Chindi Re-Use : The Zero Waste Project [Graduation Project 2021] by DIKSHA

CHINDI RE- USE

(The zero waste project)

Péro, New Delhi

DIKSHA

DR. SHRUTI SINGH TOMAR

2021 TEXTILE AND APPAREL DESIGN

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Diksha in TEXTILE and APPAREL DESIGN. Chindi Re-use , The zero waste

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Originality Statement

I hereby declare that this submission is my own work and it contains no full or substantial copy or previously published material, or it does not even contain substantial proportions of material which have been accepted for the award of any other degree or final graduation of any other educational institution, except where due acknowledgment is made in this graduation project. Moreover I also declare that none of the concepts are borrowed or copied without due acknowledgment. I further declare that the intellectual content of this graduation project is the product of my own work, except to the extent that assistance from others in the project’s design and conception or in style, presentation and linguistic expression is acknowledged. This graduation project (or part of it) was not and will not be submitted as assessed work in any other academic course.

I hereby grant the National Institute of Design, Haryana the right to archive and to make available my graduation project/thesis/dissertation in whole or part in the Institute’s Library in all forms of media, now or hereafter known, subject to the provision of the Copyright Act. I have either used no substantial portions of copyright material in my document or I have obtained permission to use copyright material.

Student name in full: Diksha

Signature:

Date:

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Copyright © 2021 No part of this documents will be reproduced or transmitted by any form or mean, electronically or mechanically, including photocopying or recording in any other form without written consent from the publisher Diksha and National Institute of Design. Student document meant for private circulation only. All rights reserved. B.Des, Textile and Apparel Design 2017-21, National Institute of Design Haryana. SPONSORED BY Péro 231, Patparganj Industrial Area, Patparganj, New Delhi, Uttar Pradesh 110092

Edited and designed by Diksha National Institute of Design Haryana Graduation Project guide: Dr. Shruti Singh Tomar

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CHINDI RE-USE The Zero waste project

For

DIKSHA | TEXTILE AND APPAREL DESIGN 2021 | GRADUATION PROJECT | NATIONAL INSTITUTE OF DESIGN, HARYANA

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Preface The culmination of the students’ academic tenure at the National Institute of Design, Haryana is marked by the submission of a degree project, which is a substantial investigation in the field of design on a topic closely allied to their discipline of study. The intention of the graduation project is to orients the students to the needs and demands of the industry. ; It also acts as a guiding factor for them to make an informed decision about which career path they would like to follow upon graduating. The current project was taken to : • Study of Hand-loom, Raw material and the possibilities in terms of design. • Developing different kinds of weft through the waste fabric. • Conceptualizing and making samples before the prototype can be made, would enable learning and discovering the new units of the company and coordination with the design teams and people involved in each of the units. • Prototyping helps understand the differences and challenges that are faced while going from sampling to production. • Finishing, quality check and costing to make design viable. Working with textile waste in an apparel focused brand gave me exposure to the fashion industry and its backdrops. The project proved to be an important step for the student to understand the textile industry and its waste management better. It also helped the student in gaining enriching experience in the field that resonated with the interest and inclination thereby proving the graduating students’ presence as a useful resource in the industry.

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Synopsis It helps students understand work ethics, organization, it’s functioning and market demands and is scheduled at the end of the four-year education program. The current was taken up with the luxury fashion brand - Pero that is raising its hand towards being a zero-waste company. The brief of the project was to design, prototype and propose soft home furnishings (Rugs & Quilts) using the pre-consumer fabric waste. The initial phase of the project involved the detailed study of the company, its infrastructure, departments, functioning of the system and ideology. It was realized that the company has a strong work ethic and dedicates itself to sustainability. The secondary research was continued further to understand the product range of the company, history and details of making rugs and quilts all around the globe and most importantly its design language and vision. Field research was also conducted to understand the functioning of the Hand-loom

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industry and market. Further, various weaves and fancy wefts were explored on Hand-loom as part of the exploration process. While researching on the market and trends, ideas were developed to ease out the production processes, hence using basic weaves but playing around with the weft types. Further the explorations were made with the pre-consumer wastes employing techniques like stitching, applique, patchwork, weaving, knotting, and twisting for exploring quilting as a major technique. In the design-making process, the source of inspiration plays a vital role, both in defining the characteristics of a new design and in informing the creation of a distinct design. It was after brainstorming several mood boards, the original mood board for the garment collection was finalized as the relation of the garment with the rugs would be visible, hence would give the customer an exciting element of relativity. The next step was to finalize the color palette, which gave the entire project a particular and distinct direction as all the colors of the millefiori collection were creating chaos when merged and mixed together.

The next and the most crucial phase of the project was the Ideation. Ideation was the most exciting stage of the current project wherein the trainee aimed to generate numerous ideas that the team could filter and decide upon the best and the most practical ones. After the finalization of the techniques, textures and feel, the iteration on its color composition and designs were done. Some of the designs were printed and enlarged. Colorways were made and construction details were added to each one of them. Executing Ideas on the loom was the final phase of the project. Each rug was made in collaboration with the hand-loom weavers from Panipat. As part of the project understanding of technicalities of the loom that affects the overall quality of the product was acquired with a realization that the cost along with the time factor accounts for the important production aspect for any design. The kind of material and technique used in the product can increase or decrease the overall cost. The project on the whole called for the personal engagement of the trainee, the designer in all areas of design, to sampling, working with materials and people for their skills as well as services which made the learning experience all the more enriching.

After strengthening my research, I started with exploration keeping in mind the brief but spreading out in case of techniques as I used stitching, patchwork, weaving, knotting, twisting and all other possible techniques. After getting new and fresh directions and ideas. I moved on to concept development which included making inspiration boards, color palettes, rhythms and artworks

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Acknowledgment I express my deep sense of gratitude to every person who helped me or encouraged me in any way during my project; those who have lent me their knowledge, their materials and time during my research; those who have allowed me to use their practical work or pictures and those who have given me their support all the time. I would like to thank my sponsors Designer Aneeth Arora and Mr. Jasmeet Arora, the founder of Péro for giving me the opportunity to work for the company and allowing me the freedom to use péro’s infrastructure. The project with the company has helped me to Understand the market and hand-loom world. I would also like to thank Aneeth Arora for being my Industry guide for the project. She has been an immense support and guide through all the ups and downs in the process, from my research to the making of end products. Her feedback has helped me to improve my work at every stage. Most importantly, I would like to thank, all the artisans and the staff of the company who has worked hard to help me complete my project efficiently. They have lent me their knowledge and assistance to complete each product of the project. Special regards to Mr. Wasim, Mrs. Wasima and Mr. Menpal for assisting me with raw material processing. I am grateful to my guide Dr. Shruti Tomar for her guidance and support. She has always stood beside me and helped me shape the project through her advice and encouragement and also by spending their precious time with me. During my stay in Delhi, I have met many people in and outside the company, who have helped me throughout the project with their valuable support and assistance. I want to thank Award-winning artisan Mr. Khem raj sundriyal and his son during my struggle for production in Panipat he was my path director, without him i would have never been able to find a channel to Ms. Arti who was the one to helped me with my final sampling and provided her weaver solely for my samples. I am immensely grateful to Mr. Abdul Sharid, the weaver who kept patience with all my samples and made them with utmost perfection. I want to thank those who helped me in various ways are: who were always there to answer all my queries and solve problems. I lastly want to thank my friends for their support in my ups and downs and for motivating me throughout the project. This document is also a reflection of current developments and is intended indirectly to give something back, where I have received so much.

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Source: https://www.nidh.ac.in

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About NID Haryana National Institute of Design, Haryana, was established on November 15, 2016 as an autonomous institute under the Department for Promotion of Industry and Internal Trade (DPIIT), Ministry of Commerce and Industry, Government of India, to emerge as a global leader in Design Education and Research. The institute aims at becoming the torchbearer for innovative design directions in the industry, commerce and development sectors. NID Haryana’s multi disciplinary environment consisting of diverse design domains helps in creating an innovative and holistic ecosystem for design learning and delivering solutions focusing on the emerging needs of people integrated with digital and cutting edge technologies. NID Haryana currently offers full-time four year Bachelor of Design (B.Des.) with specialization streams of industrial design, communication design and Textile & apparel design. The Bachelor of Design (B.Des.) commences with a two semester rigorous Foundation Program followed by six semesters of specialized courses. Teaching methodology incorporates Industry and Field exposure.

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About Textile and Apparel Design The Textile and Apparel Design discipline strives to develop innovative and synergistic approaches to design for diverse sectors of the textile and apparel industry, markets and social sector. Creative explorations from concept to prototype are encouraged. The curriculum emphasizes on building a variety of skills, in combination with theoretical knowledge and practical applications. The program commences with the fundamentals of textile and apparel design. This includes textile fibers,weave structure, surface design, dyeing techniques, Printing methods, sewing techniques, constructed textiles and basic inputs in garment design. Through increasingly complex design projects, complemented by related social sciences, fashion, trends, brand identity, technology and computer-aided design, students are encouraged to design textiles for the textile, apparel, furnishing industry and the craft sector. The program includes several interdisciplinary projects of designing textiles and apparel for Public Spaces/Exhibition/Interiors and for the Automobile Industry. Source: https://www.nidh.ac.in/textile-apparel-design

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Contents Preface ............................................ 9 Synopsis ........................................ 11 Acknowledgment ......................... 13 About NID-H .................................. 15 About TAD ..................................... 16

1 BRIEF 1.1 Project Proposal ................... 23 1.2 Project Brief ........................... 23 2 INTRODUCTION 2.1 Timeline .................................. 27 2.2 Project Process Flow ............ 28

3 COMPANY ORIENTATION 3.1 About Péro ............................. 33 3.2 Infrastructural Framework ... 34 3.3 Organizational Structure ....... 35 3.4 Retail and sales ...................... 36 3.5 Stakeholder ............................. 37 3.6 Péro Recognition/Awards .... 38 3.7 Customer Segment ................ 39 3.8 Product Range ....................... 40 3.9 Technique practices in-house 41 3.10 Design Process ..................... 45

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4 RESEARCH 4.A Primary Research .................. 48 4.1 What is a Rug? ........................ 51 4.2 What is a Quilt? ....................... 61 4.B Secondary Research ............. 73 4.3.1 Field Visit .............................. 75 4.3.2 Rugs and carpet from different states in India ................................ 77 4.3.3 Quilts ..................................... 78 4.3.4 Other products made out of waste .............................................. 79 4.C Waste Management in Péro 81 4.4 Interior textile trend & forecast85

5 EXPLORATION 5.1 Yarn Development ................. 90 5.2.1 Weaving Explorations ........ 91 5.2.2 Crochet Explorations .......... 94 5.2.3 Patchwork Explorations ..... 95 5.2.4 Quilting Explorations ........... 97 5.2.5 Layering Explorations ......... 98 5.2.6 Stitching Explorations ......... 99 6 REDEFINING BRIEF ............. 103

12 FINAL PROTOTYPES 12.A Sample 1 .............................. 169 12.B Sample 2 .............................. 172 12.C Sample 3 .............................. 176 12.D Sample 4 .............................. 180 12.E Sample 5 .............................. 184 13 COSTING ............................. 190

8 WEAVING EXPLORATION 8.1 Field Sourced Exploration .... 126 8.2 Hand woven Exploration ...... 131

7 RESEARCH 7.1 Objective of research ........... 108 7.2 Where did i go? ..................... 109 7.2.1 Mill which recycle cloth into yarn ............................................... 110 7.2.2 Spinning recycled yarn into chenille yarn ................................ 112 7.2.3 Govt. Weaver’s center ...... 113 7.2.4 Hand loom Factories ........ 114 7.2.5 Market ................................ 121

9 CONCEPT BUILDING 9.1 Choosing the collection ........ 139 9.2 Inspiration Board ................... 141 9.3 Color Palette .......................... 142 9.4 Design Direction ................... 143 10 IDEATION 10.1 Design iterations ................. 147

11 PRODUCT DEVELOPMENT 11.1 Processing of the Raw material ........................................ 156 11.2 Locating Weaver ............... 160 11.3 Weaving the rug on the loom ............................................ 162

Conclusion ................................... Insights ........................................ Image References ..................... Bibliography ................................ Citation .......................................

194 195 198 199 200

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00 01

Brief Project Proposal Project Brief

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1.1 Project Proposal

Péro is a renowned luxury fashion brand that marked its name in the fashion industry since last ten years. Second most, The project, thus, was taken up with an intention to propose and develop sustainable products options in the home furnishing sector that matches the design language of the brand.

1.2 Project Brief

1.2.1. To design and propose range of sustainable Rugs and Quilts developed from the spare fabrics and left overs from the previous collection of Péro in the weaving and the quilting technique. 1.2.2. To develop the designed and selected rug prototypes in association with the identified weaver for the environment conscious client.

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01 02

Introduction Timeline Project Process Flow

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2.1 Timeline July

August

September

October

November

Started on 24th July Preliminary study on the Company’s profile, structure, collections designed, brand language, the set-up and techniques used. Hand crafted techniques used, quality and precision measures taken and the ethos of the designer.

Covid leaves

Secondary research on the handmade rugs and carpets made in India as well as on the quilts made in different regions in India in terms of techniques used.

Exploration Research Exploration according to redefined brief Weaving explorations

Concept development, ideation and resolving plan weave configuration Locating weaver and sample prototyping

Final shoots and Costing

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2.2 Project Process Flow

Yarn

Exploration

Project Proposal

C2.2.1 MIND MAPPING AND PROCESS FLOW CHART FOR ACHIEVING GOALS AND MEETING PLANNED OBJECTIVES INVOLVED IN VARIOUS STAGES OF PROJECT.

Trend & Forecast

Project Brief

Technique

Company Orientation Product Portfolio

Waste Analysis

Waste Related Products in Company

Production process

Size

Brand Story

Colour

Material

Redefining Brief

Research

Resear Primary Research

(Delhi hat and Dastakar)

Secondary Research

(Durries and Quilts)

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Primary Research (Panipat)

Design Iterations

Standardizing

Ideation Feedback

Choosing Collection

Inspiration Board

rch Trend & Forecast

Market Sourced

Exploration (Weaving) Developed Inhouse

Finalizing Surfaces

Product Development

Concept Building Colour Palette

Processing of Raw material

Finishing & Quality Check

Locating Weaver

Production

Design Direction

Shoot

Costing

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02 03

Company Orientation About Péro Infrastructural Framework Organizational Structure Retail and sales Stakeholder Péro Recognition/Awards Customer Segment Product Range Technique practices in-house Design Process

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Source: Péro Archives Fig.3.1.1 : Images from Millefiori collection SS2020

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3.1 About

‘Péro’ creates simple clothing, utilizing indigenous skills and knowledge of ancient textile and clothing traditions of the India and world over. ‘péro’ means ‘to wear’ in Marwari which is the local language of Rajasthan. Most garments are inspired by the local dressing styles that one comes across in the remotest of areas. ‘péro’ recreates and adapts these styles for the modern consumer who seeks a similar aesthetic, at the same time looks for ease, comfort and pleasure in their clothes. The inception of péro was in 2009, with the USP of making their own handcrafted textiles in different parts of India , with an aim to make a global product that connects with people, wherever in the world it is placed.

2.1.1 Brand Philosophy ‘Péro’ means ‘to wear’ in Marwari, the local language of Rajasthan. péro Interprets international aesthetic using local material and skills, taking Inspiration from what surrounds us, to make a product that connects with people, wherever in the world it is placed. The Indian-ness of péro rests in the textile process, where materials pass through the hands of one craftspersons to the other, carrying forward the Indian tradition of hand-crafting and creating pieces that are at once unique. The resulting garment evokes some sense of culture from where it

originates. This culture communicates internationally in a way that the wearer looks equally at ease in the streets of Paris or London, as she does here, in India. The look is not about an age group or season, it is about a mindset, a willingness to incorporate the effortless style of the locals.

2.1.2 About Founder The label is launched by Aneeth Arora, a textile graduate from National Institute of Design, Ahmedabad and a fashion graduate from National Institute of Fashion Technology. She calls herself a ‘textile and dress maker’ and what fascinates and inspires her most is the clothing and dressing styles of the local people, which makes them so effortlessly stylish and trendy, therefore making them real trend-setters of our time.

2.1.3 Brand’s Presence in the industry Péro has 350 international stores spread across 35 countries including New York, Italy, USA, China, Germany, Austria, Greece, Spain, England, Japan, France, Spain etc. They have their showrooms in USA: Apropo / Milan: Arete (Women and Men) [Rasi (Kids) Next plan: Paris]. The Domestic Store is in Delhi.

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3.2 Infrastructure Framework

Terrace

STORAGE FOR ELECTRONIC and OTHER CAMPAIGN OBJECTS 2nd Floor

FABRIC DEPARTMENT and STORE

MAIN STORE

PRODUCTION TEAM (Stitching Department, Hand Embroidery, Pattern Cutting) CEO’s OFFICE ADMINISTRATION FINANCE HR

FOUNDER’S OFFICE

Ground Floor

PRODUCTION TEAM (Hand Work, Ironing, Packing, Checking,) Basement

SAMPLING DEPARTMENT (Handwork, Hand embroidery, accessory Department, Crochet and Knitting,

SOCIAL MEDIA

DESIGN TEAM

KATRAN DEPARTMENT

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1st Floor

3.3 Organizational Structure Aneeth Arora (Founder)

Sampling Department (FD) • Fashion designer • Embroidery designer Fabric Development (TD) • Textile designer • Knitwear designer • Print designer

A STABLE AND EFFICIENT ORGANIZATIONAL STRUCTURE AND INFRASTRUCTURE IS THE KEY FOR THEIR GROWING BUSINESS.

Jasmeet Arora (CEO)

Production Department • Handwork Department 1. Crochet 2. Knit 3. Finishing • Embroidery Department • Stitching Department • Checking Department

Accessory Department • Accessory designer

Retail Department • Domestic • International

Social Media Department • Social media Manager • Graphic designer • Software experts

Finance • Vendor payment • Billing and Purchasing • Salary(Domestic and International) Administration HR

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3.4 Retail and Sales

The income influx is 50% from Domestic sales and 50% from International sales. Péro has 350 international stores abroad. In domestic sales, they sell through 30 Multi Brand Outlets. Péro store (fig.3.4.1), through social media, and through events (end season sale, pop up stores). In every collection, three Samples are made of each piece. One goes to Italy, One to Paris or New York, and one stays in-house, after which they get the number of orders which are produced and sent to the respective countries.

Source: Vougue india.com Fig.3.4.1 : Péro store

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3.5 Stakeholders

Péro is a private company in 50% partnership with the Founder and the CEO. It has approximately 175 employees in its main office. The company sources fabric from around 150 vendors and involves another 1500-2000 handloom weavers), which is their significant contribution to the hand-loom industry. One hundred fifty vendors for trims and other elements are attached to the brand. There are six embroideries-related vendors and 30 other vendors for office domestic needs. One separate stitching unit is also set up. As they have 350 international stores, the employees involved also comprise the stakeholders.

Fig.3.5.1 : Weaver

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3.6 Péro recognition/awards •

Marie Claire Award for Eco Fashion 2010

•

Young Creative Fashion Entrepreneur 2011 (British Council)

•

Marie Claire Award for Eco Fashion 2012

•

Vogue India Fashion Fund 2012

•

Grazia young fashion award 2010

•

EDIDA for collaboration with FCML 2016

•

Threads of Excellence by Ministry of Textile 2019

Fig.3.6.1 : Aneeth (Founder) Being Awarded Source: Threads of Excellence by Ministry of Textile 2019

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3.7 Customer Segment Péro makes product for all. But their core product line is designed keeping in mind a péro woman. They have introduced a kids-wear as well as menswear line which is an extension of their product range. The brand produces 90% womens-wear and just 8% kidswear and 2%mens-wear. A péro woman is of age between 35-55, who is well learned and hence earns really well. They are intellectuals of the society and also very environment conscious. These women are empowered and love to travel.

Fig.3.7.1Mira Kapoor in péro SS21 Source: @mira.kapoor (Instagram)

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3.8 Product range

Péro is a luxury fashion brand. Its core product line is everyday women’s wear. Two collections are launched each year. A collection has a wide range of garments consisting of dresses, jumpsuits, shirts, tops (fig.1), bottoms, jackets, and overcoats. They also have extended to a range of kidswear (fig.3) named ‘Chota péro’, contributing to 8% of their total sales. Menswear (fig. 2) is also a part of their extended line of products. All these garments are supported by a line of footwears (fig.9), accessories(fig.5)(fig.8), belts(fig.7), socks(fig.6), scarfs(fig.4), lungis, bags.

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Fig. 1

Fig. 4

Fig. 7

Fig. 2

Fig. 5

Fig. 3

Fig. 6

Fig. 9

3.9 Techniques Practiced In-house Péro is all about sustainable fashion: it offers equal opportunity to every craftsperson, and it believes that every step of bringing the garment closer to the customer adds significant value. We always work with traditional weavers and craft persons to ensure that we promote the dying crafts of India. Péro works with over 500 weavers and craftspeople across the country and procures raw materials from West Bengal, Karnataka, Madhya Pradesh, Andhra Pradesh, Himachal Pradesh, Jammu & Kashmir, Gujarat, Rajasthan, Orissa, Uttar Pradesh, and Delhi. Péro uses indigenous techniques such as Tie and Dye, Block print, Ikat, Khadi, Chanderi, Maheshwari, Jamdani, Pashmina, Hand knitting, and Crochet and their variations, creating a unique offering that evokes a sense of culture. In every collection, péro uses crafts/ inputs from at least four states.

fig.10

fig.11

fig.12

Fig.10 Hand painting on fabric. Fig.11 Hand sewing Fig.12 Hand Embroidery

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3.8.1 F/W Collections

Fall/Winter 2009

Fall/Winter 2011

Fall/Winter 2012

Fall/Winter 2013

Fall/Winter 2014

Fall/Winter 2015

Fall/Winter 2017

Fall/Winter 2018

Fall/Winter 2019

Fall/Winter 2020

Fall/Winter 2021

Debut

Fall/Winter 2016

Fig.3.8.1 : Runway pictures of all F/W collections till now Source: Vogueindia.com & Péro Archives

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3.8.2 S/S Collections

Summer/Spring 2010

Summer/Spring 2011

Summer/Spring 2012

Summer/Spring 2013

Summer/Spring 2014

Summer/Spring 2015

Summer/Spring 2016

Summer/Spring 2017

Summer/Spring 2018

Summer/Spring 2019

Summer/Spring 2020

Summer/Spring 2021

Fig.3.8.2 : Runway pictures of all S/S collections till now Source: Vogueindia.com & Péro Archives

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Fig.3.10.1 Assembling and stitching of3D flowers on garment

Fig.3.10.2 Tracing Pattern on final fabric

Fig.3.10.3 Making of Trims

Fig.3.10.4 Machine Embroidery (making of flower petals)

Fig.3.10.5 Stitching of garment

Fig.3.10.6 Embellishing the Footwear

Fig.3.10.7 Hand embroidery on garment

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3.10 Design Process

Design Process is quite iterative. Most of decisions are taken by Aneeth by experience, hit and trial method. Inspiration (Color Palette, Graphics Core -eg. Flowers, Seasons, Dolls, Theme)

Research (Primary- Books, Museums, Forecast, Books, Images, péro Archives. Secondary- Market, Craft Clusters)

Silhouette Explorations (Mostly there is a fixed set of silhouettes for each season but a lot of time with growing trends new silhouettes come in place.)

Textile Design and Development (Fabrics, Stripes,Checks, Traditional Textiles) Surface Development (Crochet, Embroidery, Knits.) Trims Exploration (Ending Embellishment, Buttons)

Once the samples are finalized after many iterations and trials, they are shot for the campaigns and collection launch. Each season is primarily designed a year prior so that there is a comfortable span for Quality Production. After the primary collection is finalized; accessories are designed, including jewelry, footwear, socks, belts, press kits, inspiration related objects (dolls, hearts, flowers) After the collection’s launch, Indian wear is designed depending on the fabric in stock. Waste cutouts from patterns are also used in trims.

Print Design Hand Painting Joineries, Facings (mix and match)

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03 04

Research Primary Research What is a Rug? What is a Quilt? Secondary Research Field Visit Rugs and carpet from different states in India Quilts Other products made out of waste Waste management in Péro Interior textile trend and forecast NID-H| Graduation Project 2021 | Diksha |47

4.A Secondary Research

Secondary research, also known as desk research, is undertaken by collating existing data Online or from journals, books, and public sources such as government archives and libraries. The design of the research means that the researcher pulls together a range of different data samples and systematically collates them to achieve their research conclusions. The aim is to examine and evaluate established patterns from previous (or a priori) sources and apply these to their own research context. Secondary research is generally more cost-effective than primary research, and it provides a foundation for any project. Evaluating the current landscape of available information before moving on to primary research methods can save time and money that may be better spent elsewhere. Secondary research is also a valuable step in the market research process. Source : www.geopoll.com, www.ivoryresearch.com

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Fig.4.a.1 Books used in secondary research

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Fig.4.a.2

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4.1 What is a Rug?

A rug is a piece of thick material that one puts on a floor. It is like a carpet but covers a smaller area. A carpet is a textile floor covering typically consisting of an upper layer of pile attached to a backing. The pile was traditionally made from wool, but since the 20th century, synthetic fibers such as polypropylene, nylon, or polyester are often used, as these fibers are less expensive than wool. A dhurrie (also dhurri, durrie, durry or dari) is an Indian term for a handwoven rug or a thin flat carpet, an item of home furnishing. The dhurries have unique designs inspired by the state of origin, such as multicolor stripes, one of the most popular patterns.

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4.1.1 Timeline

Tracing the History of Durries.

>>CIRCA 3000BC Cotton cultivation The harappans cultivated and processed cotton seed and cotton fiber. Weaving Evidence Clay Sealing with impressions of loosely woven textiles were unearthed at lothal. Horizontal ground loom A Sealing depicting a net-like fabric on a horizontal ground loom was found at harappa.

Fig.4.1.1

The first floor covering would probably have been leaves and straw. The first rug was probably made out of animal skin and was one of the earliest companions of humans. Not only was it the very first fabric put together, but it was also the only means of home decoration possessed by men of early civilization. The word “durrie” is believed to be a derivative of the Persian word ‘Dar’

meaning Door. Thus, durrie is an article designed for use at an entrance. According to Mumford, the Persians have Killim( floor covering) known as ‘doru’ woven in simple stripes across the field. The meaning of the word is two-faced in Persian and sounds very similar to ‘durrie’. It also appears as a quite logical origin of the word, given that the structure of Killim and Durrie is closely akin, and there is no fundamental difference between the two. Durrie is a smooth, hard, flat-woven, pile-less cotton fabric, usually in simple stripes in different colours running from side to side or broken into rectilinear sections or simple patterns or in single colours.

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Fig.4.1.2 |

| | >>CIRCA 1800BC - Decline of the Indus Valley Civilization | | >>CIRCA 1000BC

RIG VEDA - evidence of a maturing textile vocabulary with frequent mention of the word urna or wool | | >>566BC - Birth of Buddha CIRCA 5th century BC SRAUTA SUTRAS : The word karpasa or cotton appears in vedic texts. | | >>324BC CIRCA 300BC Arthashastra lists a range of floor coverings including astarana and pravarana. CIRCA 2nd Century BC MAHAVAGGA and PATIMOKKHA containd fresh references to floor coverings | >>187 BC CIRCA 1st - 3rd Centuries AD DHURRIE Fragment - The First Fragment of an indian Flatwoven Dhurrie was Excavated at niya on the historic ‘SILK ROAD’ by Sir Marc Aurel Stein in 1901

>>AD 712 CIRCA AD 1030 AL-BIRUNI describes the use of a carpet perhaps an oblique reference to a dhurrie. | | >>AD 1206 AD 1259 Report of Sultan Mu’izz-ud-din Bahram Shah’s Court describes the importance given to the MIHTRA FARRASH, Chief Carpet Spreader. Fig.4.1.3

>>AD 320

AD 1296-1316 Court Report during the reign of ALA-UD-DIN KHALJI mentions GALIMA term adapted from the central asian flatwoven KILIM AD 1382 VIJAYNAGARA COPPER PLATE mentions JAMBUKHANA - the term for a south indian dhurrie.

Fig.4.1.4

CIRCA 5th-6th Centuries AD AJANTA CAVE PAINTINGS |

CIRCA 1485 onwards MINIATURE PAINTINGS

Fig.4.1.5

AD 1526 CIRCA AD 1590 A’IN-I AKBAR Mentions SHATRINJIS, Dhurries woven during the reign of emperor akbar. AD 1598 J H VAN LINSCHOTEN Describes the striped cotton carpets of cambay. CIRCA AD 1650 FRAGMENTS OF A FLATWOVEN RUGS Featurings Floral and Animal motifs, characteristics of mughal Carpets.

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4.1.2 Dhurries

The durries are made for 2 purposes: one for flooring purposes and the other is for bedding purposes. The production of bedding durries is done on pit looms and the former is made on cruder loom known as ‘ADDA’.’ The bedding durries are multicolored and the flooring durries are mostly made in 2 colors. The dhurries are also called satrangi by chattopadhyay

Fig.4.1.2a

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Fig.4.1.2b The Picturesque colorful durrie from navalgund - a small place in dharwar district in karnataka. Navalgund durries are known as JAMKHANDS . Source: https://www.shopchaupal.com/products/navalgund-dhurries?variant=35879203111073

Fig.4.1.2c :Primitive carpet loom Source : https://commons.wikimedia.org/wiki/File:Studies_in_primitive_looms_(1918)_ (14597768459).jpg

Fig.4.1.2d GABBEH Woollen Carpets Source : https://commons.wikimedia.org/wiki/File:Studies_in_primitive_looms_ (1918)_(14597768459).jpg

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4.1.3 Carpets

Hand-knotted carpets: (Woolen, Silk)Hand-knotted carpets are produced with the hand-knotting technique. The Indian woolen carpets are inspired, by the classical Persian tradition of motifs, to the most modern design. Akbar brought the technique in 16th century from Persia, which got refined with time. These types of carpets are produced from different materials: during Akbar’s reign, hand-knotted carpets were manufactured from wool, whereas in the reign of Jahangir and Shahjahan, they were manufactured from silk and wool. Silk Carpets: Hand-knotted pure silk carpets are renowned for suppleness and softness as well as their fine workmanship in the whole world. The material composition is 80% silk and 20% cotton yarn, knotting 400 knots and above per square inch. GABBEH Woollen Carpets:

Hand-knotted Gabbeh Woolen Carpets portray a unique tradition of Tribal Design. The continuity of great artistic traditions of the tribal community has made these carpets a product of living and thriving art. The prominent areas which produce woolen carpets are Bhadohi, Mirzapur, Khamaria, Ghosia, Varanasi, and Agra in Uttar Pradesh, Amritsar, and Pathankot in Punjab and Jaipur in Rajasthan, and Gwalior in Madhya Pradesh. The raw material composition of these carpets is generally 75% wool and 25% cotton and are mainly produced in the Bhadohi Mirzapur region in Uttar Pradesh. Contemporary carpets Tufted Woolen Carpets: This technique came into existence after India achieved independence in the country. This was the innovative technology introduced in this industry to make production faster. These Carpets are produced with

source (content) : “CARPET WEAVING TRADITION OF INDIA” - Pranshi Jain source (fig-4.1.3a) : https://apexclean.co.nz/types-carpet-pile/

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the help of tufting guns. The design of these carpets is less intricate and detailed in comparison to knotted carpets. A good quality fabric is used for a desired pile density and number of stitches per square inch. In India, Panipat is the main carpet-producing center of Tufted Woolen Carpets. However, with the rapid industrialization, tufted carpets are being produced by almost every carpet-producing city. Staple Carpets: Staple carpets are synthetic hand-knotted carpets, which CEPC introduced (Government agency) 30-35 years ago to meet the increased demand and supply. The yarn of these carpets is made of polyester and viscous material. These types of carpets are famous by the name of ‘artificial silk’ in markets. These finely knotted carpets (256 knots per square inch) imbibe all the aesthetic characteristics of classical and contemporary designs and colors. Staple carpets’ main carpet-produc-

ing centers are Srinagar (Jammu & Kashmir), Agra, and Gwalior. Machine Knotted Carpets: The significant advancements in carpet manufacture occurred in the 20th century with the development of tufting and knitting to high-speed methods for constructing carpet pile yarn fabrics. The main carpet producing center of machine knotted carpets is Mirzapur-Bhadohi(U.P)

Fig.4.1.3a Type of piles

Fig. 4.1.3c:Machine Tufting Source: https://rugideasla.com/tufted-rugs-hand-tufted-rugs/

Fig.4.1.3b :A hand tufting gun and a Cross-section of Tuffted Rug Source: http://www.azerbaijanrugs.com/carpet-guide/rugs_hand-tufted_rugs.htm

Fig. 4.1.3d :Finishing Technique for embosss Effect Source: https://www.handscarpets.com/Content/FCkImages/images/15224021565.jpg

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Fig. 4.1.3f Source: https://in.pinterest.com/

Fig. 4.1.3e Source: https:// sahararugs.wordpress. com/#jp-carousel-346

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Fig. 4.1.3i Source: https://www.indiamart.com/proddetail/cashmere-felted-rug-17615789633.html

Fig. 4.1.3j Source : https://www.farwayart.com/shop/handmade-wool-felt-carpet

Fig. 4.1.3j

Fig. 4.1.3i

Fig. 4.1.3g

Fig. 4.1.3h

Fig. 4.1.3g Source: https://feltrugs.co.uk/

Fig. 4.1.3h Source : https://www.tasteiran.net/stories/10043/iranian-felt-rug

Silk cashmere felted rugs

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4.2 What is Quilting or Quilt?

An applique, patched, or embroidered fabric used as a tent canopy or hanging comprises more than one layer of cloth. (Book- Quilts of India - timeless textiles by Patrick J Finn) Or: Quilting is the term given to the process of joining a minimum of three layers of fabric together either through stitching manually using a needle and thread or mechanically with a sewing machine or specialized long-arm quilting system. An array of stitches is passed through all layers of the fabric to create a three-dimensional padded surface. The three layers are typically referred to as the top fabric or quilt top, batting or insulating material, and the backing

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4.2.1 Timeline

1st & 2nd century : Sculptures gives an idea of quilted armors worn by Kushana kings in Gandharan region. | A quilted fabric was found near border of Mongolia & Siberia in a scynthian chigtain’s tomb in 200CE | Ancient Egypt : (980 BCE - a patchwork canopy belongs to a Egyptian queen)(3200–3000 BCE )Ivory carving for temple of Osiris in Abydos : features the King of Egyptian Dynasty wearing cloak or mantle that appears to be quilt. | Europe : 12th Century : quilts under the Armour for warmth and Comfort : !4th Century Tristan Quilt. Europeans inspired Americans for quilting. | (1485-1533CE)- Sachi, chaitanya’s mom sent him a homemade kantha to him from bengal when he was in puri(15th century). | 1620s America : with puritans Later Broken glazed Japanese pots affected the aesthetics of America. | Took a big leap forward in mid - 1800s : Sewing Machine. *Bengal women used to take out Saree borders and recycle threads for kantha. *Acc. to upnishad - its thread that connects man to god. *Quilts for sadus - renunciation (living with less) - patchwork of used fabric . *Never put Heart Motif in wedding Quilts Because their Hearts might break if that happens.

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Kushana King Fig. 4.2.1a. Source: https://www.wikiwand.com/en/Kushan_Empire

Ivory carving for temple of osiris in abydos Fig. 4.2.1b. Source: https://www.britishmuseum.org/collection/object/Y_EA37996

14th Century Tristan Quilt

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Fig. 4.2.1c. Source: https://trc-leiden.nl/trc-needles/individual-textiles-and-textile-types/secular-representations/sicilian-tristan-quilt

4.2.2 Quilting Techniques Patchwork & Piecing: One of the primary techniques involved in quilt making is patchwork, sewing together geometric pieces of fabric often to form a design or “block.” Also called piecing, this technique can be achieved with hand stitching or a sewing machine.

Applique: Appliqué is a sewing technique where an upper layer of fabric is sewn onto a ground fabric. The upper, applied fabric shape can be of any shape or contour. There are several different appliqué techniques and Quilt blocks in appliqué and reverse appliqué styles. In needle-turn appliqué, the raw edges of the appliquéd fabric are tucked beneath the design to minimize raveling or damage, and small hand stitches are made to secure the design. The stitches are made with a hemstitch, making the thread securing the fabric minimally visible from the front of the work. There are other methods to secure the raw edge of the appliquéd fabric, and some people use basting stitches,

Quilting: A critical component that defines a quilt is the stitches holding the three layers together— the quilting. Quilting, typically a running stitch, can be achieved by hand or sewing machine. Hand quilting has often been a communally productive act, with quilters sitting around a large quilting frame. One can also hand quilt with a hoop or other method. With the development of the sewing machine, some quilters began to use the sewing machine, and in more recent decades, machine quilting has become quite commonplace, including long arm quilting machines. Reverse applique: Reverse appliqué is a sewing technique where a ground fabric is cut, another piece of fabric is placed under the ground fabric, the raw edges of the ground fabric are tucked under, and the newly folded edge is sewn down to the lower fabric. Stitches are made as inconspicuous as possible. Reverse appliqué techniques are often combined with

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Fig. 4.2.2a Source: https://halekulaniliving.tv/arts/art-of-thestitch/ Fig. 4.2.2b Source: https://upload.wikimedia.org/wikipedia/commons/3/35/Reverse_applique_on_linen_dress.jpg Fig. 4.2.2c Source: https://trc-leiden.nl/trc-needles/techniques/ applique/reverse-applique Fig. 4.2.2d Source: http://gatherandmake.blogspot. com/2019/02/applique-reverse-applique-negative.html

traditional appliqué techniques to give a variety of visual effects.

Fig. 4.2.2a

Fig. 4.2.2d Negative Reverse Applique

Fig. 4.2.2b

Fig. 4.2.2c

Fig. 4.2.2d

4.2.3 Embellishment English paper piecing: English paper piecing is a hand-sewing technique used to maximize accuracy when piecing complex angles together. A paper shape is cut with the exact dimensions of the desired piece. Fabric is then basted to the paper shape. Adjacent units are then placed face to face, and the English paper piecing seam is whip stitched together. When all the adjacent shapes completely surround a given piece, the basting thread is cut, and the basting and the paper shape are removed. Foundation piecing: Foundation piecing is a sewing technique that allows maximum work stability as the piecing is created, minimizing the distorting effect of working with slender pieces or bias-cut pieces. In the most basic form of foundation piecing, a piece of paper is cut to the size of the desired block. For utility quilts, a sheet of newspaper was used. In modern foundation piecing, there are many commercially available

foundation papers. A strip of fabric or a fabric scrap is sewn by machine to the foundation. The fabric is flipped back and pressed. The next piece of fabric is sewn through the initial piece and its foundation paper. Subsequent pieces are added sequentially. The block may be trimmed flush with the border of the foundation. After the blocks are sewn together, the paper is removed unless the foundation is an acid-free material that will not damage the quilt over tie.

Fig. 4.2.3c

Fig. 4.2.3a Source: https://blog.shopmartingale.com/quilting-sewing/best-paper-for-paper-piecing/

Fig. 4.2.3a

Fig. 4.2.3b Quilting bee

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4.2.4 Types of Quilts

Trapunto

Corded quilting

Corded quilting (also known as Marseilles quilting, Marseilles embroidery, Marcella, or Zaans stitchwork) is a decorative quilting technique popular from the late 17th through the early 19th centuries. In corded quilting, a delicate fabric, sometimes colored silk but more often white linen or cotton, is backed with a loosely woven fabric. Floral or other motifs are outlined in parallel rows of running stitches or backstitches to form channels, and a soft cotton cord is inserted through the backing fabric using a blunt needle and drawn along the quilted channels to produce a raised effect. Tiny quilting stitches in closely spaced rows fill the motifs and provide contrast to the corded outlines.

Fig. 4.2.4a

Corded quilting was popular for dresses, petticoats, waistcoats, curtains, and bedcoverings. Originating in the fine whole-cloth quilt tradition of Provence in southern France,[4] corded quilting differs from the related trapunto quilting in which loose wadding or batting rather than cord is inserted to create raised designs

Fig. 4.2.4c Fig. 4.2.4c Source: https://www.getasquiltingstudio.com/2014/03/1-quilt-2-techniques-applique-and. html Fig. 4.2.4a Source: https://www.flickr.com/photos/69579862@N00/7830782364

The principal areas of production using this technique were southern France and Italy.

Fig. 4.2.4b Fig. 4.2.4b Source: https://twitter.com/craftni/status/1022818406997913600?lang=gu

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Trapunto, from the Italian for “to quilt,” is a method of quilting that is also called the “stuffed technique.” A puffy, decorative feature, trapunto utilizes at least two layers, the underside of which is slit and padded, producing a raised surface on the quilt.

Provençal quilts

Hawaiian Quilts

Fig. 4.2.4e Echo quilt pattern

Fig. 4.2.4e Source: https://sep.yimg.com/ay/yhst-75377436552253/pineapple-classic-quilted-wall-hanging-hand-made-traditional-hawaiian-quilt-tropical-island-wall-decor-1.gif , http://1.bp.blogspot.com/_xAyoflX1qeA/TF3DuuL_SjI/AAAAAAAAAac/JWCwGZ3rUGc/ s1600/princessfeather1.JPG

Fig. 4.2.4d Source: https://en.wikipedia.org/wiki/Proven%C3%A7al_quilts#/media/File:Boutis.jpg

The term Provençal quilting, also known as Boutis, refers to the whole cloth quilts done using a stuffing technique traditionally made in the South of France from the 17th century onwards. Boutis is a Provençal word meaning ‘stuffing’, describing how two layers of fabric are quilted together with stuffing sandwiched between sections of the design, creating a raised effect. The three main forms of the Provençal quilt are matelassage, piqûre de Marseilles ( also known as Marseilles work or piqué marseillais), and boutis. These terms, along with trapunto are often debated and confused, but they are all forms of stuffed quilting associated with the region.

Process of Hawaiian Quilts : - Kids wash fabric in ocean which is then tested for fastness - Size of the fabric - if not enough then 2 to 3 pieces are joined - Folded in 4-8 fold from center - Pattern is cut - get Radially similar designs - Stitched mostly with overcast stitches. - Then the top is stitched with base with batting in between. - At last all the layers are stitched with echo (contour quilting)(resemble waves) quilt patterns (KUIKLAU) STITCHES : the pattern of their own craft like. : Kappa Mats. : Motifs Nature : Fish Scales & Shells : Turtle Shells.

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Sashiko

Quilts of the Underground Railroad Common sashiko motifs are waves, mountains, bamboo, arrow feathers, shippō-tsunagi, pampas grass, and interlocking geometric shapes, amongst others; Sashiko was commonly used to reinforce already-patched clothing around wear points but would also be used to attach patches to clothing, making the fabric ultimately stronger. It would also be used to layer thin fabrics to create warmth and, in the case of some garments such as the coats of firefighters (hikeshibanten), to create a thick and absorbent material that would be soaked in water before carrying out duties as a fireman

Fig.4.2.4g: Detail of a mid-19th century kimono decorated using sashiko, with white cotton threads on an indigo-dyed plain weave background (Metropolitan Museum of Art) Source: https://en.wikipedia.org/wiki/Sashiko#/media/File:MET_RT792C.jpg

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Owing to the relatively cheap nature of white cotton thread and the abundant nature of cheap, indigo-dyed blue cloth in historical Japan, sashiko has a distinctive appearance of white-on-blue embroidery, though some decorative pieces may also use red thread.

Fig. 4.2.4h Source: https://quiltedangel.com/class-schedule/2015/11/15/ underground-railroad-class-2-of-4

Quilts were used to communicate safe houses and other information about the Underground Railroad, a network through the United States and into Canada of “conductors”, meeting places, and safe houses for the passage of African Americans out of slavery. Although the theory that quilts and songs were used to communicate information about the Underground Railroad is disputed among historians. Even so, escaping slavery was generally an act of “complex, sophisticated and covert systems of planning”.

Nakshi kantha The following is how kanthas are categorized, according to the stitch type: Running stitch The running stitch kantha is truly the indigenous kantha. They are subdivided into Nakshi (figured) and par tola (patterned). Nakshi (figured) kanthas are further divided into motifs or scenic kanthas. Lohori Kantha The name was derived from Sanskrit, as in “Soundarya Lahari” or “Shivananda Lahari”- Religious, poetic works in Sanskrit by Adi Shankara. It is also found in Persian Language, giving the same meaning, ‘lehr, which is “wave”. This type of kantha is prevalent in Rajshahi. These kanthas are further divided into soja (straight or simple), Kautar khupi (pigeon coop or triangle), borfi or diamond, etc. Lik or anarasi The Lik or Anarasi (pineapple) type of kantha is found in the Chapainawabganj and Jessore areas. The variations are lik tan, lik tile, lik jhumka, and lik lohori. Cross-stitch or carpet This type of kantha was introduced by the English during the British Rule

in India.[16] The stitch used in this kanthas is the cross-stitch. Sujni Kantha This type of Kantha is found only in the Rajshahi area. The popular motif used is the undulating floral and vine motif. The earliest and most basic stitch found in kanthas is the running stitch. The predominant form of this stitch is called the phor or Kantha stitch. The other forms of stitches used are the Chatai or pattern darning, Katya or bending stitch, weave running stitch, darning stitch, Jessore stitch (a variation of darning stitch), threaded running stitch, Lik phor or anarasi or ghar hasia (Holbein) stitches. The stitches used in modern-day Kantha are the Kasmiri stitch and the arrowhead stitch. Stitches like the herringbone stitch, satin stitch, backstitch and cross-stitch are occasionally used..

Fig. 4.2.4k

Fig. 4.2.4k Source: Kantha Recycled & Embroidered textile of Bengal - Rob Sidner, Courtenay C McGowe, Pratapaditya Pal, John Gillow

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Ralli Quilts

Ralli quilts are traditional quilts with appliqué and patchwork handmade by women artisans of Sindh’s remote areas. The craft belongs to Sindh, Pakistan, western India, and surrounding areas. Embroidery designs and motifs indicate perceived on painted pottery from the area’s ancient civilizations.

Fig. 4.2.4m Source: Ralli Quilts (Traditional Textiles from Pakistan & India) - Patricia Ormsby Stoddard

Making = ( 1st layer) Date Palm Mat (2nd Layer) Fabric (3rd Layer) Filling pieces spread out (lost basting stitch) (4th layer) (lowest layer is generally old ajrak pieces) each woman does one line of stitch. *old cloves and elaichi are added in filling for the smell. Sindhi’s traditional colours are black, white, red, yellow, green & blue - when used, these rallis are called Satrangi.

Small Sized Ralli is for kids and is called RILKA.

Uses: used for privacy as curtain, pillow, bedding, covering pets, baby carrier, table cover. signs: A beggar wearing rallis are read as harmless. To greet guests, the positioning of the rallis can help nonverbal communication with the guest.

Bhujki or bushkiri (quran Bag) Fig. 4.2.4m

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Bags made by folding ralli into half is Gothro

Mola Quilts The mola originated with the tradition of kuna women painting their bodies with geometric designs, using available natural colors-. It seems to have originated in the second half of the nineteenth century. As an inspiration for their designs, the Kuna first used the geometrical patterns used for body painting before. In the past 50 years, they have also depicted realistic and abstract designs of flowers, sea animals and birds, and popular culture. Olas are hand-made using a reverse appliqué technique. Several layers (usually two to seven) of different-colored cloth (usually cotton) are sewn together; the design is then formed by cutting away parts of each layer. The edges of the layers are then turned under and sewn down. Often, the stitches are nearly invisible. This is achieved by using a thread the same color as the layer being sewn, sewing blind stitches, and sewing tiny stitches. The most prominent pattern is typically cut from the top layer, and progressively smaller patterns from each subsequent layer, thus revealing the colors beneath in successive layers. This basic scheme can be varied by cutting through multiple layers at once, hence varying the

Fig. 4.2.4n

sequence of colors; some molas also incorporate patches of contrasting colors, included in the design at certain points to introduce additional variations of color. More layers = more pricing A mola can take from two weeks to six months to make, depending on the complexity of the design. Fig. 4.2.4n Source: Magnificient Molar Flammarion.

Fig. 4.2.4n

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Fig.4.B.1: Dastakar (a vendor making bill in his shop)

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4.B Primary Research

Primary research aims to answer specific questions that accomplish a project’s research goals. The specific nature of answering questions tailored to individual needs is one reason why primary research is valuable. There are several benefits of primary research: Accuracy – because once gathering the information first-hand, what one gathers will be more accurate and timely. Deeper Insight – by directly recording the thoughts, words and feelings of your primary data, you can really get under the skin of what your prospects, clients or competitors are saying. More control – primary research gives you more control over how to collect the data and how you will use it later to nurture the response you want. Results – primary research is a tried, tested, and proven method of conducting effective research. So one knows the results that you gather can be relied on. Ownership– because one carried out the research, it belongs to them. The research is unique to their requirements, and the insight they gain from it; can give one an edge over their competitors. It is an asset that has cost money to produce. Source : www.geopoll.com, blog.gclb2b.com

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Fig.4.3.1a: Various products in dastakar

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4.3.1 Field Visits

For a clearer idea of the current market situation, primary research is a must. Locally the preliminarily research in Delhi was done in the craft hubs like DELHI HAAT & DASTAKAR.

Dastkar is a private, not-for-profit NGO established in 1981, working to support traditional Indian craftspeople, many of them women and village-based, with the objective of helping craftspeople regain their place in the economic mainstream(1). Delhi Haat is a paid-entrance open-air market, food plaza, and craft bazaar located in Delhi. The area is run by Delhi Tourism and Transportation Development Corporation (DTTDC), and unlike the traditional weekly market, the village Haat. It is located in the commercial centers of South Delhi, opposite the INA market. Some shops are permanent, but other sellers are rotated, usually for fifteen days. Products offered may include rosewood and sandalwood carvings, embellished camel hide footwear, sophisticated fabric and drapery, gems, beads, brassware, metal crafts, and silk & wool fabrics. In Delhi Haat, INA Market has 62 stalls allotted on a rotational basis to artisans for payment of INR 100 per day for a maximum period of 15 days. (2)

Fig.1

Fig.2

Source(1): dastkar.org source (2): https:// en.wikipedia.org/wiki/ Dilli_Haat source(fig.1): https:// www.dastkar.org/ source(fig.2): https:// www.shutterstock.com/

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4.3.2 Rugs a

from Differe ind

Jammu & Kashmir •

Rugs from Kashmir are made in oriental, floral designs that involve culturally important motifs such as the paisley, chinar tree, (the oriental plane) and tree-of-

•

life. Only Handknotted traditional carpets are produced here.

Mirzapur • •

•

Top Producer of rugs in India, Afghani rugs and carpet influence. Complex kilim and floral designs are produced here. Recycled PET and fabric yarn is

• •

also used here. Jute, wool and cotton rugs are produced here.. New weavers are introducing new modern designs.

Plastic bottle recycle yarn used

Kilim

Traditional Afgani Motifs

Elaborate Floral Design Rugs

Hand knotten, elaborate design carpets.

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and Carpets ent states in dia

Telangana •

Panipat •

•

Chindi Durries are produced here as fabric waste from all over the world is collected here. Centre for making recycled yarn from waste fabric (cotton).

Chindi tufted carpet

Sliver Yarn used to give texture

•

Fancy yarns are used to make rugs and interior products for export. 2nd largest rug production center.

•

Printed Rugs were explicitly made here with Kilim and geometric motifs.

•

Rugs with motifs of Thousand Pillar temple, Ramappa temple and Warangal Fort are famous. Jute rugs are produced here due to the climatic conditions.

Jute Rugs

Simple finishing of the endings

Printed Rugs

Motifs from Thousand Pillar temple, Ramappa temple and Warangal Fort

Fancy ends finishing

Variety of fancy yarn used to give different surface

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4.3.3 Quilts

These are Jaipuri quilts with prints and designs which include Traditional Flowers, and Mughal imprinted designs that depict the traditional old culture of Rajasthan. They are made with cotton fabric and filled with carded cotton. Modern Quilts are also sometimes filled with polyphyl fibers to decrease weight. Machine sewn Quilting on Jaipuri Quilt

Patchwork Quilt

Hand sewn Quilts

Machine sewn Quilt

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Layered Light summer Quilts

4.3.4 Other Products made out of Waste

•

Waste paper, rolled in form of tubes and then sculpted into beautiful doll decorations with vibrant acrylic colors.

•

Waste polypackets processed and weaved into beautiful box surface, material also adds a water resistance feature.

•

Waste paper, rolled in form of tubes and set as warp and stripes of paper is weaved through to make blinds.

•

Waste fabric pieces are used to make hand purses.

•

Waste Fabric strips are used to braid and form a bag strap.

•

Industrial leftover yarn is sewn into beautiful patterns with machine sewing.

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Fig.4.C.1 : Péro Store in east Delhi; Pero sale setup in mumbai Source: https://magicpin.in/Ghaziabad/Kaushambi/Fashion/Pero/store/ab97b/photos/?img=Store-Images&id, https://lbb.in/delhi/pero-4day-sale-patparganj/, https://www.facebook.com/ilovepero/posts/1989736364375084/, https://thevoiceoffashion.com/fabric-of-india/features/flowers-of-textile-county-2665/

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4.C Waste management in Péro

Before Designing any product for a company, it is essential to know what is already existing in the company and how they deal with the waste already produced; only after evaluating all this can one go forward to make an efficient system of waste flow related products.

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Fig.4.3.1.A : Final size and colour sorting

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4.3.1 Waste Sorting and analysis 1. SIZE

During production HUGE pieces are separated and sent to inventory. Rest of the waste go to katran department.

now the waste is sorted in: • Katran - used as fillings in toys or accessories • Chota Tukda (small piece) - used in Small and intricate patchwork. • Bada tukda (Big Piece) - used a fabric for doll Clothes or patchwork. • Patli patti (Thin Stripe) - can be used as yarn for any textile technique. • Moti patti (Thick Stripe) - can be used for similar purpose as former or any other fabric form.

2. MATERIAL

Acc. to Material Waste is sorted as: • Cotton • Cotton silk • Wool • Silk

2. COLOR

All the colors are separated.

Fabrics are sorted according to each category simultaneously. Hence with this system all the fabric used in a season get separated acc.. to their sizes.

Fig 4.3.1.B :Primary sorting of huge peices

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4.3.2 Products out of waste from sorted fabric 1.

•

• • •

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The thinnest stripes of fabric are knotted together to make it yarn like and then knitted into kidswear top. Its embroided on top for the embellishment.

The thin stripe is used to crochet to make a hand bag.(larger than the thinnest stripe). Change of material can be proposed to change the weigh of the bag. No knots are made to avoid the blobs as the yarn is little thicker. The waste fabric stripes are used as warp as well as the weft. The stripes are interwoven to make a strong opaque surface. Its embellished with organza flowers on top.

4.4 Interior Textile Trends & Forecast

Source: WGSN

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04 05

Exploration Yarn Development

Weaving Explorations Crochet Explorations Patchwork Explorations Quilting Explorations Layering Explorations Stitching Explorations

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Fig.5.A

5. Exploration

Exploration in design process holds a special place as this stage opens up the brains for new interpretation of the already existing products and material. The process starts with analysis of the available raw material after its sorting. Infinite derivations and ideas starts popping out after the analysis. This stage in design process involves Liberty of moving away a little bit from the brief to explore all the possibilities is available. • • • • •

Katran Chota Tukda (small piece) Bada tukda (Big Piece) Patli patti (Thin Stripe) Moti patti (Thick Stripe)

As there were a lot of sizes in the raw material available so a lot of textile technique opportunities open up like : • • • • • •

Crochet/Knit Weaving (chindi on chindi, chindi on yarn, Circular) Patchwork (uniform, non-uniform) Quilting Layering Stitching

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5.1 Yarn Development

The size of 4 & 5 falls under the category Badi patti (thick stripe). To create a variation in yarn (fancy yarn) the cuts are made horizontal at equal gaps on a vertical stripe. 4 has cuts on one side leaving a small marginal gap on the left side. And 5 has the cuts on both the sides leaving a gap in between.

For the techniques like Crochet, Knit and weaving yarn is needed. Fabric when in form of long thin stripes can be used as yarn. So the category of Patli patti (thin stripes) has variation of size 1 & 2 are refined as straight stripes (standardized size for uniformity) and used for the sample in these techniques.

Further 5 type stripes are layered and twisted to make a thick fringe yarn.

One variation of yarn in size 2 can be made by removing warp yarns from the stripe to create thread fringe effect from both the side of the stripe like (3).

Type 1

Type 2

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Type 3

Type 4

Type 5

5.2.1 Weaving explorations Chindi on Warp yarn Weave

Sample 1 & 2 have the finest weft in the spectrum with light beating and thread wrap hence make clothing fabric like fabric (less weight). Sample 3 had Type 4 weft. While weaving all the fringes are pulled up which gives a dense fringe count hence feel fury ;also material (Silk) plays very important role in the feel and look of the surface.

Fig.1 Process of weaving sample (Type 3 weft)

Fig.2 Lace and Chindi as Weft (Type 1 weft)

Fig.3.1 Fur like surface (Type 4 weft) (Front)

Fig.3.2 Pain weave like surface (Type 4 weft) (Back)

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Chindi on Chindi Weave (unconventional weaving)

Fig.4.1 3D-effect shown by impression(Type 2 weft)

Fig.4.2 Zoomed in image (Type 2 weft)

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Fig.5.1 Weft Face twill style weave (Type 5 weft) (Front)

Fig.5.2 Weft faced twill shows weft more at the back (Type 5 weft) (Back)

Sample 4 is a plain weave pattern with foam (can be substituted with waste katrans) filled fabric stripes (type 2) to give it a 3D effect and cushion feel. This sample was a result of idea of mixing quilt and rug together. finished with contrasting hot pink over-lock stitch lifts up the look. Sample 5 is a weft faced twill pattern. Its a weave pattern but done in a sewing type technique. Substituting the needle holes by vertical slits at equal gaps. The twisted double fringed weft (type 5) is passed in a twill format. The fancy fabric yarn is made with mixed material (silk & cotton silk). The base is a waste canvas piece.

Chindi on Chindi Weave (unconventional weaving)

Sample 4 is a unconventional weaving (plain weave) done on a spherical bamboo frame inspired from the idea of yarn bombing.

Sample 5 made by circular weaving which once taken down from look, exponentially shrinks and makes a rose or flower like structure which is compact from the center and loose from towards the ends. Fig.6.1 Weave on a bamboo spherical structure (Type 1 weft)

Fig.6.2 Interaction with Light.

Fig.7.1 Process - circular weaving on the frame.(Type 1 weft)

Fig.7.2 Weaved sample off the loom (Type 1 weft)

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Chindi on Chindi Weave

5.2.2 Crochet 9

Sample 9 is a braided cord with chindi yarn (type 1) crocheted into to a circle using the waste embroidery threads. Sample 10 is a crocheted structure using chindi yarn (type 1) into a net like structure.

Fig.8 Plain weave pattern (Type 1 weft)

Sample 8 is a chindi on chindi weave (Type 1 weft). the surface has Dhurrie like feel and weight. Tapestry is also a part of this exploration. Also i tried seeing the behavior of this weft in dent gaps- which didn’t come out very untidy. The material used in this is Cotton and Silk to see the different feel. Weaving is a exhaustive process hence i tried to explore more than one thing i the same sample.

Fig.9 Fabric braid cord put in a circular structure using crocheting with waste thread (Type 1 weft)

Fig.10 Net like structure made using crocheting (Type 1 weft)

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5.2.3 Patchwork Uniform

Non-Uniform

Fig.11.1 Flat lay of uniformly composed patchwork (back)

Fig.12.1 Multi-level non-uniform patchwork. (front)

Sample 11 is made up with equal size square pieces of different (color and material) fabric squares with zig-zag stitch with nylon thread, topped with dot shaped embroidery stitch. Also some squares are covered with right angle triangle patches to make a pocket like structure on the front part. All of the attachment was done on water soluble fabric. Sample 12 is a larger size, multi level (overlaps) non-uniform patch work with different (material and color) fabrics. Sides of the pieces are first finished separately and then attached using zig zag stitch with nylon thread. Both of the samples are the wight of clothing fabric.

Fig.11.2 The fold shows the weight of the fabric (front)

Fig.12.2 Attached by embroidery stitch with nylon thread.

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Non-Uniform

Fig.13.1 Circular Pattern Patchwork (Front)

Fig.13.2 Zoomed in image (Back)

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Fig.13.3 Proess - Attaching of the patches (Front)

Fig.13.4 The press Impression shows that some patches are filled with polyphyl.

Sample 13 is a non uniform circular patchwork with a slight variation. Some of the patches are filled with polyphyl (can be substituted with waste katrans) to give a 3-D raised surface (soft) during the process of stitching it to the base fabric. All the patches are composed on a waste piece of chanderi fabric hence from the backside it is evident that some patches are filled.

5.2.4 Quilting Stitch and slash

Conventional (Embroided) quilting

Fig.14.1 Flat lay view (Front)

Fig.15.1 Flat lay view (Front)

Fig.14.2 Process - Stitching the slashed parts. (Front)

Fig.15.2 Zoomed in view (Front)

Sample 14 is a unconventional take on quilts. The Fabric pieces are layered and then stitched together and then slashed in some patterns (7). the slashed portions are then stitched to the base taking different layers hence exposes different layers. The whole treatment gives it a rough surface and gives it different weights on different portions. Sample 15 is a conventional quilting technique. The 2 fabric (Chanderi) layers sandwiches the leftover katrans. All the 3 layers are now stitched with the embroidery stitch patterns leaving some portions which gives the fabric flexibility. The bobbin thread is left loose to give a top effect on the top. As 2 different color threads are used. Top thread is white and bobbin thread is hot pink.

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5.2.5 Layering 16

Sample 16 has multiple layers which are pressed and fused together. • • • • • •

Fig.16.1 Light interaction with the surface

Fig.16.2 Process- Heat pressing all the layers to fuse.

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Fig16.3. Zoomed view showing the detailed (fading) stitch

Fig.16.4 Process- Compact surface after getting heat press

Layer 1 - Silk Fusing Layer 2 - Chart Paper Layer 3 - Double sided Fusing Layer 4 - Shredded Katran Layer 5 - Double sided Fusing Layer 6 - Joined Chanderi Pieces

After placing all the layers on top of each other it is ironed lightly and pressed through heat press. After is surface was complete, it was molded in the shape through origami and was lit through a LED bulb to see the light interaction.

5.2.6 Stitching 17

Fig.17.1 Spherical Blob Surface (Front)

Fig.17.2 (Back)

Sample 17 was inspired with tie-die method. The irregular fabric pieces of different sizes were filled with polyphly (can be substitued with waste katrans) and tied into small blobs using elastic bands. After making all the blogs, they are sewn together which creates an uneven soft and fluffy surface.

Fig.17.3 Process - All the blobs are being sewn together

Fig.17.4 Zoomed in image (Front)

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Fig.18.1 Flat lay view (Front)

Fig.19.1 Compact Cording- Flat lay view (Front)

Fig.18.2 The Finger impression shows the Cushion effect

Fig.19.2 Process image - the Corded fabrics are overlapped and sewn

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Sample 18 is the combination of equal size small square shaped cushion filled with polyphyl (can be substituted with waste katrans). All the squares are only attached at the corners to increase the flexibility. and their joineries are embellished with georget flowers. Sample 19 is combination of multiple fabric stripe (Type 2) cords. The fabrics are first sewn with the cords then the ready cords are sewn on top of each other progressively using water soluble as the base. It gives quite thick, compact and uniform surface.

Fig.18.3 Process Image of Sample 16 - Sewing the flowers and squares together.

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6. Redefining Brief

The brief was narrowed down from home furnishing items (including Quilts) to Developing Rugs and different Rug’s surfaces using the waste fabrics cut outs from the garment production. The brief was redefined because after exploring different techniques, it was inferred that the consumption of fabric waste was more in weaving rugs than quilting or any other technique and can be completed efficiently in given time span.

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06 07

Research Objective of research Where did i go? Mill which recycle cloth into yarn Spinning recycled yarn into chenille yarn Visit to Govt. weaver’s center Hand loom Factories Market

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Fig.8.1 Zoommed in picture of pile weaving process

7. Research

After narrowing down the brief to rugs, focused research was needed to develop products demanded in the market and sustainable. For accurate analysis, the primary research was necessary for one of the rugs producing centers in India, i.e., Panipat. Panipat is one of the biggest centers for rugs and carpet production export. Hence it was the perfect place to research the production process, material, techniques, market trends, etc.

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7.1 Objective of the research • • • • •

To observe how the production in industries work. Primary Research on field regarding the products and the material. Searching for appropriate vendors and Building Contacts. Have an idea on costing. Collecting samples of chindi durries and yarn (Market trends) (Recycle & Fancy).

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7.2 Where did i go? Mill which recycle cloth into yarn

Spinning recycled yarn into chenille yarn

Visit to Govt. weaver’s center

Handloom Factories

Market

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7.2.1 Process of making recycled yarn out of waste fabric 1. Import of textile waste from different countries in Kandla, Gujarat. Transportation of this imported waste from Kandla to Panipat. These clothes are sorted into good quality and bad quality. Good quality clothes are sent to NGOs or sold as export surplus. And bad quality clothes go to factory and get sorted acc, to material and color. Kakkar mills was subject for our research. these mills only process pre-cosumer waste.

2. The sorted waste is feed to the chopper machine to chop it in fine pieces.

12. The spun yarn is then sold to companies like Vardhaman and Decathlon for their production

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3. Then its feed to the opener where the machines open the fabric to threads.

11. The sliver in then fed into the yarn spinning machine.

10. These cylindrical bales are Then converted into Slivers for further conversion into yarn.

4. Next the waste goes into the cleaner(rollers).

9. Opening the bales to card them and clean then for furt cal bales.

chude feeder which feeds yarn evenly in the

ther conversion into cylindri-

5. More the rollers, finer the output is.

8. Bale opener- dust removal from the fiber; loosening of the bale for carding.

6. The output in the Fiber-form is then pressed into bales for storing and transportation reasons.

7. Storage

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7.2.2 Spinning recycled yarn into chenille yarn 1. Recycled Yarn

2.The roll is fed to the machine for further spinning.

3. 5 Rolls are fed at one time - side view

3. The machine for spinning the chenille

3. The spun yarn are simultaneously cut Front view

< Cut out waste

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2 Color yarns Mixed

Final rolls

7.2.3 Visit to Govt. Weaver’s Service Centre of Haryana & Punjab

Outside view of weaver’s service center.

Weaving Section

Dyeing Section

Printing Section

Modernized Sample loom

Traditional Sample Loom

There were 4 type of looms in the weaver’s service center

Vertical Panja Dhurrie loom

Traditional Frame Loom

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7.2.4 Hand-loom Factories

Type of Fancy Yarns used in Hand-loom factories.

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Slub Yarn - Acrylic

Sliver Yarn - Acrylic

Fussy loop Yarn - Acrylic

Spaced Chenille Yarn - Cotton

Cotton Braided Yarn

Wool Felt Cord

Damru Yarn (Acrylic) & Hemp cord

Micro chenille Yarn

Preparation of loom

I. Making The warp of 1000s of pieces together on tana machine

II. Making The warp of 1000s of pieces together on tana machine

III. The old warp is joined with new by knotting so that the labor of passing it through healds and dents is decreased.

IV. Warp is ready

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Weaving

1. The Weaver is weaving Extra warp piles Using 6 Different Beams of extra warp to ease the weaving of that particular design in bulk.

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2. The weaver is weaving extra warp pile. The Yarn is Slub used for the piles

Fig.7.2.4.A Plain weave using slub yarn

Fig.7.2.4.B Plain Space Weaving using Sliver Yarn

Fig.7.2.4.C Plain Weave using Space dyed Slub yarn

Fig.7.2.4.D Plain Weave using Cotton Braid yarn

Fig.7.2.4.E Plain weave with Chenille yarn and manual Cut

Fig.7.2.4.F Plain and pile weave with cotton chenille and colored stripe warp

Fig.7.2.4.G Plain weave using Space dyed Wool cords

Fig.7.2.4.H Plain weave with Dumru and Hemp Yarn

Fig.7.2.4.I Plain weave and pile with Micro chenille

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Source: www.love-rugs.com Fig.7.2.4.1 Gun tufting is a easier method of making piled and cut pile carpets.

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Fig.7.2.4.2 The vertical panja durrie looms. The intricate motif work is done on vertical looms. Also the weaves are so compact that even water takes a lot of time to seep in.

Fig.7.2.4.3 Warp is cut after the pieces get finished. Rates of Rugs and Carpets in Khanna Hand looms Frame loom Product rates is Rs.20 /Square foot. Pile and carpet rates is Rs.75/Square. Panja durrie rates is rs.70/square foot. The rates get doubled in case of small orders as loom has to be customized for one particular design

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Fig.7.2.5 Side veiw of piled up rugs

7.2.5 Market Visit

Fig.7.2.A Hosiery fabric- Plain weave

Fig.7.2.B Mixed chindi and denim- Tapestry

Fig.7.2.C Denim and Jute braids sewn

Fig.7.2.D Chindi and jute braid cords sewn in spherical shape

Fig.7.2.E Wool felt square cords wooven

Fig.7.2.F Acrylic blanket chindi - Tapestry

Fig.7.2.G Plain weave using Leather waste

Fig.7.2.H Chindi tufted into a carpet

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07 08

Weaving Exploration Field Sourced Exploration Hand woven Exploration

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Fig.8.1 Zoommed in picture of the final surface

8. Exploration Weaving

After narrowing down the brief to Developing Rugs and Rugs-like surfaces out of waste, it is essential to explore 100% possibilities and ideas in this domain. After an elaborate field visit to one of the biggest rug manufacturing hubs, Panipat, I could observe some innovative and new something that can bombard the interior market and consume a lot of textile waste. Hence some samples were picked up from the market, and some were made in-house on the wooden frame loom. These explorations would give us the most efficient and best inspirations and direction for the final samples, further resulting in life-size prototypes. This stage in the design process is crucial for the best outcome that satisfies the brief and the client.

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8.1 Field Sourced Explorations 18

Fig.18.1 Flat lay view (Front)

Fig.18.2 The side view showing the thickness

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Fig.19.1 Flat lay view (Front)

Fig.19.2 Flat lay view (Back)

Sample 18 is a tufted carpet with yarn as Chindi. The piles in carpet are complete and not cut. Also the height of the piles are considerable more than a normal carpet as the yarn is coarser than normal yarn. The carpet once made is given a glue coating on the back for sturdiness and backed with a thicker fabric layer for a longer life. The technique of tufting gives freedom of including figurative designs; as here the chevron is very clearly visible. Sample 19 is woven sample with 4 lines of plain weave and then manual twining of the fancy yarn (in opposite directions to give a braided look). The fancy yarn used is acrylic sliver yarn, which gives the whole sample a delicate feel. The back looks like plain weave sample. Fancy yarn is put after $ lines of Plain weave.

Fig.20.1 Flat lay view (Front)

Fig.20.2 Close up of the edge showing the warp and weft pattern.

Sample 20 is an example of double cloth with weft as waste polyester woven fabric stripes. This fashion of weaving patterns allows the sample to become thicker and less compact which makes it heavier and insulates well (function of a rug).

Sample 21 is checks formed by playing with colors of warp and weft. There are 2 type of materials used in the weft. Black one is the waste polyester knitted strips and white One is the waste paper foam stripes. They are weaved through plain weave.

Fig.21.1 Flat lay view (Front)

Fig.21.2 The Zoom in view of the wedge showing the color interaction of warp and weft, Also shows Different weft material.

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Sample 22 is a chindi printed rug made in plain weave pattern. The weft material is polyester lining (fusing) waste stripes.

Sample 23 is a woven sample made from waste fabric cords filled with polyphyl (makes it fluffier and light weight). Mostly used as door mat.

Fig.22 Printed Dhurrie (Polyester)

Fig.24 Sample with various types of surface

Fig.23 Thick fabric cords weaved together.

Fig.25 Chindi Pile rug sample

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Sample 24 is a woven sample which has multiple types of surfaces. Type 1- Weft Pile surface(Gray)(5-6 threads in one weft), Type 2- Weft Pile surface(White)(5-6 threads in one weft), other surfaces are given variation by using colors in different proportion like Type 3- one white and one gray yarn is mixed and interlaced in plain weaving pattern. Type 4- is woven in one white and one Grey weft consecutively. Type 5- is plain weaved white weft and Type 6- is plain weaved Grey weft but added with the technique of tapestry in the sample. Sample 23 is a weft pile woven sample in a chevron pattern.

Fig.26.1 Flat lay view (front)

Sample 26 is a sample which consist cut pile technique and plain weave using recycled yarn made out of textile waste. The front look is dominated by the cut pile fancy yarn. Damru yarn, Tassel yarn and chenille is used in cut pile. The pile gives a carpet look to the whole rug.

Fig.26.2 Flat lay view (back)

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Sample 28 is a modern quilting sample in which sewing was not used but heat melting technique was used to fuse multiple layers at specific points to give that quilting effect. Sample 29 is quilting done with embroidery machine with one embroidery pattern sewing multiple layer together.

Fig.28.1 Flat lay view (Front)

Fig.28.2 Zoomed in view.

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Fig.29.1 Flat lay view (Front)

Fig.29.2 Zoomed in view.

8.2 Hand woven Explorations 30

Fig.30.1 Flat lay view (Front)

Fig.31.1 Flat lay view (Front)

Sample 30 is cut pile look alike sample but is actually done by plain weaving technique but the look was achieved by altering and cutting fringes in the weft yarn itself. the fringes were manually pulled up during the process of weaving and the uncut margin makes the volume for the fabric base. Sample 32 is the traditional cut pile sample in which the weft yarn i pulled a little extra than normal and weaved so that it maked pile and then cut from the top to get the desired surface. The sturdiness and strength of both the surfaces can be judged from the back as the sample 30 seems more compact and strong and sample 31 seems more loose and not so sturdy and stable. Also the look of pile changes as we change the technique.

Fig.30.2 Flat lay view (Back)

Fig.31.2 Flat lay view (Back)

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Fig.32.1 Flat lay view (front)

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Fig.32.2 Flat lay view (back)

Sample 32 is a hybrid sample consist of 2 different types of weft yarn.(Sample 30 type cut pile look) which gives it different surfaces in patchy orientation which was given with tapestry technique.. Also the whole fabric is made with the plain weave technique so the back looks exactly like a normal tapestry sample..

Fig.33.1 Flat lay view (Front)

Fig.33.2 Flat lay view (back)

Sample 33 is a exploration with plain weave as basal surface and one braided yarn weaved only picking one shaft which fills the plain yarn in the base and raises the braided yarn which can be seen in the back. The draw back of this is the weight and the teddies process of making braids which was tried to compensate in sample 34. Sample 34 is the interpretation of sample 33. Braided cord is replaced by the crocheted cords. but rest of the technique is same. Color variations were explored in sample 33 and the variation on thickness of cord were explored in the sample34.

Fig.34 Zoomed in view.

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Sample 35 a sample to explore the blister effect by keeping the warp light on some weft. Sample 36 is a traditional pile sample. the weft size was increased wherever the pile was needed to make the pile denser.

Fig.35.1 Flat lay view (Front)

Fig.35.2 Flat lay view (Back)

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Fig.36 Flat lay view (Front)

Fig.37 Flat lay view (Front)

Sample 37 is a sample to explore tapestry. Different thickness of the weft, also the winding technique of sample 19 was explored with chindi.

Sample 38 is a Plain weave sample with both weft and warp in chindi. Also color stripes were explored in this sample. Only selvages were used in this sample. Sample 39 is a Twill weave sample with warp and weft in chindi yarn. Both the yarns were made from selvages. Sample 40 is Tapestry, plain weave sample to explore the color blocking effect.

Fig.38 Flat lay view (Plain weave)

All three samples look alike in front and back.

Fig.39 Flat lay view (Twill weave)

Fig.40 Flat lay view (Tapestry)

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08 09

Concept Building Choosing the collection Inspiration Board Color Palette Design Direction

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Fig.9.1.1 Buttons Used in the collections

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Source: Pero archives.

9.1 Choosing the collection

Fig.9.1.2 Source: Pero archives.

I chose Millefiori collection’s (SS20) waste for my project as 1). There was a piled up waste from sampling and production which can be used for sampling and prototyping. 2). It was in orders currently. So there was an influx of fresh waste for the production. 3). It was good to study and form a system of waste consumption through the product making.

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Fig .Mood Board of the collection

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9.2 Inspiration Board

About the Collection (MilleFiori) MilleFiori, a combination of Italian words, Mile (thousand) and Fiori (flowers). This season has flowers of all kinds, be it painted and printed florals, or flowers used for embroideries ranging from stumpwork to laser cut or those made by hand folding every petal with fabric and assembling them together on the fabric to create surfaces full of flowers. The idea of Millefiori stemmed from the polymer clay buttons that we were exploring for the season. The Millefiori technique was first used in glass to create mosaic beads, fine glass art paperweights, pendants, and canes. Later in the 1980’s, the technique was applied to polymer clay and other materials, as they are easier to form while producing Millefiori patterns as opposed to glass. For this season’s surface ornamentation, a lot of exploration technique of Ribbon was worked upon extensively, along with beadwork, applique, stumpwork, and mixed media surface incorporating laser-cut organza petals to create light but 3D surfaces. New floral weaves like the ‘kadhwa’ technique from Banaras and ‘jamdani’ from West Bengal were developed, both being hand inlay hand-loom techniques that complemented the delicate printed and woven motifs. A variety of stripes were hand-woven in different regions of India in varied fabric weights; these include ‘mashru’, a traditional textile from Gujarat, gabardine, and taffeta silks from the south of India, and transparent and lightweight stripes woven in Banaras. Apart from these, basic cotton fabrics ranging from gingham checks to linen stripes and gauze-like solid fabrics with contrast selvage.

Fig.9.2 Source: Pero archives.

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Fig.9.3 Colour Palette Finalized for the rugs.

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9.3 Color Palette

The color palette of the season is predominantly pastels, with hand-painted floral surfaces, with accents of bright garden prints. Along with hand-painted and printed florals,. They were pastels in range of turquoise, corals, pink, blue, yellow, and greens. All these color somewhere become contrasting to each other and hence was difficult to work with as it was canceling each other when put together at once. It all starts to look dull together. So the rule of emphasis was added while using these colors and the contrasting color was used as accent color which lifts up the whole look rather than canceling it. White was a color available in abundance as hence used to lighten and as filling color.

9.4 Design direction

During the journey with Millefiori collection some major attributes can be felt which will give the process a direction. I did not want to loose the original collection’s feel as it should look derived from the collection itself and should fit with the collection. As the collection would be the part of recycled péro branch of péro. Attributes :• Delicate • Floral • Light & Bright • Garden • Feel-good • Positive • Nostalgic • Love • Soft • Baby soft • Springy • Subtle but powerful • Freshness

• • • • • • • • • • •

Feminine Playfulness Growth Fragrant Soothing Peaceful Serene Optimism Gracious Intimate Joy

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09 10

Ideation Design itterations Feedback Finalised surface

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10.1 Design iterations

Based on my understanding of attributes, nature of collection and color language i narrowed down to these attributes which helped me to drive the project towards development and ideation. 1. Soft 2. Soothing 3. Garden 4. Spring 5. Nostalgic Iterating with these attributes and exploring then in form of abstract artworks is the best way to take out their essence.

< First artwork is the basic rhythms. Its the best and simplest way of expressing the abstract attributes and essences. This rhythm is not a very loud transition but very subtle and soothing one, more merged into each other but also speaks for its own sides. It expresses the feeling of all the flowers dancing together with the wind < Fig.10.1.1 Rhythm Artwork

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< After doing some art work, understanding the color and print interaction and calculating the needs of white, taking the feedbacks failed attempts the final abstraction in form of hexagonal grid with gaps in between rounding the edges to give it more organic look, the placement of 2 dominant pastels are separated which merges through the similar tone prints and the same pastel yellow base. also both the color centers are also made to look more natural by adding there whiter tones of pastels, gives the essence of flower garden, season transition and preservation of beautiful memories.

10.2 Feedback • • • • •

Fig.10.1.2 Hexagonal grid Artwork

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Too many sharp and vibrant prints in the cluster of lighter tones breaks the harmony, Print also can add to the visual textures, so have to play carefully with solid textural surface and plain weaved prints in sample. If prints are placed in equal interval of gaps can look as a mosaic base which disturbs the whole abstract feel and the artwork essence. if contrasting pastels if used beside each other, results into making whole look washed off. Repetition of the stripe pattern can give a constant comforting look.

Fig.10.1.3 .Mosaic art work

Fig.10.1.4 Color stripe artwork (non-Uniform)

Fig.10.1.5 Thin Color stripe artwork (Uniform)

Fig.10.1.6 Color stripe artwork (non-Uniform)

Fig.10.1.7 Color block Artwork (Big Blocks)

Fig.10.1.8 Color block artwork (Small block)

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Fig.10.3.A .Glimpse of final Prototype to give a view of used surfaces together

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10.3 Finalized Surfaces

These were the funalized technique and surfaces finalized for the final product development. Different levelings and topography of each surface would give rug a feel of valley or garden of flowers which interprets our inspiration very well.

Fig.10.3.1 Sample 35 (Blister surface)

Fig.10.3.2 Twill Weave

Fig.10.3.3 Sample 30 (Cut Pile surface)

Fig.10.3.4 Sample 32 (Taspestry with plain and cut pile)

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10 11

Product Development Processing of the Raw material Locating Weaver Weaving the rug on the loom

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Fig11.1 .Process (weaver weaving Prototype)

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11 Production Process

The most crucial stage of designing a product is running it though the production process. However fancy the prototype is, if it fails in smooth production it will never be able to make it in the market. Production process also has several stages : • • • •

Vendor hunting Processing of the raw material (as the raw material is waste fabric) Weaving of the product Finishing

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11.1 Processing the raw material

Fig11.1.1 .Pattis(Stripes) are taken out from the sorted chindi and the ends are finished by tearing it off on the grain

Fig11.1.2 .Bigger fabric pieces are given slits at 2.25 -2.5 inch width. Only if less fabric is left at the edge; a slit at 1.5 inch is put. The margin of 0.25 inch is given to Save up on the fabric as sometimes the pieces gets wasted because of this margins.

3.1 3

Fig11.1.3 .If the stripe is narrow only one or two stripes are taken out but if the pieces little wider there are multiple slits, to save up the time the fabric is pleated from the slits and torn apart together.

Fig11.1.4. Each strip is steam irone ther steps. 1.5 inch stripes are kept aside for b and 2.5 inch stripes are taken forwa process.

Fig11.1.14. The technique to use the scissor is to press it against the foam on the board and then cut it. The elevation of the scissor makes the cutting process easier and more accurate.

Fig11.1.13. The cutting is starts from edges and then the layers are cut starting from one Fig. edge to the other.The board prevents whole layer to get cut and the stripe only partially.

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Fig11.1.12. After pinning on the allotted line, the pressing board is dropped. So that the non fringe part of the stripe can be secured.

Fig11.1.11. once to sav

ed for fur-

bundling ard in the

6.1 6

Fig11.1.5 .stripes of 2.5-2.25 inch are layered(3-4 layers). The longer stripes are directly put in layer.

. 2-3 set are pinned together at ve on time while cutting.

Fig11.1.6. The shorter stripes go to the stitching department. Adequate amount of length makes it easy for the cutting stage as it is most laboursome process which need accuracy.

Fig11.1.10. Pinning is done on some more spots to secure the layers properly as little bit of misplacing will take the cutting mistakes.

Fig11.1.7. After stitching and cutting the joining stitches the longer stripe is pleated and aligned on the cutting board.

Fig11.1.9. Each stripe (layer) is aligned from the center and pinned to secure.

Fig11.1.8. The aligned layers are pinned from the corners to secure the alignment from the edges and corners.

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Fig11.1.15. The cutting is starts from edges and then the layers are held by index finger and then a slit is made to make uniform slits (at 1 cm of gap).

Fig11.1.16. After all the layers are cut the board is lifted up.

Fig11.1.17. The stripes are unpinned and separated.

Fig11.1.21

Fig11.1.22

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0.75 inch 1 Cm

Standardization is very important for a uniform and quality result. hence the size and width are standardized and a whole set up was designed for the same, irrespective of the material.

Fig11.1.25 Industrial chopping machine

The whole Manual cutting method can be machine done by making Material adjustment in the designed board and usage of industrial chopper. This will increase the quantity of work in less amount of time, Howsoever the manual labour would be still needed to ensure the quality and even outcome.

3.2

3.3

Fig11.1.18. The stripe of 1.25-1.5 inches are form from the edges (after the broader stripe is taken out or from the stripes which cannot give broader stripe. Only after the broader pieces are used after the former are exhausted.

Fig11.1.19. Making of the ball starts by winding the stripes on the fingers. Once the stripe is over a new on starts wherever the last one ended. Making of these balls are important to organize the yarn

Soft part (muslin lined on foam)

Overlapped part of board and the ground (stripe in this position does not get cut)

Movable ply board lined with duct tape for safety and easy cleaning

3.4

The blue line’s top is to alline the layers and bottom of that line is to tells the ending of the slits.

Fig11.1.20. When a ball reaches this size. the winding is stopped and new ball starts. it also helps in keeping a rough idea of amount of fabric (in length and weight).

Movable ply board

Soft part (muslin lined on foam)

Hindge made by pasting the board on one end with duct tape Fig11.1.23. Cutting board designed to cut the fringed yarn in standardized format. (Top view)

Layer of tape on the muslin to avoid fast wear and tear of the sandwiched foam

Fig11.1.24. Cutting board designed to cut the fringed yarn in standardized format. (Side view)

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11.2 Locating Weaver

Locating the weaver and the company that will be ready to weave the sample is one of the crucial and delicate jobs. A swift production cannot happen without a good vendor. The company wanted a new vendor from Panipat to produce this product. These samples are not conventional ones, and hence it was difficult to convince any weaver to do this tedious job. A whole connection chain was followed for vendor hunting. Firstly the contact of the award-winning artisan was taken from the mentor as he resides in Panipat. He had knowledge about the factories and suitable vendors. Some vendors were approached personally as well. But after all these efforts also, many of them refused to do such tedious samples. Only after his son stepped in contact with one NIFT graduate designer was caught who was ready to do the sampling. As her personal loom and workshop did not have suitable looms, another vendor was taken in the loom, and the whole sampling was done by his weaver in 20 days.

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Fig11.2 Weaver weaving the sample.

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11.3 Weaving the Rug on the loom

Fig11.3.1. Making of warp on the tana machine manually. Total 1,536 threads were to be put on warp.

Fig11.3.2. After the warp is put on the looms beam, 2 threads are put thrugh the yarn (cross fashion) to avoid warp entaglment.

Fig11.3.4. To bring the warp in uniform distance, in the some warps material is weaved and some white chindi as a margin for shrinkage.

Fig11.3.5. Weaving starts after that to the instruction and design.

D.1 The pile cut look like plain weave is done by inserting the fancy yarn and then manually pulling up all the fridges D.2 is showing 2 techniques, one is the tapestry, The other is plain weave with small length stripes overlapping some part of them to keep the continuity in the line. This is an efficient of using waste (least labour goes into the processing).

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D.1

D.2

D.3

Fig11.3.12

Fig11.3.11

Fig11.3.10

t according

Source: https://wellcomecollection.org/works/ tjkvnq5m/items

Fig11.3.6. A rod is inserted and a little bit of fabric is weaved and then the rod is taken out and the threads are cut from that gap.

Fig11.3.7. After the sample is taken out from the loom, it is finished; extra threads are cut out, the pile is uniformly trimmed.

Fig11.3.8. After the overall is trimmed, the embossing by the specialized scissor is done by trimming the edges of the textured blocks.

D.4

D.3 is the image showing process of the weave for blister effect. This weave is done with shafts of plain weave and the blister floats are picked manually by hand. D.4 is the twill weave process in which the weaver lifts up one shaft at a time and weave.

Fig11.3.9

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11 12

Final Prototypes Sample 1 Sample 2 Sample 3 Sample 4 Sample 5

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12 Final Products

After months of iterative processes and 4 weeks of processing raw material; after the production stage; 5 final rugs were successfully produced.

Fig 12.1.The image shows the rug in use.

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Fig12.2 .All the samples are composed together; shows different textures.

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12.A Sample 1 Specification Sheet: Sample 1

•

Sample size : 48inches * 72inches

• •

Warp count : 2/10s Warp Material : Polyester

•

Weft material : Waste fabric patti (stripes)

• • •

Drafting : Straight Draft Lifting : 1,2,1,2 Denting : 2 ends in 1 dent.

• • •

EPI (Ends Per Inch): 16 PPI (Picks Per Inch): 12 Reed : 16

• •

Weave : Plain Color Pattern : Stripes

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Fig12.A.1 Weft

Fig12.A.2 .Weave Graph of the sample 1

Fig12.A.3 : Looks alike from both the sides

Fig12.A.4 .Final Design with specification

Stripes are very straight and bold form of expression. As the sample is completely weave with plain weaving using the simplest form of chindi stripes, its identical on both sides; hence can be used from both the sides. The loose ends are knotted to the finish the ends. Also the ends are finished by turning all the weft left in the next line to give the finished ends to the rug. Silk, Cotton silk and Cotton fabric stripes are only used in this Sample.

Fig12.A.5 .Swatches used in the Sample

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Fig12.A.6 .Flat lay of the sample with a edge folded to show the back of the rug

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Fig 12.A.7.The softness of the folds show the weight or the nature of the fabric.

Fig12.A.8

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12.B Sample 2 Specification Sheet: Sample 2

•

Sample size : 48inches * 72inches

• •

Warp count : 2/10s Warp Material : Polyester

•

Weft material : Waste fabric patti (stripes)

• • •

Drafting : Straight Draft Lifting : 1,2,1,2 Denting : 2 ends in 1 dent.

• • •

EPI (Ends Per Inch): 16 PPI (Picks Per Inch): 12 Reed : 16

• •

Weave : Plain Color Pattern : Stripes

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Fig12.B.1 Weft

Fig12.B.2 .Weave Graph of the sample 2

Fig12.B.3 : Looks alike from both the sides

Fig12.B.4 .Sample artwork

Stripes are a very straight and bold form of expression. As the sample is completely weaved with plain weaving using the simplest form of chindi stripes, its identical on both sides; hence can be used from both sides. The loose ends are knotted to finish the ends. Also, the ends are finished by turning every weft left in the following line to give the finished ends to the rug. Silk, Cotton Silk, and Cotton fabric stripes are only used in this sample.

Fig12.B.5 .Swatches used in the Sample

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Fig12.B.6 .Flat lay of the sample with a edge folded to show the back of the rug

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Fig12.B.7 .The softness of the folds show the weight or the nature of the fabric.

Fig12.B.8

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12.C Sample 3

Specification Sheet: Sample 3

•

Sample size : 48inches * 72inches

• •

Warp count : 2/10s Warp Material : Polyester

•

Weft material : Waste fabric patti (stripes)

• • •

Drafting : Straight Draft Lifting : 1,2,1,2 Denting : 2 ends in 1 dent.

• • •

EPI (Ends Per Inch): 16 PPI (Picks Per Inch): 12 Reed : 16

• •

Weave : Plain Color Pattern : Rhythm Stripes

Fig12.C.1 Weft

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Fig12.C.2 .Weave Graph of the sample 3

Fig12.C.3 : Weaving process.

Fig12.C.4 .Sample artwork

Although this sample is a pile cut-looking sample, it is weaved in a plain weaving pattern; altering the yarn to give a similar look with increased strength as the plain weave is the most strong weave. In this sample, the yarn is put in while one shaft is up, and then the shaft is closed, and all the fringes are pulled on the top manually and then beaten with the beater and repeated further. As all the picks are similar, it gives a compact pile surface. The rhythm artwork inspires this particular sample. Baby pink and coral are the dominant colors, and turquoise is the accent color to lift the whole look of the sample. Silk, Cotton Silk, and Cotton fabric stripes are only used in this sample. The back of the rug looks like a plain weave sample as the primary technique remains plain weave. So the non-fringe part of the yarn contributes to the back of the sample.

Fig12.C.5 .Swatches used in the Sample

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Fig12.C.6 .Zoomed in image, also the end finishing of fringes are shown.

Fig12.C.7 Flat lay (back). The turned part shows the top to show the difference in the surfaces.

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Fig12.C.8

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12.D Sample 4 Specification Sheet: Sample 3

•

Sample size : 48inches * 72inches

• •

Warp count : 2/10s Warp Material : Polyester

•

Weft material : Waste fabric patti (stripes)

• • •

Drafting : Straight Draft Lifting : 1,2,1,2 Denting : 2 ends in 1 dent.

• • •

EPI (Ends Per Inch): 16 PPI (Picks Per Inch): 12 Reed : 16

• •

Weave : Plain Color Pattern :Mixed and mashed

Fig12.D.1 Weft

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Fig12.D.2 .Weave Graph of the sample 4

mixed mash of the chosen colored fabric yarn. This ease in design would make things easier during production. Also, as it is a result of waste, not all the time the same fabrics will be available, so this piece gave an idea of how things will look in a mixed way. Silk, Cotton Silk, and Cotton fabric stripes are only used in this sample. The back of the rug looks like a plain weave sample as the primary technique remains plain weave. So the non-fringe part of the yarn contributes to the back of the sample.

Fig12.D.3 : A close up of both the faces of the rug.

Although this sample is a pile cut-looking sample actually, it is weaved in a plain weaving pattern, altering the yarn to give a similar look with increased strength as the plain weave is the most strong. In this sample, the yarn is put in while one shaft is up, and then the shaft is closed, and all the fringes are pulled on the top manually and then beaten with the beater and repeated further. As all the picks are similar, it gives a compact pile surface. This particular sample is not visually designed but a

Fig12.D.4 .Swatches used in the Sample

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Fig12.D.5 .Zoomed in image, also the end finishing of fringes are shown.

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Fig12.D.6 Flat lay (back). The turned part shows the top to show the difference in the surfaces.

Fig12.D.7

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12.E Sample 5

Specification Sheet: Sample 3

•

Sample size : 48inches * 72inches

• •

Warp count : 2/10s Warp Material : Polyester Fig12.E.10. Graph for Twill weave

•

Weft material : Waste fabric patti (stripes)

• • •

Drafting : Straight Draft Lifting : 1,2,1,2 Denting : 2 ends in 1 dent.

• • •

EPI (Ends Per Inch): 16 PPI (Picks Per Inch): 12 Reed : 16

• •

Weave : Mixed Color Pattern : Color Blocking

Fig12.E.1

Fig12.E.2 Weft

Weft

Fig12.E.11. Graph for Plain weave

For blister effect. the basic lifting order remains same as the plain weave but after 10 ends 4 ends are suppressed by hand to form weft floats and then weft is pull a little upwards on the warp and then beaten so that the extra volume goes to the floats and form blister. Fig12.E.3 All the textured used in sample 5

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Fig12.E.5 : Final design with specification

Fig12.E.4 : Process of weaving blister effect.

This sample is the most complicated of all, it has 4 types of texture which includes pile, twill, weave, plain weave and blister effect. The color blocking done is done through tapestry. The back of the rug also looks like plain weave tapestry sample as the most textured surface comes out as plain weave from the back. This sample gives a garden like feel; like the fusion of season change and change of flora change over the season. The rug feels so soft and flexible yet has enough weight to sit like a rug. The fabric waste used in this rug of silk, cotton and cotton silk. This piece also has a exhaustive production process.

Fig12.E.6.Swatches used in the Sample

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Fig 12.E.7.The softness of the folds show the weight or the nature of the fabric.

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Fig12.E.8 Flat lay (back). The textured patches look same as plain weave.

Fig:12.E.9

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12 13

Costing

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Costing Sheet 1 RAW MATERIAL COST (In-House Cost)

Out sourced

Final Selling Price

Sample 3

Yarn Cost

120

Material rate

500/metre

Material Consumption 27.1 metre

Material cost 13,500

No. of people

Total labour Cost 9000

Weaving cost 4500

Overhead expenses

Store Margin Share (40-50%) 45000 15000

Total Cost

Sample 4

120

500/metre

27.1 metre

13,500

9000

4500

7200

45000

15000

94320

Sample 5

120

500/metre

27.1 metre

13,500

9000

4500

7200

45000

15000

94320

S no.

7200

94320

Final costing price : 34,200 Final Selling price: 94,320

Costing Sheet 2 RAW MATERIAL COST (In-House Cost)

Out sourced

Final Selling Price

Sample 1

Yarn Cost

120

Material rate

500/metre

Material Consumption 27.1 metre

Material cost 13,500

No. of people

Total labour Cost 9000

Weaving cost 3500

Overhead expenses

Store Margin Share (40-50%) 45000 15000

Total Cost

Sample 2

120

500/metre

27.1 metre

13,500

9000

3500

7200

45000

93320

S no.

7200

15000

93320

Final costing price : 33,200 Final Selling price: 93,320

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Fig:13 Collective shoot of the rugs

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Conclusion The cutting stage of garment manufacturing creates the most significant pre-consumer fabric wastage. If cutout scrap can be utilized in other products in good quantity, the waste can be reduced to a large extent. Péro is an apparel-based brand that deals with the same issue, and my project is about investing that waste into the upcoming home furnishing vertical. The project was proposed with the intent of consuming the waste created by main running products into new home furnishing products, of which the rugs were covered in my project. The project was streamlined with a traditional design process i.e., understanding the company and its functioning, secondary research followed by primary research. With the insights of this research, explorations were done extensively. After the elaborate process, it was narrowed down to the weaving and surfaced through it. The stage of conceptualization and ideation is followed, after which the final samples were achieved. For the final prototyping, the process, raw material, and designs were standardized and final prototyping was done. A lot of challenges were faced during the project, including health, managing people, finding correct vendors, and travel hustle in Covid. The project not only expanded my knowledge in the system of textile waste management and design but also brought me closer to the hand-looms and rugs industry of India.

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Insights The Experience of working with already established company and handling real life client brought a lot of learning:• Before jumping to conclusions about any process or product, a thorough research is important. • For a smooth running process and better time management, clarity and proper planning is must. • Proper and necessary delegation of work is very important to reach the goal in certain amount of time • Working with people comes in with a lot of conflicts and uncertainty. Working with a established company means each person has their already set work share. For delegating work and using the present labor somewhere one’s work and thier set responsibility has to be complementary, arranging that is a big hustle and gives a lot of intangible learnings. • Keeping and maintaining relations with present human resource is really important for smooth and positive working experience. • Standardizing the raw material and processes is very important for a quality running product. • Lot of insights were taken from company’s running design and production process. It has a lot of functions happening at the same time for reducing the time consumption and delivering the same quality. • Then as the trainee was the sole person to handle this project, all the sourcing and production was to be handled by them. For sampling in a new place or new industry, a very strong network system and human relation skill is required. • Each and every step and action adds to the product’s final cost, hence has to be handled thoughtfully.

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Image References • • • • • • • • • • • • • • • • •

Fig.4.1.3c: https://rugideasla.com/tufted-rugs-hand-tufted-rugs/ Fig.4.1.3a: https://apexclean.co.nz/types-carpet-pile/ Fig.4.1.3b http://www.azerbaijanrugs.com/carpet-guide/rugs_hand-tufted_rugs.htm Fig 4.1.2d: https://commons.wikimedia.org/wiki/File:Studies_in_primitive_looms_(1918)_(14597768459).jp Fig.4.1.2c: https://commons.wikimedia.org/wiki/File:Studies_in_primitive_looms_(1918)_(14597768459).jpg Fig.4.1.2b https://www.shopchaupal.com/products/navalgund-dhurries?variant=35879203111073 Fig.4.2.4a https://www.flickr.com/photos/69579862@N00/7830782364 Fig.4.2.4b https://twitter.com/craftni/status/1022818406997913600?lang=gu Fig.4.2.4c https://www.getasquiltingstudio.com/2014/03/1-quilt-2-techniques-applique-and.html Fig.4.2.1c https://trc-leiden.nl/trc-needles/individual-textiles-and-textile-types/secular-representations/sicil Fig.4.2.1b https://www.britishmuseum.org/collection/object/Y_EA37996 Fig.4.2.1a https://www.wikiwand.com/en/Kushan_Empire Fig.4.1.3j https://www.farwayart.com/shop/handmade-wool-felt-carpet Fig 4.1.3i https://www.indiamart.com/proddetail/cashmere-felted-rug-17615789633.html Fig 4.1.3g https://feltrugs.co.uk/ Fig. 4.1.3h Source : https://www.tasteiran.net/stories/10043/iranian-felt-rug Fig 4.1.3e https://sahararugs.wordpress.com/#jp-carousel-346 Fig.4.C.1 https://magicpin.in/Ghaziabad/Kaushambi/Fashion/Pero/store/ab97b/photos/?img=Store-Images&id, https://lbb.in/delhi/pero-4-day-sale-patparganj/, https://www.facebook.com/ilovepero/posts/1989736364375084/, https://thevoiceoffashion.com/fabric-of-india/features/flowers-of-textile-county-2665/

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Fig. 4.2.4h: https://quiltedangel.com/class-schedule/2015/11/15/underground-railroad-class-2-of-4 Fig. 4.2.4g: https://en.wikipedia.org/wiki/Sashiko#/media/File:MET_RT792C.jpg Fig. 4.2.4d: https://en.wikipedia.org/wiki/Proven%C3%A7al_quilts#/media/File:Boutis.jpg Fig. 4.2.4e: https://sep.yimg.com/ay/yhst-75377436552253/pineapple-classic-quilted-wall-hanging-hand-made-traditional-hawaiian-quilt-tropical-island-walldecor-1.gif , http://1.bp.blogspot.com/_xAyoflX1qeA/TF3DuuL_SjI/AAAAAAAAAac/JWCwGZ3rUGc/s1600/princessfeather1.JPG Fig. 4.2.2a: https://halekulaniliving.tv/arts/art-of-the-stitch/ Fig. 4.2.2b: https://upload.wikimedia.org/wikipedia/commons/3/35/Reverse_applique_on_linen_dress.jpg Fig. 4.2.2c: https://trc-leiden.nl/trc-needles/techniques/applique/reverse-applique Fig. 4.2.3a: https://blog.shopmartingale.com/quilting-sewing/best-paper-for-paper-piecing/

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Bibliography • • • • • • • • • •

Dhurrie (Flatwoven Rugs of India) - Shyam Ahuja Crafts of Jammu, Kashmir & Ladakh - Jaitya Sahai Dhurries (History, Technique, Pattern & Identification) - Nada Chaldecott Felting Fashion Creative & Inspiration Technique for Feltmakers Quilts of India (Timeless Textiles) - Patrick J Finn Kantha Recycled & Embroidered textile of Bengal - Rob Sidner, Courtenay C McGowe, Pratapaditya Pal, John Gillow Jaipur Quilts - Krystyna Hellstorm Ralli Quilts (Traditional Textiles from Pakistan & India) - Patricia Ormsby Stoddard Magnificient Molar - Flammarion. Péro Archives

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NID ARCHIVES Aneet Arora, Raddi Re-use, Product Innovation with Paper waste, 2006 Aboli sanjay Deshmukh, Silver Jewelery for emerald, 2020.

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Citation • • •

All the content in the publication belongs to the author. Images used are either clicked or sourced from the Internet. The respected authors/photographers has been credited below each image and in the bibliography.

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Chindi Re-Use : The Zero Waste Project [Graduation Project 2021]

Articles inside

Preface

Synopsis

About NID-H

states in India

Acknowledgment