving the Dokhona, which is a wrap garment of the Bodo women and sador, which is the shawl.
Fig. 7.6
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Fig. 7.7
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Weaving In Assam
In Assam weaving is carried out as a household activity. It is the second largest activity after agriculture in northeast of India. Mostly practised by women folk during there leisure time. It is unlike other parts in India where only certain communities practise it. In Assam every community and tribe has a loom in their households. All the activities involved such as spinning, reeling and weaving are practised by women weaver all over the state irrespective of their cast, creed or tribe. The women folk utilise their weaving skills to aid their families financially.
The undyed yarns are woven at some homes, though many prefer to buy the readily available coloured ones imported from the southern parts of India especially Karnataka, Andhra Pradesh and Tamil Nadu for economic reasons. As the men folk are involved at twisting the thread in the spools most women folk patiently weave the silk threads on the looms.
One can easily find a loom in almost every home of the village and witness the process of preparing the silk garments carried out, at its various stages in each of these households.
Fig. 7.7. Muthi Haath / the pulley used for the fly shuttle loom
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Process of Weaving
The throw shuttle looms is of the most commonly found loom used by all the communities in Assam. However the use of fly shuttle loom is more popular among the rural weavers in the district of lower Assam. Both the looms can be easily made out of indigenous materials mostly bamboo and wood. They use metal frame in some areas. The frame on which the loom is suspended consist of stout posts which are driven into the ground forming a rectangle. The posts are joined on the top by cross beams. The other parts of the loom are the warp and cloth beams, reed, slay, pulleys treadle, temple, shuttle. The major accessories traditionally used are Letai - a small cone shaped device to wind yarn while sizing prior to warping. Sereki - A truncated cone-shaped bamboo frame, used as a device to place the hanks.
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Ugha - a small bamboo frame, shaped like an elongated barrel. It is an indigenous device to wind the warp yarns. Chiri, Sali - A few splited sticks flat and round, used for different purpose during the process of warping, weaving and for ornamentation. Rachbhara - an awl to pass the yarn through the reed. Jotor - Winder used to wind bobbins for weaving. Maku - the shuttle to pass the pick across the warp-shed.
Fig. 7.8.2
Fig. 7.8.3 Fig. 7.8.1
Fig. 7.8.1. Jotor Fig. 7.8.2. Chrir/ Sali Fig. 7.8.3. Maku and Mohura Fig. 7.8.4. Sereki
Fig. 7.8.4
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1. Frame - Taant
- The silk thread that is woven into the loom is classified into - the Digh and Bani
2. Warp - Digh
- The vertically woven silk thread that forms the base of the garment is called the Digh. (Warp)
3. Clothes Beam - Kapur Gari - And the silk used to weave the horizontal patterns or flowers is called the Bani. (Weft)
4. Reed - Raah 5. Beater - Durpoti 6. Peddle - Goroka 7. Putol 8. Lease rod - Bew
- First, the ready-made silk thread which is the Digh, is spun around a bamboo instrument called the Sereki. - The Sereki has five small bamboo sticks attached to a longer, common bamboo stick at the centre forming a cylindrical shape. This is done to remove the knots or uneven fibres of the thread. - The thread is again spun into a smaller bamboo frame called the letai in the local language.
9. Muthi Haath - Later the spinning of the thread into smaller spools called Bobin, is performed with a help of the spinning wheel called the Jotor. - The Jotor is run single handed by a person who spins the thread into the wheel with one hand while wrapping the thread into the spools with the other hand. - After the thread is woven into a number of such Bobin, these Bobin’s are then placed on a huge frame called Ugha serially. - The thread from each of these Bobin placed on the Ugha is spun around a huge wooden wheel called the Warping Drum.
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1. Frame - taant
- The spinning enables the weaver to get the exact size and length of the silk garment that is to be woven on the loom.
2. Warp - Digh 3. Warp Beam - Norosh/Haal Gari
- The thread is then very systematically taken out from the wheel and placed on the long wooden bar of the loom called the Norosh.
4. Pulley - Nasoni
- Fly shuttle loom and the loin loom constitute a very important part of weaving in Assam.
5. Beater - Durpoti
- The digh thread from the warping drum is slowly taken out systematically and slowly encircled around the Norosh. This is done with the aid of a sharp iron tool inserted at the end of the Norosh. Once the thread are placed around the Norosh systematically, the lose threads will be inserted one by one into a threaded frame called the Boa, This step is done with a lot of precision. These threads are then inserted into a comb like frame called the Raah. These threads are then taken by the weaver to weave fine garments.
6. Lease rod - Bew 7. Bamboo stick - Chiri, Sali 8. Heald - Phulia 9. Reed - Rash
- As the digh thread is placed on the Norosh the bani thread is then placed on small spools inside a small wooden frame called the Mohura. - The Mohura is again placed on a bigger frame called the Maku attached at the side of the loom. - The dyed yarn from the Mohura is then woven into fine flowers, patterns and motifs on the Digh thread which now forms the entire base of the garment.
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Dyeing in Assam
Dyeing as a tradition isn’t very prominent in the Northeast. The culture of dyeing though prevalent in the past has died down over the years due to growth of artificial dyeing. The Dyeing Sector in Assam exist in certain individual dyeing facilities, but they are unable to contribute substantially to the textile sector. It lacks of proper dye facilities and are devoid of proper operational frameworks and sustainable business models. The dyeing that does takes place is also due to large amount of imported dye from across India, some companies even sourcing their dye from the South making the end product very expensive and availing it to only niche segment of the consumers.
Drawbacks Lack of proper dyeing facility Cottage level dyeing facilities are run on individual capacities Cottage level dyeing facilities are devoid of proper operational frameworks and sustainable business models Waste treatment of chemical dyes is nonexistent. This issue is aggravated when it is known that most dyeing activities occur inside natural water sources Dyeing for silk has not been able to gain commercial success due to the small “lot sizes� High degree of use of imported dyes Lack of dye manufacturer in the region
Fig. 7.9. Jyotsna Bibi showing the colour of the Phutki Dye
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The most predominant methods for dyeing are: Acid dyeing For Dyeing silk or woollen ,cloth/yarn in Dye solution of 8 to10 Ph is heated after adding water to match liquor ratio for about 1 hour until dye bath becomes colourless. Small amounts of acetic acid works for fixing the colour Azo Free dyeing Benzidine and a few amines group are carcinogenic, hence banned, dyes free from Benzedrine are basically azo free. However, manufacturers have long been practising avoidance of use of azo group. (Effluent of azo dye manufacturing plants can pollute water, and cloths dyed by azo dyes can lead to skin cancer)
Natural dyeing For Dyeing, the cloth/yarn is generally boiled with the aqueous extracted solution of one or more specific Natural Dye until all the colouring material absorbs the same. Main sources for natural dyes: Onions skins, Marigold blossoms (Tagetes erecta, Tagetes patula), Tansy (Tanacetum vulgare), Solidago (Solidago spp.), Chrysanthemum blossoms (Chrysanthemum morifolium), Sunflower heads (Helianthus annuus), madder, a red dye made from the roots of the Rubia tinctorum, blue indigo from the leaves of Indigofera tinctoria, yellow from the stigmas of the saffron. Other plants used are Sewali phul, Hibiscus (Joba phul), Marigold (Gendhai Phul); Leaves - Henna (Jetuka pat), Indigo (Nil), Teak (Segun); Barks-Jack fruits, Red sandal wood; Skins- Pomegranate, Onion; RootsMadder, Turmeric, etc.
Fig. 7.10. Dipping the eri yarn into a Haldi dye bath.
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Fig. 7.10
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Studying the motifs
In the process of co creating with the artisans, it was vital for me as the role of the designer to do my part and study the motifs that has already existed in Assam and passed down over the decades and also the newer motifs that has come in trends in the recent years. The term traditional is often applied to motifs and designs which have been handed down from generation to generation. Most motifs and design patterns are geometric and symbolical in nature. In Assam handwoven textiles are arranged with motifs or units as borders, buti, buta all over pattern or other regular or irregular plans. These designs are brought out means of employing an additional layer of dyed yarn. These extra yarn for design normally float over the main interlocking warp and weft. This is traditionally called extra weft technique. The earlier traditional motifs were more geometrical and angular. It has its references to more traditional auspicious cultural symbols. They are mostly inspired
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from nature and forms familiar to objects around them. The decorative designs used in woven textiles were influenced by the surrounding nature; certain objects of household use, which has many of which has socio-religious-cultural significance. The motifs are traditionally created by the weavers themselves. Objects of natural surrounding constitutes as the main source for of inspiration for motifs and design. Often these objects are simplified and at times distorted. Thereby they tend to very stylised rather than the naturalists form. These motifs tend to be a reflection of the ability of the weavers to manifest their ideas into the warp. Some of these motifs and the designs are plotted on graph. The designs adopted in the graph represents the ends by the vertical rows and picks by the horizontal rows. The employ squares depict the ground warp and weft.
Floral and Plant Motifs (Phool, Gach, Lata)
Fig. 7.11.1
Fig. 7.11.2
Fig. 7.11.3
Fig. 7.11.4
Most motifs find it inspiration from the nature. Thereby floral and plant composes for a major part of the motifs adorned on Assamese textiles. Flowers from the smallest and simplest form to large distinct petals are found. Big bold flowers in stylised geometric forms often used as a single unit or as a buta is usually found. Similar to flower (phool) plants (gach) and Creepers (Lata) are abundantly used in Assamese textiles. These gach design consist of very simple forms to intricate one suitably used a butas. Running motifs often used for borders are called Lata or creeper. They are often used a sole motif or in tandem with other coordinated motifs. Sometimes these lata have phool along with the design. Pankata and Kasari are two other terms often used to denote certain designs. They are stylised forms of leaves and flowers arranged systematically to form a border.
Fig. 7.11.5
Fig. 7.11.1. Variation of a Golap phool (rose) Fig. 7.11.2. Variation of a Golap Phool Fig. 7.11.3. Variation of a Golap Phool Fig. 7.11.4. Tara - a Star design Fig. 7.11.5. A variation of Pantaka - Pan betel nut vine (creeper)
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Animal Motifs
Fig. 7.11.6
A variety of animal motifs like butterfly, peacocks, elephants etc. Adopted into the textiles in stylised forms. These design are stylised to simple forms without losing its identity. Charai (birds), mora char(peacocks) ducks, swans are regarded as sacred motifs by Assamese hindus. The borders of gamosa used in temples often has peacock adorned on them. Another common motif is of butterfly known as pokhila in the local language is often woven in different shapes depending on the expertise of the weaver.
Fig. 7.11.7
Fig. 7.11.8
Fig. 7.11.6. Charai (bird) Fig. 7.11.7. Pokhila (butterfly) Fig. 7.11.8. Mekuri Khujia (cats paw)
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Geometric Motifs and designs
Fig. 7.11.9
Fig. 7.11.10
Geometric ornamentations are very common in textiles. They are found in isolation or used as a combination with other styles. Geometric forms of have been used in textiles for ornamentation in various cultural context. Small diamond with a cantered dot is a very common base for geometric design. Though this motif hold different meaning in different context, it usually represents pigeons eye or a peacocks eye. The geometric design is also a stylisation of flower, plants and animals motifs, sometimes in combination. A close observation of geometric design reveals that these are essentially symbolic in nature. Use of these design in traditional weaving communicates the symbols. Kech is another form of geometric ornamentation, there are bands of geometric arrangement of lines with is usually combined with dobua, another ribbed geometric pattern. Which is an indigenous tribal design.
Fig. 7.11.11 Fig. 7.11.9. Barfi Fig. 7.11.10.Pokhila Phool (butterfly flower) Fig. 7.11.11. A variation of Kech design
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Preserving the Design Earlier motif were preserved on banana leaves or on Areca plant leaves. Sometimes they would weave patterns into coarser warps with bamboo sticks which is called Ghai or Kathi chaneki. While studying the
changed due to external influence. Along with confluence of various types of design their simplicity is marred. It is key that measures and steps should be taken in preservation of these traditional motifs.
motifs and understanding the weavers int the various villages, we notice that most the design in the villages were referred from scraps of fabric or from memory. They did not have a system of managing their motifs or any index to refer to if memory fails. Use of graph paper is one system that is prevalent in only some families and can be sustained.
And new design can be evolved without losing the identity of the tradition.
We realise that these motifs and design are the main powerhouse and the tool they use to manifest beautiful pattern on the textiles. But however in the past years, the traditional Assamese motifs have undergone an extensive changes. The traditional and simple motifs have
Fig. 7.12. Cover page of the Design Book
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Design Book for the Weavers
িডজাইন িকতাপ / Design book a motif directory for the weavers of Noi Mohi
To address the preservation and revival of the traditional motifs of textiles in Assam. A deliverable of the project would be introducing an inventory for the weavers of Noi Mohi. As observed while mapping, the weavers do not have any reference to their motifs and work out of memory or from little scraps of fabrics. Through the design book which would be in graph form, the weavers can refer motifs very often used in the design vocabulary in Assam. The design book will also have several graph pages where the weavers themselves can fill with motif design they come across or make.
Fig. 7.12
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Current market Scenario
Even though we do not want the brand to follow a conventional process of forming a design language it is important for us to look into the market where we would be offering our products. In Assam, there are boutiques in every street. Where Local designers and entrepreneurs engage weavers and artisans from the village to make collections for them for the seasons to come. These artisans are usually based out of villages in and around Guwahati. Sometimes they collect different products and store in their outlets. Most of these brands cater to a large market during the wedding and festive season. The products in these boutiques ranges from Mekhela Sadors, Sarees, bridal wears, evening wears. They also make western garments out of these traditional materials which are always made to order. The design in the sarees and mekhela sadors are generally traditional with heavy intricate work done on a jacquard loom. But over the past years we see that these designs and motifs are moving away from the traditional and amalgamating with modern motifs and designs. Sometimes in combination to form new motifs. Mulberry silk is very commonly used for these products and also Muga silk. Keeping the price range of these products on the higher end.
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Examples of some of these boutiques are- Meghna’s Design Studio - Kirameki - His and Hers - Doyna - Sanjukta Some other brands were able to stand out in this market by introducing a more inclusive product range. Brands such as- Konyak -Cafe Craft More aware of idea of sustainability and upliftment of craft. They had products that ranged more than just sarees and mekhela. They included water hyacinth and water reed bags and mats, black pottery (nungphi). Also if they had natural dyed eri stoles and also natural tie and dyed stoles.
Fig. 7.13.5 Fig. 7.13.2
Fig. 7.13.1
Fig. 7.13.6
Fig. 7.13.7
Fig. 7.13.3
Fig. 7.13.1. Sanjukta’s Japi motif Mekhela Fig. 7.13.2. Kirameki Eri collection Fig. 7.13.3. Konyak’s Traditional Mekhela Fig. 7.13.4. Doyna’s Mekhela Collection Fig. 7.13.5-9. Logo of the Boutiques and brands in Assam.
Fig. 7.13.4
Fig. 7.13.8
Fig. 7.13.9
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Fig. 7.14 132 / National Institute of design / Textile Design (B.Des) / Graduation Project
Realisation Noi Mohi from its inception of entering the market needs to provide its consumer with a ra e o ro c hich co l a o i a alrea rolific arke o ha loo in Assam. In order to achieve that level in the given time frame we had to identify our weavers very thoughtfully. We had to engaged artisans who would just need a basic enhancement of their already existing skills. Having mapped our villages and studying the motif there were a few observation that we noted in our journey so far. We came to certain conclusions post the mapping Bamundi village, as a whole has a lot of potential. The weavers in Bamundi are still honing heir cra a i o l e a ri k o e a e he i he fir la ch o oi ohi e i e o work with them in the future collection for Noi Mohi. We want to be able to conduct skill development workshop and capacity building training in natural dyes in order for them to be able to take pride and ownership in their work. We sampled a few stoles in each village to see their capacity and their level of understanding. Out of the villages that we have mapped, the artisans in Boko happened to be in a better position to co create with Noi Mohi for its soft launch. Boko stood in an advantage as the weavers had prior training with IIE and were able to communicate and understand the language that Noi Mohi as a brand wanted to express. The artisans in Boko already have a knowledge in natural dye. We also observed that, since the artisans of Boko were able to bigger width of their looms. It put them in an advantage for making sarees for Noi Mohi’s initial collection. Whereas Bamundi artisans were only limited to working on a smaller width looms, emphasising mostly on stoles. e co cl e ha or oi ohi fir la ch ollec io e o l e a e he Boko artisans to co create a range sarees while simultaneously we engage the Bamundi weavers by training them in basic skills development.
Fig. 7.14. Boko Village
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STAGE - 2
Weavers Profile In the second stage of the process we planned out to work with the village of Boko. The process began with further going into depth in the village navigating with households searching for artisans that would be perfect for this stage of Noi Mohi and that helped us locate the right weavers for the job and assign roles. The village do not have any organised union that could assemble all the artisans of the village as one cooperative. It was a raw and organic process of interacting with weavers around the village and communicating with them.
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Fatema Bibi Fatema Bibi is a native of Boko, a mother of three. She spends most of her day taking care of the household work. Fatima is an expert in natural dye. She picked up dyeing through capacity training programme IIE took back in 2014-15. Ever since she has been able to inculcate the dyeing process in her work. She prefers to spin and dye all her yarns and find the process most rewarding. Fatima has a natural knack for entrepreneurship and is able to engage the other artisans in her community. She is taking a key interest in teaching her younger children in the art of weaving and making them a part of the process. Fatema took the leading role in bringing forth Noi Mohi in the village of Boko. Engaging the artisans in their specialised talent and being able to converse and co create with us.
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Sahera Bibi Sahera Bibi is a homemaker and a mother of two. She specialises in weaving in uses dyed yarn from the market or from Fatima. If not weaving she is usually taking care of the cows and her goats which is their main source of income. She inherited her loom from her mother.
Jyotsna Bibi Jyotsna is a young mother of three children. She is Fatima’s neighbour. She specialises in weaving stoles and apprehensive on weaving sarees. She gets her yarns dyed by Fatima. She is always around helping Fatima out in her dyeing processes and owes Fatima in inculcating an interest of dyeing. When she isn’t weaving she takes care of the house and the paddy field if the family with her husband.
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Hasina Bibi Hasina Bibi is a mother of three. She spends most her time taking care of her cows and the household. She weaves during her spare time as her hobby and to make fabric for the family. In the morning she is active on spinning eri cocoon. She is also skilled under the IIE training programmes and has an understanding for natural dyes. She is currently teaching her younger daughter in spinning and weaving. Just the same way she has inherited her looms and skills from her mother.
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Initial Conceptualisation
Profiling the artisans and conceptualisation manifested parallelly. Once we were able to locate artisans our next step was to sensitively address the brand Noi Mohi to the artisans. It is an essential step for the artisans to understand the brand and its ideologies in order for us to be able to co create for the future collections of Noi Mohi. At this stage we worked with the weavers in understanding the current nature of their work. Trying to grasp their vocabulary and adjusting the communications. The idea was to be able to intervene into the working warp of the weavers without disrupting an already existing workflow. To begin, we started working with Fatima Bibi and initiated a conversation on natural dyeing and the idea of making an entire range of stoles and collection on just
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natural dyes. To kick that off the initial first few weeks was spent in understanding the different dye processes that prevalent in the village. Fatima Bibi was able to show us various processes of dyeing as they had to put new warps up. We wanted to tap into what they did best. Through the various natural dye process we would be able to derive Noi Mohi’s colour palette.
The objectives in this stage were- To start building the discourse between the artisans and initiate them as part of the brand. - Communicating the brand Noi Mohi and its core believes to the artisans. - For us to gain insight into the textile traditions that they practise and sustain. - Understanding the uniqueness of the first batch of artisans and what makes then stand out. - To understand how the artisans have perceived the brand so that a ground of mutual benefit can grow. - The objective ultimately is to carve a path to build a sustainable model that is feasible for the future.
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Boko Natural Dyeing
In the village of Boko dyeing takes place household individual capacity. The artisans in Boko have had training in dyeing through Indian Institute of Entrepreneurship (IIE).
Dyes used - Segun (Teak Leaves) - Phutki (Melastoma) - Laha (Lac)
Our dyeing was led by Fatema Bibi. Fatema Bibi always had keep interest in dyeing and was able initiate a lot of the dyeing own her own. She is almost like the dyeing expert in the village and people rely on her for her expertise. It was an honour for me to be able to witness her dyeing skills and be able to share through our learnings.
- Khoya (Catechu) - Haldi (turmeric) - Hilika (Myrobalam) - Pyaas Bokoli (Onion peel)
Mordant used - Alum
Yarns used - Eri (handspun and millspun) - Cotton
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Fig. 7.15.1
Fig. 7.15.2
Fig. 7.15.3
Fig. 7.15.4
Fig. 7.15.5
Fig. 7.15.6
Fig. 7.15.7
Fig. 7.15.8
Fig. 7.15. 1. Fig. 7.15. 2. Fig. 7.15. 3. Fig. 7.15. 4. Fig. 7.15. 5. Fig. 7.15. 6. Fig. 7.15. 7. Fig. 7.15. 8.
Segun (Teak Leaves) Phutki (Melastoma) Haldi (turmeric) Khoya (Catechu) Hilika (Myrobalam) Laha (Lac) Alum Eri (handspun)
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Fig. 7.16.1
Fig. 7.16.2
Mordanting Eri yarn The eri Yarn is mordanted with Alum and hot water.
Fig. 7.16. 1. Fig. 7.16. 2. Fig. 7.16. 3. washed Fig. 7.16. 4. water Fig. 7.16. 5. Fig. 7.16. 6. Fig. 7.16. 7.
Crushing the Alum Crushing the Alum into fine powder Weighing the amount of yarn to be Washing Eri yarn in alum and hot Making sure each strand is soaked Rinsing of the eri yarn Left aside in damped state
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Fig. 7.16.5
Fig. 7.16.3
Fig. 7.16.4
Fig. 7.16.6
Fig. 7.16.7
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Basic Dyeing process
Segun Paat / Teak Leaves / Tectona grandis Teak leaves is naturally grown in the backyards of the Boko villages. The fresh leaves are plucked in order to get a light mauve tone. Whereas the older leaves are used to get more brown tone. Process 1. The leaves are procured from the garden. 2. The leaves are grinned in a dheki (mortar) till pulp/mushy and the colours from the leaves start to release. 3. The yarn is put into a alum bath and rinsed as mordant. 4. The leaves are then boiled with double part water for about 15-20 minutes 5. The pulp is strained out off the dye. 6. The mordanted eri yarn is then soaked in the dye bath till cold.
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Fig. 7.17.1
Fig. 7.17.2
Fig. 7.17.3
Fig. 7.17.4
Fig. 7.17.5
Fig. 7.17.6
Fig. 7.17. 1. Fig. 7.17. 2. Fig. 7.17. 3. Fig. 7.17. 4. Fig. 7.17. 5. Fig. 7.17. 6. dye bath Fig. 7.17. 7.
Segun (Teak Leaves) Crushing segun leaves in a Dheki Pulp form of the segun leaves Starting the firewoods for boiling Boiling the pulp segun leaves Mixing the eri silk with the Segun Fig. 7.17.7 The end result of dye eri in segun
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Haldi / Turmeric / Cucurma Longa Turmeric is also cultivated locally in the villages. The superior quality of turmeric can also be acquired from Ribhoi district in Meghalaya. Process 1. The turmeric is powdered completely. 2. The turmeric is then boiled in hot water. 3. While the silk yarn is being washed in alum bathing then rinsed. 4. The yarn is then put in to the turmeric dye bath. 5. It is left in the dye bath till cold.
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Fig. 7.18.1
Fig. 7.18.2
Fig. 7.18.3
Fig. 7.18.4
Fig. 7.18.5
Fig. 7.18.6
Fig. 7.18. 1. Haldi (Turmeric) Fig. 7.18. 2. Boiling crushed turmeric Fig. 7.18. 3. Dipping eri into haldi bath Fig. 7.18. 4. Mixing it thoroughly for best results Fig. 7.18. 5. Making sure every strand is in contact with the dye bath Fig. 7.18. 6. Its recommended to keep it for a few hours to let the dye seep in Fig. 7.18..7. The end result of dyed eri in Haldi
Fig. 7.18.7
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Phutki / Melastoma Malabathricum Phutki is another locally grown bush plant found in the villages. The fruit of the plant produces the bluish/purple colour. It produces a deep blue grey when mixed with harda( hilika) Process 1. The fruit of the Phutki plant is obtained from the forest. 2. The fruit is grinned in a dheki (mortar) till its in pulp form and the colour starts to release. 3. The yarn is put into a alum bath and rinsed as mordant. 4. The pulp are then boiled with double part water for about 15-20 minutes 5. The pulp is strained out off the dye. 6. The mordanted eri yarn is then soaked in the dye bath till cold.
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Fig. 7.19.1
Fig. 7.19.2
Fig. 7.19.3
Fig. 7.19.4
Fig. 7.19.5
Fig. 7.19.6
Fig. 7.19. 1. Phutki (Melastoma) Fig. 7.19. 2. Crushing Phutki berries in a Dheki Fig. 7.19. 3. Pulp form of the phutki berries Fig. 7.19. 4. Boiling the pulp phutki berries Fig. 7.19. 5. Separating the bath from the pulp Fig. 7.19. 6. Dipping the eri silk in the dye bath Fig. 7.19. 7. Its recommended to keep it for a few hours to let the dye seep in
Fig. 7.19.7
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Laha/ Lac/ Kerria lacca Lac is the scarlet resinous secretion of a number of species of lac insects, of which the most commonly cultivated is Kerria lacca. The Lac is usually bought from the village Sunday markets. The lac comes from around other parts of northeastern states, mainly from Ribhoi district in Meghalaya. Process 1. The lac is measured and put into a little bowl to boil with water. 2. As the lac boils, the yarn which needs to be dyed is put in hot alum wash. 3. Once the colour from the lac starts separating from the gum it is taken out of boil. 4. The lac is put through a sieve and separated from the gum. 5. Once a dye bath is ready, the wash eri yarn is put into the bath. 6. The yarn is kept inside the dye bath for at least 5-6 hours and then let out to dry.
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Fig. 7.20.1
Fig. 7.20.2
Fig. 7.20.3
Fig. 7.20.4
Fig. 7.20.5
Fig. 7.20.6
Fig. 7.20. 1. Fig. 7.20. 2. Fig. 7.20. 3. Fig. 7.20. 4. bath Fig. 7.20. 5. Fig. 7.20. 6. Fig. 7.20. 7. few hours
Laha (Lac) Boiling the Laha with water Letting the dish cool down Separating the gum from the dye Dipping the eri silk into the dye bath A thorough mixing of the eri yarn Best result if left in the bath for a
Fig. 7.20.7
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Khoya/ Katha /Acacia catechu Catechu is an extract of acacia trees used variously as a food additive, astringent, tannin, and dye. The Khoya is bought from the market in Boko Village. They are sold in its dried block pieces after boiling the wood in water and evaporating the resulting brew. Process1. The dry khoya is mortared into small pieces to boil and making the dissolving process quicker. 2. It is then put to boil when the eri yarn is washed in a hot alum bath. 3. After about 20 minutes in medium heat the khoya completely dissolves with water. 4. The eri yarn in then put to soak into the bath. 5. Its is left over night to get a more deeper and bright reddish brown.
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Fig. 7.21.1
Fig. 7.21.2
Fig. 7.13.3
Fig. 7.21.4
Fig. 7.21.5
Fig. 7.21.6
Fig. 7.21. 1. Fig. 7.21. 2. Fig. 7.21. 3. water Fig. 7.21. 4. Fig. 7.21. 5. bath Fig. 7.21. 6. the dye bath Fig. 7.21. 7. few hours
Khoya (Catechu) Crushing khoya block in a patku Boiling the pieces of khoya with Cooling down the vessel Adding the mordanted eri in the Thorough mixing of the eri yarn in Best result if left in the bath for a
Fig. 7.21.7
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Pyaas Bokoli/ Onion Peel /genus Allium Pyaas Bokoli is what the people in pairing called onion peel. They save up dry peels of onion or buy from the local vendor in bulk. The bulk consist of mainly old onion and onion peel. The peel of the onion gives a brilliant shade of green when boiled. They add ferrous sulphate after boiling to get a darker shade of green. Process1. The onion peels is cleaned and separated from the dirt and rotting onions. 2. It is then put to boil when the eri yarn is washed in a hot alum bath. 3. The peel bath is boiled for about 15-20 mins till the water starts bubbling. 4. The peel is sieved out from the bath. Giving a dark colour watery residue of the onion. 5. 2 pinch of ferrous sulphate is added to the bath to give a richer dark green. 6. The eri yarn is then put into the bath and soaked in till evening.
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Fig. 7.22.1
Fig. 7.22.2
Fig. 7.22.3
Fig. 7.22.4
Fig. 7.22.5
Fig. 7.22.6
Fig. 7.22. 1. Pyaas Bokoli (Onion leaves) Fig. 7.22. 2. Crushing the onion leaves Fig. 7.22. 3. Boiling the onion leaves with water Fig. 7.22. 4. Separating the onion leaves pulp from the dye bath Fig. 7.22. 5. Adding ferrous sulphate to the dye bath Fig. 7.22. 6. Mixing the eri silk with the dye bath Fig. 7.22. 7. A thorough bath is required for a good dye result
Fig. 7.22.7
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Colour Palette
The colour palette for Noi Mohi were very organically formed. A conscious decision made to take forward the basic dye processes that the artisans were comfortable with for the first launch collection. The colours although limited were sufficient to get the brand started. It spoke the language of Noi Mohi and the added value being all the resources were indigenously grown around the village. The colours wereHaldi (turmeric) Segun paat (teak leaves) Laha (lac) Khoya (catechu) Pyaas (Onion Peel) Phutki (Melastoma Malabathricum)
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Observation It was interesting to observe the artisans knowledge and self interest in these natural dyes. Some of the dyes such as phutki, was discovered by themselves in realising they could be dyed. In a market where there is a high demand of indigo. In Assam to meet the demands for indigo they are generally bought in cake forms from Southern states of Andhra Pradesh and Tamil Nadu. Phutki, an indigenously grown plant become an alternative to this demand. We had to be aware that the artisans main source of income is farming and not weaving or dyeing. The money that they thus all the resources that they use are accounted for and money had to be resourcefully utilised. So dyes such as Pyaas (onion peel) which is a waste found easily at their homes became an economically valuable resource. There isn’t any need for buying bulk of extra dye materials. Segun paat (teak leaves) is another such dye which grows abundantly in their backyards.
Fig. 7.23.1. Phutki Melastoma Malabathricum Fig. 7.23.1.. Segun Paat Teak Leaves Tectona grandis Fig. 7.23.1. Haldi Turmeric Cucurma Longa Fig. 7.23.1. Khoya Katha Acacia catechu Fig. 7.23.1. Pyaas Onion Peel Fig. 7.23.1. Laha Lac Kerria lacca
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Sampling
Once we were aware of the dyes and the colour palette suited to the brand we took the next step in the stage which was understanding the artisans and their level of skill. In this stage of the process we saw through how different yarns work in the loom they used and decided upon which yarn would be best for the looms for our first collection. A major factor in these sampling stage was that every resource we were using were valuable. From the yarns bought to the dye materials everything was accounted for thereby we needed a sound planning so that the end result was sell-able. In order for that to follow through we decided to sample with stoles. The artisans were still apprehensive about putting saree warp. Stoles were some products that could be put up on the warps for the artisans without hassle. The artisans in Boko used a fly shuttle loom with a 40s reed. The first few trials in looms for sampling were made using a mills spun yarn provided by Fabric Plus.
In recommendation from them we used a 2/60s on the warp and 80s on the weft. We made a sample stole on a plain eri warp, blue phutki warp and a half and half red and white cotton warp. Through the process of sampling there were a few observation that we came across. Fatima Bibi, the head artisan in Boko noted that the mill spun yarns were breaking apart in the weft in the process of weaving. Along with the breakage of the weft yarn the warp yarn became comparatively thicker after the process of sizing the warp with starch. The warp yarns became heavier than expected and would not be suitable for a saree. Since we had already invested on the mill spun yarn we came to the conclusion that the mill spun yarn would be used for the stoles but for the later collection we could not use the mill spun as it became more cumbersome even though it was more readily available to us.
Fig. 7.24.1. Initial sketches of the stoles for sampling
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Fig. 7.24.1
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Fig. 7.24.2
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Post this complication, Fatima Bibi suggested we used hand spun eri yarn. The hand spun eri yarn were procured from the nearby Yarn banks in Boko, Chaygaon and Bijoy Nagar. In comparison to the mill spun the hand spun eri yarn were of much superior quality and there were yarns that the artisans were much more comfortable and had a familiarity weaving with the hand spun. The only issue with the hand spun eri was that it was not uniform. We would come across irregularities in the spinning and the quality.
Thereby most of their motifs were simple and they kept it minimal. The largest motif would be under 3 square inch. They also like to work with variation in repeats and stripes. Sticking to these familiar design elements we wanted to retain the authenticity of the Boko artisans and the traditional motifs that they use and still keep it simple and contemporary for the brand.
We decided to use cotton on one of the warp for sampling. In doing so we decided to keep a block drafting on white and red cotton and eri in the weft. After having finalised on the yarn we began the process of having a conversation on how we want to sample the stoles. The artisans in Boko worked in a fly shuttle loom and lifted all their designs by hand.
Fig. 7.24.2. Initial sketches of the stoles for sampling
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Fig. 7.25.1
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Fig. 7.25.2
The process of sampling was first started by Hasina Bibi on a blue Phutki warp. The phutki was something very intriguing and fascinating for the team of Noi Mohi. So we decided to utilise the sampling phase to see the outcome of weaving in Phutki. Like initially mentioned all the resources used in the process of sampling were thought out thinking of an end product that could retails in the Noi Mohi store. We decided to sample with stoles.
Dimension of stoles Width - 24” off loom / 26” on loom Length - 75” + 2” Tassel Three variation of stoles with two pieces each. A total of 6 stoles from one warp. Yarn Handspun Eri Yarn. Dye Purple blue (Phutki Malabathricum)
/
Melastoma
Hasina Bibi was very eager to weave the stoles. She is an expert in Phutki dyeing. The initial week was spent in understanding the process of dyeing with phutki after which she set up the warp. Post setting up the warp we spent about a day or two in explaining the aesthetic of Noi Mohi and making her understand the three variation of stoles. Some new concepts of having buti on only one side on not having identical ends to the stoles. Once the weaving began we were able to constantly go to the village to check on the progress of the stoles.
Motif A simple geometric buti (barfi) Fig. 7.25.1. A digital version of the first three samples of the phutki stoles Fig. 7.25.2. Translation of the stoles from sketch to reality
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Fig. 7.26.1
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Fig. 7.26.2
Simultaneously on the other warp we began with a block warp of cotton in red and white.
Dimension of stoles Width - 21.5” off loom / 23.5” on loom Length - 74” + 4” Tassel
This loom was set up by Sohojoni Kalita. In this warp we wanted to explore the possibility of using cotton on the warp and mill spun eri in the weft. If this process was successful we would be able to curb the prices of the stole.
Three variation of stoles with two pieces each. A total of 6 stoles from one warp. YarnWarp - Mill spun 2/80s cotton yarn Weft- Mill spun 60s eri yarn. DyeWarp - Red and White Weft- Natural Eri Motif-
Fig. 7.26.1. A digital version of the first three samples of the red cotton stoles Fig. 7.26.2. Translation of the stoles from sketch to reality
A simple geometric buti (barfi)
For this stole we spent a good day in making artisan understand the idea of block drafting and having two separate colours on the warp. After which we were able to set up the warp. Post the sampling of these two warps. We wanted the artisans to interpret their understanding from the previous warp samples and to apply other methods that we weren’t aware of or other form of layout that they wanted to try without straying away from the looks and feel of Noi Mohi. This was an exercise to see how much they would have absorbed about he brand and were able to produce it on the warp.
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From Bamundi village we had Sohojoni Kalita weaving on a red and white cotton warp with millspun eri. She was assisted by her husband Kamal Kalita and together they made a variation of four more designs on the red and white cotton warp. They used mill spun eri and cotton on the weft On another loom we had Fatima Bibi from Boko weaving on a plain eri warp. Where she experimented with simpler motifs and stripes. She had handspun eri in natural colour on the warp and similar for the weft with naturally dyed design yarn There were a few observations made post Fig. 7.27.1
Fig. 7.27.1. Four samples of stoles made by Bamundi Weavers
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the weaving of these stoles. We felt that the interaction between the eri and the cotton were very contrasting. Even the weaving quality of the bamundi weavers weren’t to the level of that of pairanga. Whereas in Boko we noticed the weavers had a certain degree of skill already and were able to take the Noi Mohi direction for the first launch.
Fig. 7.27.2
Fig. 7.27.2. Four samples of stoles made by the Boko weavers.
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Fig. 7.28
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Observation Post the sampling stage there were a few observation made that we had to ascertain when we launch the collection for noi mohi. The sampling stage was extremely crucial for us because it help us set the tone with o r ar i a a fi a ala ce i o r co ica io Po hi a li a e o h he ar i a a ere a le co ec a fi a h a o hich o l hel il he brand. Not all weavers were professional artisans, therefore while making them understand the design or the motif we knew that they would most likely interpret it in their own way. Staying true to the idea of co creation, we were happy to see them come up with beautiful interpretations of their own. Another observation was that they used a marker to make little marks on their products to distinguish which one was theres. We wanted to approach that problem since drawing on he ro c a arri he fi al ro c Po he ea i here i e e c o he ea er o i e he fi al ro c i a ear illa e o ha ao hi roce a e he a ric o er B
or cale ari e o ice ha
sometimes post this process of calendaring some of the products would change colour like our Phutki blue samples that turn grey from a purplish blue. There was a gap not only in the language but a geographical distance between us and the artisans because of which we could not always physically meet them and over see the progress of the work, at least not daily. We would have to rely over phone calls which was o ficie e ha o ake ore re e ri
Fig. 7.28. The Phutki stole warp at Hasina Bibi’s house.
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Fig. 8.1 170 / National Institute of design / Textile Design (B.Des) / Graduation Project
Gamosa / 8
What and why / 8.1 Basic theme, Design Language & Material / 8.2 Gamosa 1 / 8.3 Gamosa 2 / 8.4
Fig. 8.1. A red and a green type of Gamosa hanging outside Fatema Bibi’s House.
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Gamosa
What and Why? The first collection of Noi Mohi was a Gamosa Shawl. The gamosa is a unique identity of Assamese Society. This small piece of cloth has high esteem and wide usage in Assamese culture. It is regarded
them very well. In ordinary tasks it’s used as a bath towel, a head wrapper, easy to use dhoti and so on.
as the most easily recognisable cultural symbol in Assam.
cloth with primarily a red border on three sides and red woven motifs on the fourth (in addition to red, other colors are also used). Although cotton yarn is the most common material for making/weaving gamosas, there are special occasion ones made from Pat silk.
Literally translated, it means ‘something to wipe the body with’ (Ga=body, musa=to wipe) however, interpreting the word gamosa as the body-wiping towel is misleading. The word gamosa is derived from the Kamrupi word gamsaw, the cloth used to cover the Bhagavad Purana at the altar. Gamosa is also known as ‘Bihuwaan’, as it is an essential part of Bihu festival of Assam.
It is generally a white rectangular piece of
For Noi Mohi we wanted the gamosa to become the premier product representing Noi Mohi.
The usage of Gamosa is wide spread. From very ordinary household jobs to high esteem jobs, Gamosa performs all of
Fig. 8.2. The Gamosa shawl in progress on Fatema Bibi’s warp
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Fig. 8.2
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Basic theme/ design language and material -
We wanted the shawl to have elements of a gamosa but not entirely look like one. It needed to speak a Noi Mohi language of simplicity. To have a contemporary aesthetics without losing the traditional. The Gamosa shawl would be a 30 inch wide and 85 inch long shawl. We chose the shawl to be our first product because it is a very versatile piece of fabric that a consumer can wrap or drape in any manner they want.
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Material -
Colour palette -
Motifs -
Hand spun eri Silk on the weft. Mill spun 2/80s Eri on the warp.
For the colour palette we wanted to use a warm tone but not as bright as the red they use in a quintessential gamosa. The segun Paat was the perfect colour for this with its beautiful pastel lavender tone. For little accents we used Haldi yellow.
The motif that we decided to use for first collection was something that would speak of noi mohi visually. We chose a phool motif (flower) with gach (plant).
Since we hand a handful of mill spun yarn left, we decided to use remaining yarn, it was best to utilise them as they were too heavy for a saree but would be perfect for a shawl.
he fir collec io a o e Bibi our head weaver in Pairanga.
ai a
Natural Eri Segun Paat - Mauve Haldi - Yellow
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Gamosa 1 Hand spun eri Silk on the weft. Mill spun 2/80s Eri on the warp. Dye Natural Eri Segun Paat - Mauve Haldi - Yellow Technique Extra Weft
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Gamosa 2 Hand spun eri Silk on the weft. Mill spun 2/80s Eri on the warp. Dye Natural Eri Segun Paat - Mauve Haldi - Yellow Technique Extra Weft
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Fig. 9.1
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Boko Saree / 9
What and why / 9.1 Basic Layout / 9.2 Motifs / 9.3 Segun Paat / 9.4 Laha / 9.5 Pyaas Bokoli / 9.6 Khoya / 9.7 Phutki / 9.8 Finalised Layouts / 9.9 Photoshoot / 9.10
Fig. 9.1. Saree warp on Hasina Bibi’s loom in Pairanga, Boko Village
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Boko Saree Collection
What and Why? The sarees for Noi Mohi came into being through the discourse with the weavers and the sampling stage. Through the process we come to observe how the artisans respond to our inputs of newer
weavers. The motifs would be achieved through hand picked extra weft. Thereby allowing to play with simpler motifs instead of large heavy motifs dominating the current market. This also accentuates
idea of layouts and the motives of Noi Mohi. We were dependent on the flow of process and how it unfolds rather than having a predetermined theme and target audience.
the hand woven quality of the organic eri silk.
As we went deeper into the process we begin to see a more active role of the artisan in the process of building the products that would become Noi Mohi. Certain elements became more prominent and overlapped with the brand’s ideology and language which would further help in the development of the products. Since this would be the first time Noi Mohi would be presenting itself into the market scenario we had a certain sense of liberty to how we put ourselves. Looking at the fabrics developed far, we decided to keep it clean with a minimalistic layout. Playing with thin strips in the borders and the ends of the warp. This would be complimented by simple Motifs used commonly by
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Through this entire process we were able to highlights how slow-movement can intervene in textile practises. Where each yarn has gone through the intricate process of being hand spun, hand dyed with natural dye and ultimately handwoven by the artisans. Even the selection of colours for the brand came through very organically. Majority of the resources of the dye materials are grown in the village itself, in the backyards of the artisans. This allowed us to play around with a few shades of organic colours. Conclusively, we came to a certain direction in our process of building the first saree collection.
The name Boko, is a reference to the small town in the Kamrup district of Assam where silk practices are prevalent with the undying spirit of culture and tradition. The first collection of Noi Mohi owes it
an opportunity to these weavers to uplift their social conditions and creating another source of income for the family.
creation to the artisans in Boko.
edition, which make for each piece to be unique and timeless. The artisans of Boko specialise in handspun eri silk and the Boko saree collections dwells into the various indigenous dyes used by the artisans. The source of the dyes are all locally available or grown in the village. The various sarees have been distinguished by these various dye.
Naming the first collection of the Noi Mohi sarees Boko was a conscious decision through which we wanted to highlight the makers of the saree, our artisans, Fatema Bibi, Sahera Bibi and Hasina Bibi. They all come from families of farmers from the village of Boko. This allows us to be as transparent as possible and let our consumers connect with the real heroes of the brand. We want them to know Noi Mohi. An inclusive environment not only helps us to create more authentic and unique pieces, it also empowers communities and social capabilities.
Our sarees are produced in limited
Segun Paat Saree - dyed with the leaves of teak Laha Saree - dyed in Lac Pyaas Bokoli Saree with Khoya highlightdyed in Onion Peel with Catechu details
Our artisans main source of income are their farms and livestock but that has slowly evolved and changed in the recent years since they are utilising their free
Phutki Saree - dyed in the berries of Melastoma Malabathricum
time in weaving. Through this approach it empowers our women artisans. Giving them a voice through our design. Giving
From the above mentioned dyes we were able to produce 10 sets of saree for the first collection.
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Basic Layout The basic design pattern and texture were already predetermined in the sampling process. As mentioned earlier we wanted to keep the layouts and patterns simple and minimal. We began with a few rough sketches and playing with variations of layouts.
design element that we wanted to be distinct of the first collection of the sarees were to have thin crisp borders and a line of coloured thread as thick as the border running though the warp 12in from the fall of the saree.
The focus in the sarees were the tiny details such as having three little strips in the beginning of the aanchal of the saree which is a very significant design element in a traditional Assamese saree. The borders of the saree are kept clean and crisp. Highlighting the main organic nature of the woven fabric. Another
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Motifs We did not want the saree to be overwhelmed by motifs. Therefore we decided to keep it simple and minimal with small butis spread out over the anchaal systematically yet with a organic touch. We ultimately decided to select the first few motifs of the saree from the Phool & gach (flower and plants) section of the design directory compiled by the artisans and I. The flower design served best for the brand as well as for the artisans. Since they weren’t expert weavers and their skills weren’t like those of a professional thereby keeping it to smaller motifs allowed the artisans to execute the motifs beautifully. The flowers would also come to represent the brand Noi Mohi. Allowing the brand to express its core values through the sarees.
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Segun Paat Sarees Teak Leaves / Tectona grandis
The first set of sarees in the Boko collection was made using teak leaves. Teak leaves called Segun paat in the artisans dialect are abundantly grown all over the village of Boko. Growing in large quantity behind Fatema Bibi’s house. The artisans spends only about a few hours collecting fresh new leaves from the teak tree. The newer teak leaves helps yield a more deeper mauve colour whereas when the leaves get older they yield a more darker mauve, almost brown. Since these leaves have a seasonal factor to it we began the first warp with the Segun Paat dye. The saree warp was set up Hasina Bibi. While the dyeing process was aided by Fatema and Jyotsna Bibi.
Fig. 9.2
Fig. 9.2 . A bag full of fresh segun leaves at Fatema Bibi’s house.
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Laha Sarees Lac/ Kerria lacca
In the second set of sarees we wanted to create a similar language to that of the Segun paat but only have a variation in the dye which would be Laha or Lac. Laha is the scarlet resinous secretion of a number of species of lac insects. The Laha is the only dye source which is not indigenously cultivated by the artisan rather it is bought by the aritsan from the Boko Sunday Market. But Laha is ingenious to the neighbouring state of Meghalaya thereby making it very easily available to the artisans. The saree warp was set up Sahera Bibi. While the dyeing process was aided by Fatema Bibi.
Fig. 9.2
Fig. 9.2 .Laha in its resin form bought directly from the market.
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Pyaas Bokoli with Khoya details Sarees Onion Peel /genus Allium and Katha /Acacia catechu
The third warp in the saree collection was a deep green warp procured from waste onion peel. On this warp we added highlights Khoya also known as Catechu. Onion in Assamese is called pyaas and the peel bokoli. Pyaas bokoli is a waste which the artisans collect at their homes over a period of time. If they need in larger quantity they buy bulk of waste from the market in Boko over the weekend in half the price. The onion makes for a great addition to the collection as its only the waste that is being utilised to achieve the dye colour. For this warp Fatema wanted to recreate a dent gap warp she had made for a collection of stoles. So stemming from that idea we started the third warp. We also added 12in of dyed Khoya on the warp for the fall of the saree. This warp was dyed and set up by Fatema Bibi.
Fig. 9.4
Fig. 9.3 . Onion Peel collected at Fatema Bibi’s house over a period of 3 weeks.
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Pyaas Bokoli with Khoya details Sarees Onion Peel /genus Allium and Katha /Acacia catechu
This warp is highlighted with Khoya also known as katha. Used commonly in the consumption of betel nut in Assam. The catechu is bought as a dry block from the market in Boko. This block of khoya is broken down into pieces and boiled and there after the brewed water is used as a dye bath. The khoya yields a deep orange.
Fig. 9.5
Fig. 9.5 .Khoya bought as dry block, from Boko Market.
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Phutki Sarees Melastoma Malabathricum
The last warp of the saree collection is a checked saree collection. Here we used the berry of Melastoma Malabathricum to dye the yarns. Melastoma is called Phutki in the artisans dialect of Assamese. The Melastoma Malabathricum is a evergreen shrub found abundantly in the Boko village. The berry of the plant when pounded and boiled yields a beautiful shade of purplish blue. This dye was a magical revelation to us because we were in the search of an indigo plant that was indigenous to the Boko and its neighbouring area like the other dye sources. When we weren’t able to find any indigo around, our artisan Fatema gave this wonderful insight that they would use the berry to dye blue in small quantity for the design yarn. For the Phutki warp we decided to make a set of checked sarees. We wanted to use simple thin blue lines of blue intersecting to form checks all over a natural eri warp.
Fig. 9.6
This warp was dyed and set up by Hasina Bibi. Fig. 9.6 . the berry of the phutki plant that yields the blueish purple dye.
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Finalised Layouts
Laha 1.
Laha 2.
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Laha 3.
Segun 1.
Segun 2.
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Pyaas Bokoli 1.
Pyaas Bokoli 2.
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Pyaas Bokoli 3.
Pyaas Bokoli 4.
Phutki 1.
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Photoshoot
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Segun Paat Saree 1. Handspun eri silk, naturally hand dyed with Segun Paat (teak leaves). Handwoven by Hasina Bibi at Boko, Boko Village.
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Laha Saree 1. Handspun eri silk, naturally hand dyed with Laha (Lac). Handwoven by Sahera Bibi at Boko Village.
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Pyaas Bokoli and Khoya details Saree 1. Handspun eri silk, naturally hand dyed with Pyaas Bokoli (Onion Peel)and Khoya (Catechu). Handwoven by Hasina Bibi at Boko Village.
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Ph ki hecke
aree 1.
Handspun eri silk, naturally hand dyed with Phutki (Melastoma Malabathricum). Handwoven by Hasina Bibi at Boko, Boko Village.
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Fig.10.1
Fig. 10.2
Fig. 10.3
Fig. 10.4
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Learning & Experience
The journey of building a brand from its inception has been a very insightful and enriching journey for me. This process gave me the creative liberty of accessing the expansive knowledge of Assamese textiles while being sensitive to the culture and tradition. Though the journey has been an uphill climb with a fair amount of obstacles, it all fades away in the face of all that I have been able to absorb. Over the four years at NID, we acquire a certain a degree of knowledge and skills while simultaneously reaching a certain sense of aesthetic. Unlike a classroom scenario, this project dealt with a larger context. Working in a new environment and involving myself into the livelihoods of the artisans was a challenge for me. This project enabled me to channel my individualistic design sensibilities and approach while still being sensitive to the artisans working in craft sector in Assam.
Fig. 10.1 .Helping Jyotsna Bibi set up a segun stole warp. Fig. 10.2 .Cross examining saree with Fatema Bibi. Fig. 10.1 .Fatema Bibi showing me how to clean onion peel and waste. Fig. 10.1 .Helping Jyotsna Bibi set up a segun stole warp.
able to navigate through a very populated handloom sector of Assam. It was challenging for me to be placed in a rural environment with minimal Assamese language skills. It was very crucial for me to be able to communicate with the artisans without a sense of obtrusion into their livelihoods. Over the eight months, I was able overcome my own struggles with social skills and was able communicate with the weavers. Ultimately, all in all, this mammoth undertaking has taught me more about this sector and craft than I could ever have imagined, especially with the added bonus of being able to weave in the cultural teamwork aspect of it all. The patience, understanding and fervour of the artisans are at the heart of this project, which I consider myself very fortunate to be able to have worked on.
From the initial step of building a brand, the team and I we able to assimilate at multiple stages of the process, and were
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Future of Noi Mohi For the future, the plan for Noi Mohi is to become a prominent brand in the northeast to have successfully organised traditional industries in a sustainable business model. Where it stands out because of its ideas and aesthetics. For our main aim is for Noi Mohi to become A sustainable and fashionable alternative to the usual clothing offerings. Offering clothing choices that are aesthetically appealing yet natural we see Noi Mohi steering the sustainable and natural ways of lives for people at large. More awareness about why a ral i e er or he a or he la e ill e a co e e ce o o r arke i e or Ultimately, for Noi Mohi as a brand our goal is to develop functional model that will be able to create a platform for artisans in northeast to thrive and initiate a conversation on craft and textiles. We be able to train artisans and weavers to hone their craft and take pride in their products. This would be addressed through training in infrastructure and facilities for training in capacity building programmes on natural dyeing, value additional programmes. Pioneering the Eri Village, a model that will be seen as an example for organised traditional industries in Assam or northeast. We want to be able to inculcate the various craft and textile tradition of the whole of northeast and create the connection with the consumer easily connecting with the stories of the land, its people and their culture. It is a journey through the various facets of the arts of textile and promotes the legacy of the makers. As a “local brand� it helps all stakeholders in gaining a fresh perspective into the regions nature and craft centric lifestyle.
Fig. 10.5. The First day of interaction with Fatema Bibi, Jyotsna Bibi and Phoolmati Bibi
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Upcycling for Noi Mohi
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What and Why? In alignment with the idea slow movement, the initial month of conceptualising the brand we started with a small project of upcycling old stock of gamosa from fabric plus. Upcycling, also known as creative reuse, is the process of transforming by-products, waste materials, useless, or unwanted products into new materials or products of better quality or for better environmental value. Through this process we were making use of old dead stock of gamosa in the Fabric Plus inventory. Turning old and rejected pieces of fabrics into a sellable product for the brand Noi Mohi. In order to keep the values of sustainability, we love working with left over fabrics. We have designed cushion covers using stoles that were unused for years because of small faults they possessed. These cushions covers are going to be offered to our clients as upcycled items. It gives us
immense pleasure to upcyle and recycle because the whole experience becomes about bringing life into something dead. This process began when we were exploring the inventory in Fabric Plus, a leading producer of eri fabric in northeast. There were several pieces of old stoles and gamosa which we in the stock left unused because it was either not part of the new collection, it had a defect somewhere , the fabric had little stains. Thus these fabric could not be sold by Fabric Plus any more. From then on we began to skim through the entire inventory so we could bring out a collection out of all the remaining dead stock and bring them to live.
beautifully converted into cushions while still retaining its form. It would utilise the full area of the fabric without any waste fabric and cushion were a product that would easily sell. The gamosa is a very versatile piece of fabric. With beautiful strips of colour running on the border and a simple plain woven body. The use of a gamosa changes from context to context. We spend the next few days working with local tailors and making layouts for the cushion. The Gamosa’s borders had to be placed strategically to get variation of designs and to maximise the number of cushion we could get from one piece of gamosa.
Our main motive through the entire process was to be able to maximise the use from a single piece of fabric without wasting it while still retaining a certain language. Therefore we began by first reusing a pile of old gamosas which could be
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Xoriyo Pillows In almost every Assamese households traditionally mothers make a special pillow for their babies made out of Xoriyo or mustard seeds. These black mustard seeds is believed to be auspicious and ward off negative energies. The mustard seeds also aid in the moulding of the soft skull of the baby from an infant stage. In this growing times of fast fashion and textiles, we want to intervene and reintroduce this age old practise and revive it here at Noi Mohi. Where it wouldn’t be a just another generic polyester pillow but it would be replaced by an eri fabric with xoriyo fillings. While the eri fabric is timeless piece of fabric the xoriyo or the mustard seeds can be refilled from time to time. At this stage we have developed few samples but going forward we will be engaging our women artisans to make them for us because we believe a mothers touch will complete the process and offer authenticity to our clients. The average size of a Xoriyo 14� x 9“. With about 50 gram of mustard seeds filling.
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Specification / 10
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Red Stoles / 10.1 Phutki Stoles / 10.2 Gamosa Shawl / 10.3 Boko Saree / 10.4 Gamosa Cushion / 10.5
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Red Stoles
Stole 1. Size -
Weft Detail -
Width - 21.5” off loom / 23.5” on loom Length - 74v” + 4” Tassel
Millspun Eri, Single ply, 60s Dye - Natural Eri Colour Stripes - millspun cotton red
Warp count - 2/80s Weft count - 60s Finishing - Tassel 4” EPI - 56 PPI - 70 Drafting Straight Drafting / Colour blocking (red 7.5” / white 14”) Denting 2 in a dent / Selvedge 4 No. Of shafts - 2 Ground weave - Plain weave Warp Detail Millspun cotton, double ply, 2/80s Dye - Artificial dye Red
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Woven by Sohojoni Kalita
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Red Stoles
Stole 2. Size -
Weft Detail -
Width - 21.5” off loom / 23.5” on loom Length - 74v” + 4” Tassel
Millspun Eri, Single ply, 60s Dye - Natural Eri Colour Stripes - millspun cotton red
Warp count - 2/80s Weft count - 60s Motif detailEPI - 56 PPI - 70 Drafting Straight Drafting / Colour blocking (red 7.5” / white 14”)
0.5”x 0.5” Extra weft technique 6 ply millspun cotton Artificial red Colour Finishing - Tassel 4” Woven by Sohojoni Kalita
Denting 2 in a dent / Selvedge 4 No. Of shafts - 2 Ground weave - Plain weave Motif weave - Extra Weft technique Warp Detail Millspun cotton, double ply, 2/80s Dye - Artificial dye Red
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Red Stoles
Stole 3. Size -
Weft Detail -
Width - 21.5” off loom / 23.5” on loom Length - 74v” + 4” Tassel
Millspun Eri, Single ply, 60s Dye - Natural Eri Colour Stripes - millspun cotton red
Warp count - 2/80s Weft count - 60s Motif detailEPI - 56 PPI - 70 Drafting Straight Drafting / Colour blocking (red 7.5” / white 14”)
0.5”x 0.5” Extra weft technique 6 ply millspun cotton Artificial red Colour Finishing - Tassel 4” Woven by Sohojoni Kalita
Denting 2 in a dent / Selvedge 4 No. Of shafts - 2 Ground weave - Plain weave Motif weave - Extra Weft technique Warp Detail Millspun cotton, double ply, 2/80s Dye - Artificial dye Red
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Phutki Stole
Stole 1. Size -
Weft Detail -
Width - 24” off loom / 26” on loom Length - 75” + 2” Tassel
Handspun Eri, Single ply, 13.18 - 15 ne Dye - Phutki (Melastoma Malabathricum) Stripes - Natural Eri colour
Warp count - 13.18 - 15 ne Weft Count - 13.18 - 15 ne EPI - 44 PPI - 22 Drafting - Straight Drafting Denting 2 in a dent / Selvedge 4 No. Of shafts - 2 Ground weave - Plain weave Warp Detail Handspun Eri, Single ply, 13.18 - 15 ne Dye - Phutki (Melastoma Malabathricum)
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Finishing - Tassel 2” Woven by Hasina Bibi
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Phutki Stole
Stole 2. Size -
Weft Detail -
Width - 24” off loom / 26” on loom Length - 75” + 2” Tassel
Handspun Eri, Single ply, 13.18 - 15 ne Dye - Phutki (Melastoma Malabathricum) Stripes - Natural Eri colour
Warp count - 13.18 - 15 ne Weft Count - 13.18 - 15 ne Motif detailEPI - 44 PPI - 22 Drafting - Straight Drafting
1”x1” Extra weft technique 4 ply handspun eri Natural eri colour
Denting Finishing - Tassel 2” 2 in a dent / Selvedge 4 No. Of shafts - 2 Ground weave - Plain weave Motif weave - Extra Weft technique Warp Detail Handspun Eri, Single ply, 13.18 - 15 ne Dye - Phutki (Melastoma Malabathricum)
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Woven by Hasina Bibi
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Phutki Stole
Stole 3. Size -
Weft Detail -
Width - 24” off loom / 26” on loom Length - 75” + 2” Tassel
Handspun Eri, Single ply, 13.18 - 15 ne Dye - Phutki (Melastoma Malabathricum)
Warp count - 13.18 - 15 ne Weft Count - 13.18 - 15 ne
Motif detail-
EPI - 44 PPI - 22 Drafting - Straight Drafting
0.5” x 0.5” Extra weft technique 4 ply handspun eri Natural eri colour
Denting -
Finishing - Tassel 2”
2 in a dent / Selvedge 4 No. Of shafts - 2
Woven by Hasina Bibi
Ground weave - Plain weave Motif weave - Extra Weft technique Warp Detail Handspun Eri, Single ply, 13.18 - 15 ne Dye - Phutki (Melastoma Malabathricum)
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Gamosa Shawl
Shawl 1. Size -
Weft Detail -
Width - 30” off loom / 32” on loom Length - 85” + 1” Tassel
Handspun Eri, Single ply, 13.18 - 15 ne Dye - natural eri Stripes - Segun Paat (Teak leaves) Haldi (Turmeric)
Warp count - 80s Weft Count - 13.18 - 15 ne
Motif detailEPI - 40 PPI - 30 Drafting - Straight Drafting Denting 2 in a dent / Selvedge 4 No. Of shafts - 2
2” x 2”, 1”x 1” Extra weft technique 4 ply handspun eri Colour - Segun Paat (Teak leaves) Haldi (Turmeric) Finishing - Tassel 2” Woven by Fatema Bibi
Ground weave - Plain weave Motif weave - Extra Weft technique Warp Detail -
1”
Mill spun Eri, Single ply - 80s Dye - Natural Eri Border - Segun Paat (Teak leaves)
1”
2”
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Gamosa Shawl
Shawl 2. Size -
Weft Detail -
Width - 30” off loom / 32” on loom Length - 85” + 1” Tassel
Handspun Eri, Single ply, 13.18 - 15 ne Dye - natural eri Stripes - Segun Paat (Teak leaves) Haldi (Turmeric)
Warp count - 80s Weft Count - 13.18 - 15 ne
Motif detailEPI - 40 PPI - 30
3” x 2”, 1”x 1.5” Extra weft technique 4 ply handspun eri Colour - Segun Paat (Teak leaves) Haldi (Turmeric)
Drafting - Straight Drafting Denting 2 in a dent / Selvedge 4 No. Of shafts - 2
Finishing - Tassel 2” Woven by Fatema Bibi
Ground weave - Plain weave Motif weave - Extra Weft technique Warp Detail Mill spun Eri, Single ply - 80s Dye - Natural Eri Border - Segun Paat (Teak leaves)
1”
3”
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2”
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Boko Saree Saree 1. Size Width - 46” off loom / 48” on loom Length - 220” + 36” Blouse Warp count - 13.18 - 15 ne Weft Count - 13.18 - 15 ne EPI - 44 PPI - 22 Drafting - Straight Drafting Denting 2 in a dent / Selvedge 4 No. Of shafts - 2 Ground weave - Plain weave Motif weave - Extra Weft technique Warp Detail Handspun Eri, Single ply, 13.18 - 15 ne Dye - Natural Eri Border - Laha (lac) Weft Detail Handspun Eri, Single ply, 13.18 - 15 ne Dye - natural Eri
Motif detail3” x 2” Extra weft technique 4 ply handspun eri Colour - Laha (lac) Finishing - Tassel 2”
Blouse Piece - 36” Dye - Laha (lac)
Woven by Sahera Bibi
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3”
2” Noi Mohi / Daksha Salam / 233
Boko Saree Saree 2. Size Width - 46” off loom / 48” on loom Length - 220” + 36” Blouse Warp count - 13.18 - 15 ne Weft Count - 13.18 - 15 ne EPI - 44 PPI - 22 Drafting - Straight Drafting Denting 2 in a dent / Selvedge 4 No. Of shafts - 2 Ground weave - Plain weave Motif weave - Extra Weft technique Warp Detail Handspun Eri, Single ply, 13.18 - 15 ne Dye - Natural Eri Border - Laha (lac) Weft Detail Handspun Eri, Single ply, 13.18 - 15 ne Dye - natural Eri
Motif detail1” x 0.75” Extra weft technique 4 ply handspun eri Colour - Laha (lac) Finishing - Tassel 2”
Blouse Piece - 36” Dye - Laha (lac)
Woven by Sahera Bibi
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1” 0.75” Noi Mohi / Daksha Salam / 235
Boko Saree Saree 3. Size Width - 46” off loom / 48” on loom Length - 220” + 36” Blouse Warp count - 13.18 - 15 ne Weft Count - 13.18 - 15 ne EPI - 44 PPI - 22 Drafting - Straight Drafting Denting 2 in a dent / Selvedge 4 No. Of shafts - 2 Ground weave - Plain weave Motif weave - Extra Weft technique Warp Detail Handspun Eri, Single ply, 13.18 - 15 ne Dye - Natural Eri Border - Laha (lac) Weft Detail Handspun Eri, Single ply, 13.18 - 15 ne Dye - natural Eri
Motif detail1” x 0.75” Extra weft technique 4 ply handspun eri Colour - Laha (lac) Finishing - Tassel 2”
Blouse Piece - 36” Dye - Laha (lac)
Woven by Sahera Bibi
236 / National Institute of design / Textile Design (B.Des) / Graduation Project
1” 0.75” Noi Mohi / Daksha Salam / 237
Boko Saree Saree 4. Size Width - 46” off loom / 48” on loom Length - 220” + 36” Blouse Warp count - 13.18 - 15 ne Weft Count - 13.18 - 15 ne EPI - 44 PPI - 22 Drafting - Straight Drafting Denting 2 in a dent / Selvedge 4 No. Of shafts - 2 Ground weave - Plain weave Motif weave - Extra Weft technique Warp Detail Handspun Eri, Single ply, 13.18 - 15 ne Dye - Natural Eri Border - Segun Paat (Teak leaves) Weft Detail Handspun Eri, Single ply, 13.18 - 15 ne Dye - natural Eri Stripes - Segun Paat (Teak leaves) Blouse Piece - 36” Dye - Segun Paat (Teak leaves)
Motif detail0.75” x 0.5” Extra weft technique 4 ply handspun eri Colour - Segun Paat (Teak leaves) Finishing - Tassel 2” Woven by Sahera Bibi
238 / National Institute of design / Textile Design (B.Des) / Graduation Project
0.75” 0.5” Noi Mohi / Daksha Salam / 239
Boko Saree Saree 5. Size Width - 46” off loom / 48” on loom Length - 220” + 36” Blouse Warp count - 13.18 - 15 ne Weft Count - 13.18 - 15 ne EPI - 44 PPI - 22 Drafting - Straight Drafting Denting 2 in a dent / Selvedge 4 No. Of shafts - 2 Ground weave - Plain weave Motif weave - Extra Weft technique Warp Detail Handspun Eri, Single ply, 13.18 - 15 ne Dye - Natural Eri Border - Segun Paat (Teak leaves) Weft Detail Handspun Eri, Single ply, 13.18 - 15 ne Dye - natural Eri Stripes - Segun Paat (Teak leaves) Blouse Piece - 36” Dye - Segun Paat (Teak leaves)
Motif detail0.75” x 0.5” Extra weft technique 4 ply handspun eri Colour - Segun Paat (Teak leaves) Finishing - Tassel 2” Woven by Sahera Bibi
240 / National Institute of design / Textile Design (B.Des) / Graduation Project
0 .7 5 ” 0.5” Noi Mohi / Daksha Salam / 241
Boko Saree Saree 6. Size Width - 46” off loom / 48” on loom Length - 220” + 36” Blouse Warp count - 13.18 - 15 ne Weft Count - 13.18 - 15 ne EPI - 26 PPI - 44 Drafting - Straight Drafting Denting 2 in a dent and a gap of 6 dents Selvedge 4 in a dent No. Of shafts - 2 Ground weave - Plain weave Warp Detail Handspun Eri, Single ply - 13.18 - 15 ne Dye - Pyaas Bokoli (Onion Peel) Fall - Khoya (Catechu)
Woven by Fatema Bibi
Weft Detail Handspun Eri, Single ply, 13.18 - 15 ne Dye - Pyaas Bokoli (Onion Peel) Blouse Piece - 36” Dye - Pyaas Bokoli (Onion Peel)
242 / National Institute of design / Textile Design (B.Des) / Graduation Project
Noi Mohi / Daksha Salam / 243
Boko Saree Saree 7. Size Width - 46” off loom / 48” on loom Length - 220” + 36” Blouse Warp count - 13.18 - 15 ne Weft Count - 13.18 - 15 ne EPI - 26 PPI - 44 Drafting - Straight Drafting Denting 2 in a dent and a gap of 6 dents Selvedge 4 in a dent No. Of shafts - 2 Ground weave - Plain weave Warp Detail Handspun Eri, Single ply - 13.18 - 15 ne Dye - Pyaas Bokoli (Onion Peel) Fall - Khoya (Catechu)
Woven by Fatema Bibi
Weft Detail Handspun Eri, Single ply, 13.18 - 15 ne Dye - Pyaas Bokoli (Onion Peel) Blouse Piece - 36” Dye - Pyaas Bokoli (Onion Peel)
244 / National Institute of design / Textile Design (B.Des) / Graduation Project
Noi Mohi / Daksha Salam / 245
Boko Saree Saree 8. Size Width - 46” off loom / 48” on loom Length - 220” + 36” Blouse Warp count - 13.18 - 15 ne Weft Count - 13.18 - 15 ne EPI - 26 PPI - 44 Drafting - Straight Drafting Denting 2 in a dent and a gap of 6 dents Selvedge 4 in a dent No. Of shafts - 2 Ground weave - Plain weave Warp Detail Handspun Eri, Single ply - 13.18 - 15 ne Dye - Pyaas Bokoli (Onion Peel) Fall - Khoya (Catechu)
Woven by Fatema Bibi
Weft Detail Handspun Eri, Single ply, 13.18 - 15 ne Dye - Pyaas Bokoli (Onion Peel) Blouse Piece - 36” Dye - Pyaas Bokoli (Onion Peel)
246 / National Institute of design / Textile Design (B.Des) / Graduation Project
Noi Mohi / Daksha Salam / 247
Boko Saree Saree 9. Size Width - 46” off loom / 48” on loom Length - 220” + 36” Blouse Warp count - 13.18 - 15 ne Weft Count - 13.18 - 15 ne EPI - 26 PPI - 44 Drafting - Straight Drafting Denting 2 in a dent and a gap of 6 dents Selvedge 4 in a dent No. Of shafts - 2 Ground weave - Plain weave Warp Detail Handspun Eri, Single ply - 13.18 - 15 ne Dye - Pyaas Bokoli (Onion Peel) Fall - Khoya (Catechu)
Woven by Fatema Bibi
Weft Detail Handspun Eri, Single ply, 13.18 - 15 ne Dye - Pyaas Bokoli (Onion Peel) Blouse Piece - 36” Dye - Pyaas Bokoli (Onion Peel)
248 / National Institute of design / Textile Design (B.Des) / Graduation Project
Noi Mohi / Daksha Salam / 249
Boko Saree Saree 10. Size Width - 46” off loom / 48” on loom Length - 220” + 36” Blouse Warp count - 13.18 - 15 ne Weft Count - 13.18 - 15 ne EPI - 26 PPI - 44 Drafting - Straight Drafting Denting 2 in a dent and a gap of 6 dents Selvedge 4 in a dent No. Of shafts - 2 Ground weave - Plain weave Warp Detail Handspun Eri, Single ply - 13.18 - 15 ne Dye - Phutki (Melastoma Malabathricum)
Woven by Hasina Bibi
Weft Detail Handspun Eri, Single ply, 13.18 - 15 ne Dye - Phutki (Melastoma Malabathricum) Check pattern - 2 blue weft picks and 2 inch white Blouse Piece - 36” Dye - Phutki (Melastoma Malabathricum)
250 / National Institute of design / Textile Design (B.Des) / Graduation Project
1” 1”
Noi Mohi / Daksha Salam / 251
Gamosa Cushion Size of Gamosa -
Costing -
Width - 24” Length - 48”
Size 1. (16”x16”) 150 (fabric) + 55 (stitching) = 205
Sizes of cushion Yellow Cotton Gamosa Cushions (16”x16”) - 6 (using 6 gamosa)
Size 2. (12”x12”) 150 (fabric) + 45 (stitching) = 195
Yellow Cotton Gamosa Cushions (12”x12”) - 9 (using 9 gamosa) Size 3. (10”x10”) Yellow Cotton Gamosa Cushions (10”x10”) - 8 (using 4 gamosa) Pink Cotton Gamosa Cushion (16”x16”) - 2 (using 2 gamosa) Pink Cotton Gamosa Cushion (12”x12”) - 6 (using 6 gamosa) Pink Cotton Gamosa Cushion (10”x10”) - 4 (using 2 gamosa)
252 / National Institute of design / Textile Design (B.Des) / Graduation Project
150 (fabric) + 45 (stitching) = 195
1. Yellow Cotton Gamosa Cushions and Pink Cotton Gamosa Cushions (16” x 16”)
Noi Mohi / Daksha Salam / 253
2. Yellow Cotton Gamosa Cushions and Pink Cotton Gamosa Cushions (12” x 12”)
254 / National Institute of design / Textile Design (B.Des) / Graduation Project
3. Yellow Cotton Gamosa Cushions and Pink Cotton Gamosa Cushions (10” x 10”)
Noi Mohi / Daksha Salam / 255
Costing / 11
256 / National Institute of design / Textile Design (B.Des) / Graduation Project
Stole Costing
Saree Costing
Shawl Costing
Phutki Stole
Segun Saree
Gamosa Shawl
Gross weight 140 grams
Yarn Costing (140 grams)
Gross weight 550 grams
310
Yarn Costing (550 grams)
Gross weight 210 grams
1210
Yarn Costing millspun (90 grams)
252
Weaving charges
300
Weaving charges
3000
Dyeing Charges
100
Dyeing Charges
200
Yarn Costing Handspun (120 grams)
264
Cost of Operation
200
Cost of Operation
200
Weaving charges
500
Total Cost
910
Total Cost
4700
Dyeing Charges
200
Cost of Operation
200
Total Cost
1216
Mark up x 2.5 MRP
Mark up x 2.5 2275
MRP
11750
Mark up x 2.5 MRP
3040
Cost of yarn handspun yarn / 1000 gram - 2200 Cost of Millspun 80s yarn / 1000 grams - 2800 Dyeing costing / 1000 gram - 800
Noi Mohi / Daksha Salam / 257
Bibliography
Image references Fig 0.1, 0.2, 0.3 : www.nid.edu Fig 3.2 : The Silk Concept Facebook Page Fig 3.3, 4.8 : Maku Textile Facebook Page Fig 3.4 : Ganga Maki (www.gangamaki.com) Fig 3.5 : ANKA facebook page Fig 3.6, 4.6 : Anavila Facebook page Fig 3.7 : Injiri Facebook page Fig 3.8 : Oi Qua Facebook page Fig 3.9, 4.7 : Ekaco Facebook page Fig 3.10 : Anokhi Facebook page Fig 4.5 : Upasana Facebook page Fig 4.11 : A-Khila-Paat Facebook Page Fig 4.12-4.14 : The Guwahati Address Facebook Page Fig 4.17 - 4.18 : Kosha India Instagram Fig 7.13.5, Fig 7.13.1 : Sanjukta Facebook page Fig 7.13.6, Fig 7.13.4 : Doyna Facebook page Fig 7.13.7, Fig 7.13.2 : Kirameki Facebook page Fig 7.13.8 : Meghna’s Boutique Facebook page Fig 7.13.9, Fig 7.13.4 : Konyak Facebook Page
*All other images not mentioned above are own by the author of this document. Images are arranged in the order of their serial number.
258 / National Institute of design / Textile Design (B.Des) / Graduation Project
Web references Author : Manjushree Saikia Article title : Gamosa – An indigenous textile symbol of Assam URL : http://thestylesight.com/2017/08/08/gamosa-creation-assam/
Author : Prof Ravi MokashiandMenuolhoulie Kire Article title : Silk Weaving Tradition of Sualkuchi, Assam URL : http://www.dsource.in/resource/silk-weaving-tradition-sualkuchi-assam/process-weaving
Article title : Gamocha URL : http://www.assaminfo.com/culture/1/gamocha.htm
Author : Dr. Anshu Sharma Article title : Weaving Culture of Mishing Tribe of Assam URL : http://textilevaluechain.com/index.php/news/association-news/item/777-agm-meet-tmma
Article title : Indian Village Directory URL : https://villageinfo.in/assam/kamrup/boko/pairanga.html Article title : Asian Textile Studies / Brown Dyes URL : http://www.asiantextilestudies.com/brown.html
Author : Marion Article title : What Is Branding? URL : https://www.thebrandingjournal.com/2015/10/ what-is-branding-definition/
Article title : Areca catechu URL : https://en.wikipedia.org/wiki/Areca_catechu
Book references Article title : Lac URL : https://en.wikipedia.org/wiki/Lac
Labanya Mazumdar (2013). Textile Tradition Of Assam : An Empirical Study. Guwahati: Bhabani Books & Fabric Plus.
Article title : Brand Identity URL : https://www.investopedia.com/terms/b/brand-identity.asp Article title : Marketing URL : https://www.investopedia.com/terms/m/marketing.asp Author : Menuolhoulie Kire Article title : Motifs on Silks of Assam URL : http://www.dsource.in/gallery/motifs-silks-assam
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260 / National Institute of design / Textile Design (B.Des) / Graduation Project
spotting sarees in the streets
Sareespotting .
Noi Mohi / Daksha Salam / 261
262 / National Institute of design / Textile Design (B.Des) / Graduation Project
Noi Mohi / Daksha Salam / 263
264 / National Institute of design / Textile Design (B.Des) / Graduation Project
Noi Mohi / Daksha Salam / 265
266 / National Institute of design / Textile Design (B.Des) / Graduation Project