Gadha Gopal_Fashion Design Portfolio_2018-2019

PORT FOLIO

FASHION DESIGN GADHA GOPAL

“FASHION IS NOT SOMETHING THAT EXISTS IN DRESSES. FASHION IS IN THE SKY, IN THE STREET, FASHION HAS TO DO WITH IDEAS, THE WAY WE LIVE, WHAT IS HAPPENING.” COCO CHANEL

PROJECTS 06 / TRANSFORM AND RESTRUCTURE

24 / FAST FORWARD

44 / THE NEN PROJECT

70 / DENIM DISCOVERIES

110/ INDUSTRY INTERNSHIP

CONCEPTUAL GARMENT

TRANSFORM

AND RESTUCTURE 27/08/2018 - 28/09/2018

The project is aimed at understanding the basic shape form and structures that make a garment.

Various materials are explored and fashion techniques are studied and explored to ultimately construct a garment that best represents an oxymoron.

The process is followed by completing various tasks in four elements, which are: Element 1: Dissecting and enlarging of a product package Element 2: Studying various fashion techniques to derive a form in a garment Element 3: Referring to the form/garments by known Designers /artists.

Element 4: Visual representation and arrival of an oxymoron.

The result of the understanding from all four elements is then translated into an avant-garde garment.

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ELEMENT 1

EXPLORING FORMS

A product packaging was selected and dissected to understand it’s template from its flat lay. This template was traced with the original dimensions and enlarged to the proportions of the body. The template traced on to a muslin was now able to be draped around the body. This exercise was done to help visualise the how forms work around the body and also to understand the various possibilities of agarment’s fall and possible drapes.

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The activity generated an understanding of eye movement that a human has for a body and the form/ garment around it.

The realization of rhythm is generated here with the understanding of lines in the falls of a cowl, cascade, form contours (both body and garment) are crucial. Here the sense of form from the line movements is initiated.

Paper fold and drape explorations to understand and generate a new form.

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ELEMENT 2-3

DESIGNER REFERENCES AND FASHION TECHNIQUES

Fashion techniques like gathering, ruching, shirring, pleating, fluting, quilting, layering, paneling, boning, caging, slitting, drawstrings and many more are explored. These techniques gave a realization of how a fold can bend and lift a fabric to add/ subtract volume and how gathers are a burst of lines for the eye to capture. Some techniques allow the fabric to be molded into certain shapes or to the body, while others fit in and sometimes loosens accordingly.

Individually the exploration of techniques lead to the understanding of lines that were created because of the volume control and the fall created by fabric.

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The above visuals include the works of designers Victor and Rolf, Aitor Troup, Rei Kawakubo. An exploration of rectangle fabric gathered on all edges are also included as part of element 3.

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ELEMENT 4

OXYMORON STATIC FLOW

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The image amoung many others is selected as it best represented the personal interpretation of the oxymoron static flow in terms of form and other details.

Every detail of the tree bark is important to the static flow. The lines seem like it is moving continuously (flow) yet it is static at some places and allows the eye to focus on specific parts of it.

An oxymoron was developed in this stage, which is static flow coming from the strong realization of lines. These visual interpretations define the understanding of lines.

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VISUAL REPRESENTATION MOOD BOARD

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The colors and aesthetics are developed here. It is the study of texture of lines which is static flow.

The design from Issey Miyake’s SS1985 was studied to understand how techniques applied to the fabric can help mold it to shape to a level of depth.

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EXPLORATIONS

PAPER AND FABRIC 2D AND 3D

1

2

4

1.Fantasy Gathers, 2.Ruching + Quilting, 3. Crumbling + Irregular Pleating, 4. Pliss Pleats

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3

DESIGN ITERATIONS DRAPES

Pliss pleats. This exploration is taken forward to achieve the desired texture as it allows a certain level of mouldability to the fabric when starched. The exploration is further implemented on the body form. The texture, as well as the form, is developed after the idea of static flow is taken back and reflected.

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Other mini drape Ideations

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CONCEPT STATIC FLOW

The idea of ‘static flow’ is explained in terms of visual interpretations specific to lines. The word ‘static’ means something that is stopped or is constant, and the word ‘flow’ means something that is in continuity. This oxymoron is explained in terms of the role of lines on objects as contour, texture, depth or any detailing. These lines that exist almost on anything will allow the eye to continuously view something for a while and also allows it to focus on certain parts that you may want to look and continue with the flow.

The final garment developed also follows this idea. The silhouette in itself is draped around the body to depict the flow, and at certain points it is allowed to stop and start from a new point. Since the texture and depth studied of the visual inspiration extract this essence of static flow, it is also translated similarly in the garment.

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CONSTRUCTION

The images here are the various stages the fabric is treated t achieve its drapable and mouldable state. Starch and sunlight are the key ingredients to achieve the texture.

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ENTRY INTO THE GARMENT To get the structure into a body armholes are finished on either sides using a blanket stitch by hand.

The structure was tried on a human body to understand the entry of the the body into the garment and the exit. This is explained in the images below.

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FINAL GARMENT

Final garment front

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Worms view of the garment.

Garment Back

Armhole finish and side

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EXPLORING SUSTAINABLE FASHION TECHNIQUES AND PRACTICES

FAST FORWARD PROJECT ON SUSTAINABILITY 03/08/2018 - 02/09/2018

Sustainable fashion can foster change in fashion products and the fashion system towards greater ecological integrity and social justice. While sustainable fashion is open to textiles, accessories, garments and all sorts of fashion products, this project is oriented in exploring sustainabile practices and techniques involving construction of a garment in a fabric, pattern cutting and garment stage. The project includes the explorations that include reducing fabric wastage at a design/pattern cutting level as well as at a later stage by upcycling an older garmnets. All this leadto their respective final garments, they are: Minimal Waste Garment. A muslin garment to be constructed based on the brief which uses the minimal cuuting of patterns and fabric to get the final form.

Zero-Waste Garment. This is again a muslin garment which is generated by zero waste cutting of pattern or various other fold and cut techniques.

Subtraction Cutting. This technique is practiced on a 6 meter industrial waste fabric sourced from the loca market of Delhi. A final garment is derived using this technique.

Upcycled Garment. An unused garment from the personal wardrobe is taken for deconstruction and redesigned to construct a final garment that is wearable again.

The project enables one to understand the importance of sustainability required in the fashion industry and to choose wisely the direction to work in the industry and be thoughtful about each step taken as part of garment production.

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Photographs by Mohini Bothra and Yashi Panndey.

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MINIMAL WASTE GARMENT

MINIMAL WASTE PATTERN CUTTING EXPLORATION

The conventional method of pattern cutting wastes 15% of the piece of fabric required to construct a garment. The minimal waste pattern technique reduces this wastage by applying unique methods. The technique eliminates fabric wastage at a design/ pattern cutting stage.

The garment here is constructed with this pattern in mind. The basic shapes of rectangle, circle, square and triangle are manipulated to determine a form within the fabric that wastes a very little amount of fabric for the garment.

The brief here is to construct a minimal waste garment that has its width equal to the width of the fabric in its fabric roll and length equal to the length from HPS-the hip/knee level as required. Since the whole activity is experimental and the project does not aim to waste on new fabrics, the garment is constructed on muslins.

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PATTERN CUTTING PLAN

Length : HPS-Hip Level Width : 44�, equal to the length of the fabric in it’s fabric roll.

The excess fabric that is derived as waste is used for the neckline as a bias piping, leaving only 1% of waste from the fabric, making it a minimal waste garment.

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FINAL GARMENT

MINIMAL WASTE GARMENT

A loose fitted top from the muslin fabric.

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ZERO-WASTE GARMENT

EXPLORING ZERO WASTE CUTTING TECHNIQUE

Zero Waste also allows one to eliminate fabric wastage in the design stage, this technique can also be done through drapes. Patterns bring out interesting and unique silhouettes once this technique is thoughtfully applied. Design elements like gusset, gore, godet, panels, overlaps are seen in this practice. Various other techniques are also used.

Here both pattern cutting and draping is involved. The idea is to contruct a zero waste garment out of a fabric which has it’s width as it is in the fabric roll when it was purchased and the length as 44inches. Again, the garment is made from the muslin fabric as the exercise is an exploration of a zero waste garment.

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Explorations of drapes on dummy and sketches from logbook to define a form from Zero-waste cutting.

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PATTERN CUTTING PLAN

Length : 44” Width : 44” equal to the length of the fabric in it’s fabric roll.

The given length and the width of the fabric forms a fabric that is cut into a square shape.

The garment developed are therefore planned with the squares and rectangles which is later manipulated to form the final garment.

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FINAL GARMENT

ZERO-WASTE GARMENT

A long jscket is constructed by manipulating and joining the cut fabric pieces of muslin

Photographs by Mohini Bothra and Yashi Panndey.

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SUBTRACTION CUTTING

UPCYLING INDUSTRIAL WASTE FABRICS

Subtraction Cutting is that the patterns cut do not represent garments outward shape, but rather the negative. spaces within the garment that make them. hollow.

Here 6meters of waste fabric is sourced from Sanjay Market,the industrial fabric waste market of Okhla in New Delhi. It is then upcycled to create a new and unique garment by using the technique of subtraction cutting.

The 6 meter fabric here is individually sourced from market into fabrics that are of 2 meters of three in number. These are first attached together and finally stitched into a garment that can be used for subtraction cutting.

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PATTERN CUTTING PLAN PLAN AND PROCESS

1.

2.

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1. Illustration of the subtraction cutting, 2., 3., 4. Process.

3.

4.

The pattern od a single dart basic bodice is used to trace the body for the garment. In the above illlusration the light grey is the space that is cut out and requires to be stitched. This creates the hollow space in subtraction cutting here.

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FINAL GARMENT

A dress developed by the subtraction cutting method.

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Photographs by Mohini Bothra and Yashi Panndey.

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UPCYCLED GARMENT

A SUSTAINABLE UPDATE TO THE PERSONAL WARDROBE

The unused/ disliked garment from one’s personal wardrobe is picked and deconstructed and reconstructed to give it a new look in a way which allows you to wear it . The fabric of the garment was restricted to cotton, but the freedom was given to choose any kind of garment, a top a skirt, shirt, dress or any other garment that is unused and been there in the wardrobe for long. The deconstuction involved parting the seams as well as pleats, gathers or any other fabric manipulations and additions like pockets and collars. The deconsructed pieces can be draped/sketched/cut and stitched into a entirely new garment which makes the garment wearable for the person again.

The garment chosen fot this exercise is a top . The top was used in the first for months continuosly, but thereafter the top stoped complimenting the shape of one’s body after each wash. Therefore, the garment is recontructed to fit the shape of one’s body.

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Original garment Garment deconstructed.

The garment is dissected into its already cut parts.

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CAD ITERATATIONS DRAPE BASED

Design1

Design 2

Design 3

Design 4

Design 5

Design 6

Thesse iterations are achieved by placing the parts of the garment in many ways .Here the torsoo block may be used as the sleeve and vice versaa. Design 4 is further taken to be constructed as the final garment.

CAD iterations are developed based on the flat lays and drapes explored .

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FINAL GARMENT UPCYCLED GARMENT

Final garment based on design 4.

Cape redesigned from a top. with garment fall on body and seamline details.

Photographs by Mohini Bothra and Yashi Panndey.

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CRAFT INTERNSHIP WITH NEN

NEN PROJECT ZERO WASTE GARMENT 07/01/2019 - 14/07/2019

The visit to Chizami absorbs the crafts of the Chakhesang tribe. It was essential to know how practices happen. How people live to lead to their work, skill and eventually to these products.

Taking the lesson of using up almost everything offered by nature and the idea of selfsustaining, the advancement of the project is based on a zero-waste or minimal waste garment made out of the Naga textile.

The project includes: 1. Study of various crafts of the Chakhesang tribe in the Phek district of Chizami, Nagaland.

2. Developing a concept inspired by the visit.

3. Zero waste/ minimal waste garment with the Naga textile.

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The local women of Phek, Chizami (2018).

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NORTH EAST NETWORK (NEN) ABOUT

NEN’s mission is to take forward women’s human rights through collective action, by: 1. Creating a culture of peace both inside and outside homes, through women’s active involvement.

2. Strengthening women’s collectives, collective action and their leadership.

North East Network (NEN) is a women’s right organisation linking with women irrespective of their diversity and regardless of ethnicity, sexual/gender identity disability, culture and space. The NEN visit here is in the the Chizami NEN in Phek district of Nagaland, where the focus is on the handcrafted goods of Nagaland and the backstrap loom woven fabrics.

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3. Increasing women’s representation in political, public and community processes.

4. Adressing discrimination and violence against women in both public and domestic spheres, and ensuring safer spaces.

5. Protecting the environment and biodiversity through innovative initiatives, by engaging youth and women.

The entry gate to one of the Khels in Chizami.

CHIZAMI Chizami is a small village in the Phek district of Nagaland. The land borders internationally with Myanmar. The tribal community of this village called the Chakhesang who practice agriculture as their primary occupation. Other practices like basketry, raincoat making, and weaving are practiced as a secondary source of livelihood. This secondary source involves handicrafts which are studied in this project.

The tribe has a unique system that evolves from many of the traditional practices and beliefs in binding them which makes supports a more self- sustained environment for the habitants. All these are practiced within a term for khel a village or panchayat of the Phek district.

The project aims to explore the textile and weaves of Chizami, but before even reaching there it is very important to understand the village in its multiple aspects.

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Terrace Faring. Dry land farming

Terrace Faring. Millet crops on wet land.

AGRICULTURE

Jhum Cultivation (Shift Agriculture) and terrace farming are the main focus in the agricultural pratise of Chakhesang tribe.

Terrace farming is practised in Chizami as the whole of Nagaland state is mountainous.

There are farms which are dry as well which wet. Millet crops are mostly grown here as it is the primary crop and a staple food grain.

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Agriculture is the most important economic activity and the principal crops include rice, corn, millets, pulses, oilseeds, sugarcane, potatoes, and fibres, which covers 70% of the state’s economy.

The squash fruit, a secondary crop.

Agriculture is practised in groups initially as a group of friends and a different group of married couples.

They work together in the fields while singing the traditional folk songs.

The primary crop is millet. in their houses and in between the crops the farmers plant other fruits and vegetables so that they return home not empty handed. The squash here in the image is an example of that.

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ARCHITECTURE

The traditional houses of the people in Chizami. Notice the Kelicho.

To get the Kelicho (the horns in the roof of the houses in Chizami) and carvings on the outside walls of a Chakhesang house is not that easy. They have to earn the degree of a hunter of wild and dangerous animal like a mithun or a wild boar, or be an elite. The richness and authority is measured according to what he shares, i.e. according to the number of feast thrown to the community he lives in. Tsoshu: the wall outside a chief’s house that has been carved just like in the image above. This is attained through stone pulling. The no. of Tsoshu increases according to the no. of no. of stone pulling and feast of merit thrown by the chief.

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Bamboo and wood are the primary sources of materials for constructing the houses.

Other details like the carvings of the mithun and humans and tiger all relate to the environment they are in. This the basic inspiration man can depict and they do so.

BASKETRY

TRADITIONAL HANDICRAFT

The bamboo basket in the making.

Variety of traditional bamboo baskets used for activities in daily life.

Bamboo and cane become the essential material to weave the baskets. This craft is essential in their livelihood as the baskets and other products produced are used in the fields, kitchen and various other daily activities. The Chakhesang basketry teaches one to mold design according to the need.

The extra weave of cane in the corners ensure that bamboo does not wear-off easily at the corners as this is the place is more in friction and pressure. Cane is more expensive and material which is hard to grow and harvest than bamboo so its usage is very limited in basketry.

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RAINCOATS

TRADITIONAL HANDICRAFT

Raincoats are worn by farmers to protect themselves from the sun and rain while they work on the fields.

Date-palm leaves are woven to create this raincoat. Before weaving, the leaves go through drying and wetting processes to get the moisture to weave easily.

When the base is set using the thigh the rest of the date palm leaves are woven in layers. This is achieved through a tool called Enhichu, the tool that is shown in the image. It is transferred to the tool only after the base is made ready from the thigh.

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The raincoat / grasscoat are woven by the women. They use their skills, body and mind to work through this process.

COTTON

YARN SPINNING 1. Raw Cotton 2. Deseeding/ginning 3.fibre to yarn spinning 4. yarn to hank spinning

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Cotton is harvested from the fields by men and from there all other processes involved in making yarn out of the fiber to making the fabric are done with the hand, hands of the Naga women.

The work is again performed as a community. All activity involves certain tools that are required to be used by hand, making the whole process of cotton to yarn conversion handmade. That is the yarn is handspun as well as the fiber is extracted by hand as well.

Once the cotton is plucked from the fields by the men it is taken to the common area, generally a particular house of an individual in the group of women who work in spinning. From here the cotton goes through various processes like cleaning, ginning, spinning and collecting spun yarns to hanks.

Cotton ginning is the process of removing cotton seeds from the fiber.This is done by women with their hands. The cotton fiber will have certain particles in the fiber that requires to be cleaned, like the small particles of bolls. This is done by a tool that brushes off these particles keeping the cotton intact. From here the fiber is spun to yarn using a hand spindle. This is then spun into hanks using a rotating tool that unwinds each spindle. The hanks can be made from 500 meters to 1000 meters.

The cotton yarns are made here and this will be taken to the loom for producing fabric or further process like yarn dyeing which is either natural or synthetic.

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CHIZAMI WEAVES

TRADITIONAL HANDICRAFT

The Chakhesang tribe produces a fabric that is handwoven with the back-strap loom. The patterns and motifs in the fabric are woven with an extra weft with a color different from the warp threads.

The extra bamboo sticks in the warp are set so that a certain pattern is achieved.

The woman stretches her body to an extent that it gives maximum stretch to warp.

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Traditionally the garments of the Chakhesang tribe are drape based, therefore they have adopted various methods to finish the ends.

Tassels are either tied or knotted is a certain manner. The hem otherwise finished with a technique similar to a buttonhole finishing with hand.

Joineries are required to increase the fabric width as the maximum width possible in Chizami weaves are 22’’. Joineries are handstitched and a few are decorated.

The motifs and patterns are nature-driven. These imageries are essential to identify people with their status. To mark marital status and power in the community different shawls were woven for each purpose.

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FABRIC ANALYSIS A STUDY OF NAGA TEXTILES

An excerpt from th design journal showing the fabric undserstanding and analysis that caters further design ideology in the garment

To derive a form from the Naga textiles a basic understanding of the backstrap loom and the possible pattern and motif was analyzed. Also, the maximum width and length were understood. The complete usage materials involved in the making of a chizami weave was directing this understanding towards a zero-waste approach.

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Maximum Fabric Length: 3-3.5 meters Maximum Width: 22 inches

INSPIRATION

DESIGNER REFERENCE IRINA DZHUS

Irinia Dzhus’s unique cut system was the key to further ideas in the process. The collection Nihilism, explores the architectonic potential in constructing a garment with restpect to the body. The idea of taking excess fabric to mould the form of the garment is initiated from here.

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VISUAL INTERPRETATION MOODBOARD

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KEY WORDS STURDY ZERO-WASTE EXCESS BALANCE RAW SUPPORT CONTROL STRENGTH HYBRID EXTENDED 59

DRAPE EXPLORATIONS ZERO WASTE DRAPES

The Naga textiles provided by faculty was draped around the body to understand the fabric’s physical aspects directly while developing silhouettes. The fabric of Chizami had a weught to it that it restricts a smooth fall for a technique like gather. Pleats, panels, and joineries are understood from this exercise.

The fabric had to be folded and cut to get silhouettes that are easy and contemporary. Muslins were also usd to convert the rectangle pieces and draped around the body to generate new forms. From here the sketches are developed and later a range.

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Drape explorations with Naga textiles from NEN provided by faculty Ms. Saumya Pande and Muslin drape explorations.

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DESIGN ITERATIONS ROUGH SKETCHES

The silhouettes are designed for A/W 2020.

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Designs 4,5 and 6 (left to right)

Designs 1,2 and 3 (left to right)

RANGE

Design 5 is the final look.

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CAD ITERAITONS

CAD Iterations developed for Design 5

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HANDWORK JOINERY

Sample joineries for Design 6. From thesevswatches the decorative embroidery joinery is used for attaching the centre front line of the garment.Fagotting stitch s used to join the sleeves .

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THE GARMENT

CONSUMPTION PLAN AND GARMENT PROTOTYPE

FRONT

BACK

FABRIC FOR SLEEVE

MOTIFS

The garment here is sen to NEN as a prototype with a consumption plan as to how the textile will be developed to achieve the different pieces in the garment. The garment is according to the concept of a zero-waste garment.

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Prototype garment Front

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Centre Front decorative joinery Stitch and Motif placement .

Prototype garment Back

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Sleeve Joinnery: Fagoting Stitch

Motifs on front woven.

END-SEMESTER PROJECT

DENIM AND INDIGO DISCOVERIES EXTERNALLY MENTORED 8 WEEK PROJECT 01/03/2019 - 01/05/2019

The project is an end semester college project in level 6 (third year) of the Indian Institute of Art and Design. This eight-week long project was externally guided by Shani Himanshu, creative director 11.11/eleven eleven and other industry experts.

To understand denim in its depth the fabric to its very initial form is studied, which is cotton in its plant/fiber form. From here all processes and history involved in the making of the fabric are studied.

The project includes the following tasks and deliverables: Khadi yarns. Studying to spin cotton sliver to yarns and develop a hank of 500 meters.

Personal Jeans. A fully constructed denim jeans which is self stitched using pattern cutting and sewing.

Denim Washes at Arvind Mills. Wash explorations with denim leg mocks and final wash on the personalised denim.

Visit to Bhuj. Explore the crafts of Ajrakh, Bandhani, Clamp Dye, Arashi, indigo dyeing and khadi.

Final Ensemble. A group project briefed to produce two ensembles inspired by the reflections of the craft and industrial visit in Ahmedabad and Bhuj.

Denim Exhibition. Collectively as a class students display the journey of the denim project open to public and especially to industry experts.

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COTTON STORY

Samples of cotton varieties and different stages of cotton from the collective samples of Sachin Sachar.

RAW COTTON AND HANDSPUN COTTON

The journey towards understandin the Denim fabric ets foot here. The old and very basic natural fibre man would wan to source-cotton. The origin, variety and long tied history of cotton with India is studied. Sachin Sachar, an exhibition designer from Dehli made this task easy by showing his collective saples of cotton varieties. Cotton was understood from the plant state and at the rawest form along with the varieties. The difference of a organic cotton from other varieties was studied. The structure of cotton and texture was understood.

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The ‘Takua’ the spindle used in the peti charkha, filled with the handspun cotton yarns.

Cotton is explores physically. The importance of Khadi- what a handspun yarn and handwoven fabric is in its making is understood. This was broken down into stages where the initial task was to spin cotton slivers using the hand fllowed by the takli (handspindle) and then to the peti / yarwada charkha. After 3 week long practise of spinning cotton yarns 500m cotton hank was produced.

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KASTURBHAI LAL BHAI MUSEUM ALCHEMY AN EXHIBITION OF INDIGO WORKS 07-09-2019

The beautiful Kasturbhai Lalbhai Museum was visited to see the exhibition put out on the month of April, called Alchemy. The word Alchemy was chosen for this exhibition as the thought was built on seeing art as a composition of scientific and chemical application.

It put out works of designers and artists who explored Indigo in it’s physical, chemical, emotional and historical aspects. Indigo in its shapes, shades and sizes were experimented and applied in this exhibition by various artists. One can see stunning examples of craftsmanship on display as well as with fabrics created by skilled dyers being put up as part of the exhibition Alchemy.

The visit enriched one’s knowledge on the ways to understand Indigo and open the mind to the various experiments possible with Indigo. It also enables one to know how to organise all works and create a story as the works are displayed in a shared space.

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Works by different artists in Kasturbhai Lalbhai Museum in the Alchemy exhibition.

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INDUSTRY VISIT

VISIT TO ARAVIND MILLS, AHMEDABAD

Arvind Limited (formerly Arvind Mills) is a textile manufacturer and the flagship company of the Lalbhai Group. Its headquarters are in Naroda, Ahmedabad, Gujarat. The company manufactures cotton shirting, denim, knits and bottomweight (khaki) fabrics. It has also recently ventured into technical textiles when it started Advanced Materials Division in 2011. It is India’s largest denim manufacturer. The mill The Industry visit allowed one to understand the various processes involved inside a factory and the machines and equipements that go into makig a denim. The resources required for the same was also studied. Later in the Arvind Denim Lab various wash experiments were done in the machine, chemicals and equipments from the mill with the assistance of the mill workers.

The entire visit enlightens one to undersatand the procees, people and resources involved in he making of an industrial denim which is later sourced by various National and International brands.

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Inside the Mills: the different machines that go into the making of a denim.

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DENIM WASH

WASHING EXPERIMENTS AT IIAD

Aravind mills provided a variety of denim in different weights and stretched through Shani Himansu. These types of denim are to be prepared as leg mocks for the left leg and meant for various experiments at the lab. The swatches of these pieces of denim were washed with bleach and neutralisers locally sourced and distressed with sandpaper. Various other experiments with colours and materials were also to be explored. This exercisen of the project was led by Ms. Aneetha Pathani, a former colleague to Shani Himanshu and a person with regular updates on the current trends in denim. She has extensively worked with Himanshu Shani in Auroville in Pondicherry. She shares her experiences and also guided us to bring beautiful denim washes.

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Resist bleach techniques tried at IIAD before the industrial visi to Arvind Mills.

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DENIM WASH

WASHING EXPERIMENTS AT ARAVIND MILLS

washed denim mocks processes.

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Machine for enzyme wash to neutralise bleach.

Distressing of denim.

Denim washes at an industrial level was studied and understood in here. Vrious machines and techniques used to make denim and give its washed effect was also explored. A personal denim was also washed along with mocks of various other denim.

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PERSONAL DENIM FINAL WASH

1.

A jeans of one’s own body proportion was made. This is the raw denim. This denim was duct tape resisted and sprayed with bleach as an initial layer. In the seconed layer the jeans is dipped till the level below the knee. This was then neutralised. The waist belt back and the hemlines are distressed in this final piece.

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2.

3.

4.

1. Raw denim jeans 2.resist for bleach 3.bleached denim 4.Final denim-neutralised.

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INDIGO STORY

VISIT TO CRAFT CLUSTERS IN BHUJ 11/04/2019-12/04/2019

The visit to Bhuj was aimed at three places to explore three crafts All these places practise crafts that ultimately go into indigo dyeing, they are: Vankar Vishram Valji (Indigo dye or hanks): Bhujodi is one of the villages that has reclaimed itself as a major centre for woven cotton and woollen textiles and Shamji is arguably its most famous resident, overseeing Vankar Vishram Valji Weaving, a multigenerational weaving and dyeing business.

The class dyed their hanks in the vats made by the vanksrs.

After the visit, two indigo wats were prepared collectively as a batch in Indian Institute of Art and Design. The wat is currently in the studio of 11.11/eleven eleven.

Dr. Ismail Khatri’s Studio,Ajrakhpur (Ajrakh hand block print): Traditionally Ajrakh is the craft of handblock printing in geometric and floral designs. The Prints are created on both sides of the fabric making it a reversible fabric.

Juned Khatri explained the etymology of “Ajrakh” which is “Aaj” and “Rakh” which means universal brahmand. He also took us around the studio and explained various processes in Ajrakh block printing.

By the end of his session the class got an opportunity to learn block printing and develop a personalised fabric collectively.

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SidrCraft (Bandhani, Arashi and Clamp Dye): Abduljabbar Khatri (left) founded SIDRcraft with his brother Abdullah (right) over 20 years ago in Kutch, India to continue the family tradition of bandani, an centuriesold technique of micro tie dye that produces exquisite pattern, design and texture on fabric. SIDRcraft has revived the production of traditional bandhani that, depending on the intricacy of a design, can take months to complete.

Bandhani is created in numerous stages, employing the efforts of different artisans.

Design is overseen by Abduljabbar, employing traditional motifs. Stencils are created to transfer the pattern to fabric: pure silk, cotton and cotton-silk blends.

The workshop focused on Jabbar Khatri’s demonstration of making a Bandhani, Arashi and Clamp Dye. Arashi- is a traditional resist dye technique in which the fabric is wrapped around a bamboo pipe and tied by threads and dipped in a dye.

Clamp Dye- is a process that involves folding of a fabric in a particular pattern and then a carved wood shape is used as a resist. The wood resist is placed on both the sides of the folded cloth and then is held together tightly with a clamp.

Bandhani- a type of tie-dye textile decorated by plucking the cloth with the fingernails into many tiny bindings that form a figurative design.

The working stills of the women spinning yarns from Vankar Vishram Valji.

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WORKSHOP WITH JABBAR KHATRI

SIDR CRAFTS

BANDHANI, CLAMP DYE AND ARASHI 11/04/2019

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An ecerpt from the journal to reflecting on the understanding of Bandhini, the swatch is that of bandhani yarns once they are removed from the fabric, post dyeing.

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1. Clamp dye, 2. Arashi final fabric in process, 3. Arashi Fabric, 4. Bandhani fabric in process, 5. Bandhani fabric final. (demonstrative work by Jabbar Khatri in the workshop).

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WORKSHOP WITH JUNED KHATRI

AJRAKHPUR

DR. ISMAIL KHATRI’S STUDIO 11/04/2019

After the srtisans and Juned Khatri explained the process of Ajrakh block prints, the class was given a demonstration of using the hand block print. Taking this forward, collectively a fabric was developed with a composition of the class’s first attempt on Ajrakh prints. This was sundried and later dipped in the sun. The above image shows the fabric which was resist block printed and indigo dye printed using different blocks of a variety of shapes and prints.

The work in progress of learning to print (left). The printed fabric left to dry under the sun (right).

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The fabric after dyed in natural indigo.

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VANKAR VISHRAM VALJI HANK DYED IN INDIGO

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1. The raw hank of 500 meters, 2. Hank washed to remove impurities, 3. The Indigo vats at Vankar Vishram Valji.

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4. Indigo dipped in the wat, 5. The excess dye is removed and left in the sun to dry, 6. The final dyes hank.

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TRUCKER JACKET

SELF STITCHED PERSONAL TRUCKER JACKET

To further understand denim garments based on the construction aspects trucker jacket was made. This was made by one for themself with a subtle detailing of one’s ownn in the jacket in terms of construction/ details.

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Detail at the centre back- necline.

Different angles and details of the self made trucker jacket.

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FINAL ENSEMBLES GROUP PROJECT GROUP MEMBERS: Debjani Ghosh, Gadha Gopal, Paridhi Dhariwal, Prashant Kumar and Ria Amarpuri.

The visit to Ahmedabad and Bhuj was to create a sensitvity towards the craft and to understand the complex processes involved in making and washing a denim. With the exposure an important reflection was made on both the work in rural and urban spaces. Inspired by one’s understanding the classs was divided into groups of five and given the brief to develop two ensembles. The ensembles had to represent the concept bulit around one’s learning and inspiration developed by the visit. The brief also suggests that the usage of fabric must be aimed at either korra cotton or naturally dyed indigo fabric. The silhoutte and the composition of garments can be played around as per the concept.

As a group, the inspiration was brainstormed to the rhythms from the rural and urban spaces visted. The breaking of bandini threads once the process is done to reveal the work represents the rhytm of rural space.

The urban rhytm is inspired by the chaotic sounds by the machines in Arvind mills.

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Concept-The rural and urban rhythms. The dance of Rhythm has its own madness when it plays with sound, and how beautifully i produces beats which can be interpreted in their own beautiful by the perciever. A simple apppreciation of work can lead us to innumerable aspects. It’s not only about the work whivh one should look into, but what the work delivers us in it’s own silent and subtle ways. Not unless we understand the origin of a rhytm, we cannot understand the minute nuances and delicate elements of it.

Ensemble 1 represents the beauty of a singular sound that is inspired by the breaking of the Bandhni theads one experienced in Bhuj, this represents the silent rhytm from the rural craft industry and is depicted by a full kora garment in which the seams and joiniers are the only visible work. Ensemble 2 represents the chaos one experienced in the middle of all the loud machines in Arvind mills. The garment developed in conceptual, and is eveloped with random shapes to generate a chaotic form from the mills.

Art works for the concept development to create the ensembles (developed by al group members).

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Art works for the concept development to create the ensembles (developed by al group members).

Rough sketches for tops, bottoms and jackets of the ensemble 1 (developed by al group members).

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ENSEMBLE 1 SKETCHES

The tops, dresses, shirts and jackets are matched with each other to create an overall ensemble which is coloured and made into a range.

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Ensembles (developed by al group members) sketched by Gadha Gopal.

FInal Ensembles in color (developed by al group members) sketched by Gadha Gopal and Ria Amarpuri.

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ENSEMBLE 2

PLAN SKETCH AND DRAPES

The processes involved in the experiments of the conceptual garment for ensemble 2.

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Random shapes cut by muslins and the shapes are sketched for future reference (work done in group).

The shapes are stiched and joined to drape on the body and a form is generated (work done in group).

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Ensemble 1, The full koera look (silence). Garment in display for the Denim Exhbition t IIAD.

Front and Back of Ensemble 2, in full naturally dyed indigo (The chaos). The conceptual garment.

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DISCOVERING DENIM DENIM EXHIBITION AT IIAD 09/05/2019 - 03/06/2019

The set up of all the works produced individually and collectively was to be presented to the public. An exhibition had to be set in the college campus, inviting industry experts to visit.

Whomsoever visits the exhibition had to understand the entire process one went through to create each work. The narration was divided into the following sequence: The Cotton Story: The process of cotton from its seed stage to the yarn and ultimately, the handwoven fabric. This was to be displayed in one part of the exhibition space and particularly near to the entrance of the area to start the narration.

The Indigo Story: All works done in indigo and the ingredients involved in making the indigo wat had to be displayed with the natural indigo wat in the display. This consists of the presentation of all works produced from the craft visits in Bhuj.

The Denim Construction: The pattern cutting involved in the construction of jeans and for any denim is displayed to narrate the requirements to construct denim as they are different from other fabrics. The machines involved are also shown here.

The Wash Experiments at Arvind Mills: Denim explorations of students with their final personalised denims are to be displayed.

Trucker Jackets: The personalised trucker jackets are in` also is displayed for the narration as to show in terms of constructing denim.

The Ensembles: The ensembles reflect the garment developed culminating the learnings in the entire project. This is also to be displayed as it concludes the narration of the exhibition.

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The ensembles by all groups (top). The Indigo story, Fabrics displayed: Clamp dye, Arashi and Ajrakh prints (bottom).

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The cotton story in the denim exhibition. Display of the journey of cotton seed to the final woven fabric.

The technical works: the denim garments, Trucker jackets by studdents and washed denims on display.

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16 WEEK SUMMER INTERNSHIP

INDUSTRY INTERNSHIP MANTRA BY SHALINI JAMES 03/06/2019 - 21/09/2019

The job responsibility at Mantra was to assist my head designer with spec sheet preparation and other material requirement sheets. I got the opportunity to work with and understand all the departments at the studio also got the opportunity to work in a store of Mantra to understand the market demands, customers and store management.

The four-year B.A. Hons. The Fashion Design program at Indan Institute of Art and Design requires the student’s of Level 6 (4th year) Students to do a 16-week industry internship before the academic year commences. I was allowed to do my internship at Mantra by Shalini James from June 3 to September 21. The idea of doing the 16-week industry internship is to learn what is done in the garment making industry and link the learnings with the projects and realizations of what has been taught in college.

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My projects were spec sheet preparation, competitive brand study, and conversion of bit pieces into accessories. The research on the company, the primary research about the sales and customers, and research on other brands helped in suggesting ideas for Mantra to open the accessory making department which started in home furnishing accessories like cushions and cushion covers.

Within the time frame, research and experiences, I was able to understand the pace in the fashion industry. The implementation of skills learned at college was executed to the benefit of a brand, which gave me insights on how to practically implement my knowledge and skills.

The Cushion samples created for Mantra during the internship period.

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COMPANY PROFILE ABOUT

Mantra is a design house that believes that contemporary design can be culled out of the Indian textile heritage and create ethnic wear that appeals to the modern, cosmopolitan woman. To adapt to lifestyle changes, Indian women need wardrobe solutions to suit their multiple social roles and needs. The ethnic wear industry at the turn of the century was a loosely organized setup, fumbling with consistent delivery in sizing, styling, and quality. There was a vacant niche for apparel for discerning customers who had a deep appreciation of Indian textiles but also wanted the advantages of a western wear brand – standardized sizing, seasonal styles, and impeccable quality.

In 2004, Mantra, to bridge this gap, launched ethnic prĂŞt; ready-to-wear in its classical form with six-point sizing, consistent fits, contemporary styling, and great quality. By applying anthropometric sizing techniques, western design methodology and pattern making tools to traditional Indian textiles, Mantra offers a product that has the best of both worlds.

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A garment by Mantra from the Indian by Choice collection in 2014.

INDUSTRY MENTOR

SHALINI JAMES, Founder, CEO and Lead Designer

A graduate in English literature who abandoned the subject mid-sentence to pursue her career in fashion. Shalini is a graduate from NIFT, Chennai and a postgraduate in business management from IIM, Calcutta. In 2003 she founded a company in the living room in Cochin and named it Shalini James’ Mantra. In its twelfth year, Mantra moved from the living room to a Colonial style architectural farmhouse like building, which is now known as Mantra House where all the work of garment making is done.

The tasks and work done in my internship period at Mantra were discussed and approved by the lead designer only. She also suggested possible changes if any and teach me the approach required to incorporate in the projects worked on.

Ms. Radhika Suresh who is the design head at Mantra was my reporting officer who trained me to work according to the needs at Mantra and guided me throughout the project.

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DESIGN

REVERSE DESIGN PROCESS

At Mantra garment making is followed by a reverse design process. The fabrics available in the market according to current trends are bought and analyzed by designers to understand the feel of the fabric. Referring to the fabric the theme of the collection is decided. With the design plans for the collection done one spreads out the work to see the mood emerging from the garments and fabric, from here a concept evolves and then to the final name of the collection.

The department has the responsibility of knowing the stocks in the inventory, the work in production- certain finishes and cuts should be identified whether properly done or not, decide embroidery work on a garment and design the garments.

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The flat sketches developed for spec-sheets. Designs by Radhika Suresh.

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JOB DESCRIPTION AND RESPONSIBILTIES

DESIGNATION: INTERN As an intern in Mantra, I was expected to work in all departments that cater to the workflow in the company. I assist my head designer Ms. Radhika Suresh with sketching and recording the requirement of fabrics and other materials to the inventory. Costing of the stocks is also a task to be performed when asked.

I developed an understanding of how the brand work. With my analysis, I proposed a few opportunities the brand can work on. Out of the ideas suggested making accessories from the bit pieces was a possible task.

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A plan was made based on the categories of accessories that can be made, out which fashion accessories, home/living accessories, souvenirs, and stationery products are taken forward. The suppliers and manufacturers of a few products are sourced.

The designs of cushion (for home/living) were further taken forward into two collections.

A trend study was done along with the daily tasks for the ideas for a new collection for Mantra from me.

My responsibilities throughout the job are to essentially deliver whatever is asked from me, to meet deadlines, to follow up on the development of my work and to be on time.

PROJECTS UNDERTAKEN OVERVIEW AND RELEVANCE

During my internship period, I was exposed to I was expected to give deliverables in daily tasks and projects. The Projects are: 1. Design Spec sheet Preparation 2. Competitive Brands - Research 3. Conversion of Bit Pieces into Cushions and Cushion Covers The projects assigned are crucial so that the knowledge gained within this experience is benefitted to both the company and me, in this way my ideas are taken to benefit the company and my role as a designer will improve with more practical knowledge.

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DESIGN SPECSHEET PREPARATION

1-2 HOURS EVERY DAY FROM 03/06/2019-21/10/2019

The final design plan for a garment is translated with its finest of details. The spec sheets are prepared for this. Once the sketch of the garment is made the details of cuts and sewing are mentioned. Any surface development in the garment is also mentioned with individual spec sheets for embroidery. The total amount of fabric and the number of pieces required from them are also specified. Finally, the fabric swatches for the garment is attached along with the sheet. These specifications when ready can be given to the assigned labor, which is to the person cutting the fabric or the tailor sewing the garment.

The spec sheet preparation was a task to be performed every day. Spec sheets for the designs of my head Ms. Radhika was made for production. This task was practiced for a few hours every day. This task benefited the spec sheet preparation for the cushion collection.

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Soecification Sketches for Mantra’s collection, design by Radhika Suresh.

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COMPETITVE BRAND STUDY

NATIONAL TREND STUDY 11/06/2019 - 21/09/2019

Based on the design philosophy and aesthetics a few brands are identified as rivals. Along with these aspects the retail brands, women’s wear collections of ceratin brands were also to be kept in mind for the research.

The brands were studied along with the visuals of the latest trends followed in the current season. These are national brands.

Certain necklines, collars, sleeves, fabrics, and colors were tracked while following the brands.

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To design any collection based on the fabric available the designer would always refer to these brands to update the knowledge on these latest silhouette details. The research is secondarily based, the websites of the brands and their social media accounts were referred for visuals and other information.

Brands that are competitors in Cochin are also studied to understand how the business is affected. The research for which was done primarily by visiting their stores and secondarily to understand the ideology they stand for with the collections.

Brands studied : Bodice, Buna, Crow.

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Brands studied : Eka, Injiri, Nicobar, Pero.

CONVERSION OF BIT PIECES INTO ACCESSORIES 01/07/2019-21/07/2019

The inventory stores the goods from suppliers and stacks the return quantity of goods after production. Bit pieces of fabrics are returned to the inventory once the fabric quantity is not sufficient enough to construct new garments.

Some bits are still used as parts of new garments and used for sampling of new designs. But this small scale conversion of bits is not enough to control the bit racks in the inventory. This is when I introduced the accessory production plan with the bits from the inventory. Accessories can be benefits in widening the product range of the company. A collection of cushion opens the door to home accessories. This is introduced with the study of customers at Mantra store in Lulu Mall, in Edapally.Kochi. The women can now purchase their favorite kurtas with a product to ornament their homes.

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REFERENCES

BRAND STUDY ACCESSORIES

The trend amoung accessory had to be studied. For these the accessory range developed by national clothing brands as well as other accessory brands were refered to understand the possible categories in accessory making and what different ways are adopted by brands to make their products unique.

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Brand Study: Pero,Doodlage, Chumbak, Good Earth, 11.11/Eleven Eleven

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CONVERSION OF BIT PIECES INTO ACCESSORIES 01/07/2019-21/07/2019

Sketches for cushion back grounds.

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The study of backgrounds included understanding the object the cushions are to be placed with the background that the cushion belonged. Here Background 1 and background 2 are selected for proceeding with the collections. The cushion and the covers are made for the couch and diwan, the diwan and the couch that belong to a festive or ceremonial occasion Keeping this in mind the type of furniture wood and sofa material is visualized. This is related to references to Indian interior designs already in the market.

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COLLECTION LAYOUTS CUSHION COLLECTION 1 & 2

LAYOUT 1

LAYOUT 4

LAYOUT 2

LAYOUT 3

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LAYOUT 5

This layout acts as a blueprint to interpret the size variations and design of each cushion in a collection. Layout 2 from these explorations is taken forward for the collections.

FABRICS

BIT FABRICS FROM THE INVENTORY

The selection of fabric was dependent on factors like quantity available for each piece, color matching of fabrics in the same collection, availability of all fabrics and matching of fabric type. By visiting the inventory with this idea framed in mind, the range of fabrics had to be shortened down based on the color combinations, prints, fabric type and availability of fabric.

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FABRIC COMBINATIONS JOINING THE BIT FABRICS

For the collection I worked on Ajrakh block printed fabric bits were chosen as the availability of these fabrics were available in the desired quantity required for a collection of the cushion.

For the gradation story desired in the collection ceratin weave borders and zari borders are also sourced from the inventory.

The fabrics in the bit-rack in the inventory were not all the same. Ceratin pieces had rectangle/ square dimensions that measured approximately 1 meter and some even below.

Borders were available in 5-8 lines, certain fabrics were available in 2 meters and some were not even squares.

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Fabrics for collection 1

Fabrics for collection 2

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COLLECTION I SPECIFICATIONS

Collection 1 cushion sketches tells a red to blue gradation story.

Layouting the bits into the frame area of a cushion and the rough speifications.

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SURFACE DETAILING The surface detail for Design I in Collection I is done to achieve texture and variation in the front surface of the Cushion.

Since all other cushions in the collection have certain details achieved by joining different types of printed fabrics the surface for the design I remain simple. Here keeping this simplicity in mind a minimal detail is added to enhance the look of the cushion as a single object and as part of the collection. Keeping this in mind the samples are selected.

Stitchline detail at 1/4�.

The desired texture is not achieved.

Stitchline detail at 1/8�. This detail makes a certain texture that is required for the design.

Layouting the bits into the frame area of a cushion and the rough speifications.

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COLLECTION II SPECIFICATIONS

Layouting the bits into the frame area of a cushion and the rough speifications.

Collection 2 cushion sketches tells a red to green gradation story.

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SURFACE DETAILING

Stitchline detail at 1/4”

Stitchline detail at 1/8”

The surface detail for Design V in Collection I is not just a design detail required for the surface but a useful technique to utilize a damaged fabric into a product.

The stitch line enhances the amount of green color in the fabric along with a sense of texture. Keeping this in mind the stitch line detail at 1/8” is selected as it has a rich texture and little gap that covers up the damage in the fabric, which is color fading.

Collection 2 cushion sketches tells a red to green gradation story.

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COLLECTION I RESULTS

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Collection I cushions and cushion covers

Collection I cushion details.

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COLLECTION II RESULTS

Collection II cushions and cushion covers.

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Collection II cushion details.

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COSTING SHEET SAMPLE

Costing of Design II in Collection I

Costing is done by the designer in the end when the production of the stock of design is complete and the labor cost and material cost are given by the production supervisor and embroidery supervisor. The costing is attached along with the spec sheet where the final costing table is to be filled by the designer.

The total cost includes all the material costs, labor cost, ironing, finishing, transport, cost per unit, trims and handworks are included and added up together.

The total cost is multiplied by 100/35 to find out the warehouse cost. This is added by a profit percentage of 10%. This becomes the M.R.P. of a product.

The cost of the cushions is so far added up to the total cost. The warehouse price and M.R.P. will have a new different equation to drive from.

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IRONING - 15.00 FINISHING - 35.00 TRANSPORT - 16.00 CPU - 150.00

BASIC COSTS

FABRIC COST + BASIC COST + PRODUCTION AND MATERIAL COST.

TOTAL COST

TOTAL COST X 100/35

WAREHOUSE COST

WAREHOUSE COST + 10%

M.R.P.

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GADHA GOPAL