GEET VIDYARTHI TEXTILE DESIGN National institute of Design(NID) Ahmedabad, Gujarat
RANGI Colours are the most important part of giving life to a fabric. This module helps us to know more about them and also to understand their physical and chemical behaviour. There are both chemical and natural dyes which are being used to give knowledge about how different they are in every aspect. We also explore different techniques and various dyes to understand the whole process.
THE SAFFRON STORY From the Indian traditions of offering with flowers, the flamboyance of Indian temples is exemplified with marigold flower. The colour pallet inspired from the religious tones of saffron that indeed signifies reverence has been explored with the tones of saffron. An attempt to merge traditional colours of India into a contemporise weaves a part of the design skill. With understanding the initial processes, different weaves and structures.
BLUE BURST The main objective of this project was to explore different surface techniques and explore its possibilities. Keeping sustainability in mind the end result for me was creating seating accessories using waste t-shirt knit fabric which was an industrial waste, that was turned out into a yarn by plying by me and the using crochet as a technique developing surfaces.
MATSYA Like fire and water, two completely repelling forces are endowed in the nature of the fighter fishes. Being water bound, the flying form finds its own flow within the union of these fishes. ‘MATSYA’, is a collection born of exploration of free flowing forms contrasted with a static feel developed into a range of apparel. A permutation and combination of chiffon, organza, poplin and georgette was explored using different techniques of garment constructions, drapery and nature of materials.
COMOSUS Surface textures often arouse visual and touch sensorial stimulus. Taking inspiration from the outer most layer of a pineapple, explorations were done using different techniques ideas, medium, skills and materials. Keeping the Indian aesthetics as a premise a range of stoles were developed as a part of surface study using heat setting as a medium.
PLEATED PLAY Paper as a medium is very powerful it has the ability to unite and diversify people. It can be hard and soft in the same way. This was an attempt to explore paper as a medium through various origami techniques. The final outcome is reflecting upon using paper as a medium to interact with the body and can create comfortable clothing.
BLUSHING GARDEN Combination of two cultures is been shown in this collection. The flower pattern are westernised but the techniques of application is Indian inspired. There were many permutations for the collection including the colour way, the coordinates and the final product decision.
India is a land of culture, self-sufficiency and values safeguarded by communities over centuries. Craftsmen and artists has been creating magic with their hands which no machine has been able to shower shadow. People today are growing more and more appreciative of it with every passing day. The unique mystic charm of Bengal crafts and tradition has been unfolding over generations and has been a major attraction for art-lovers and travellers around the world. Be it music or theatre, painting or literature, West Bengal has enough reasons to take pride and starting from its journey back in 1979-80, the Directorate of Culture strives to propagate the finest of our cultural heritage, which is invariably enriched with secular ideals. Craft Documentation has been significant fraction of the textile curriculum at National Institute of Design since the late 70s. The course allows us to dig deep into the history and making of a traditional craft to be empathetic and raise questions about the botherations that the craft faces. Till 2016 it was a 3 week course but realizing the opportunities it has to bring about a change in the craft sector, it was converted into a design project. Groups were divided to document several crafts. As H. Kumar Vyas states in his article Design: Art and Craft as a Unique Concept, “First requirement would be to learn in great depth the cultural basis and aesthetic norms of the ancient forms, their symbolic language, and the manipulative effect of tools on materials, after which they maybe able to induce a change, aware that it cannot be at the cost of purity of the visual proportion and the cultural traditions which created them.” In our group of two student, one of us belonging to Bengal felt the need of bringing to light a subcategory of Baluchari weave, which is the Swarnachari Saree practiced in Bishnupur, Bankura which has not been documented or mentioned anywhere in the Historic Books, West Bengal Handicrafts Departments, other websites and Government Emporiums under West Bengal.
SHONAR SHUTO The threads of gold swarnchari- a lesser known baluchari CRAFT DOCUMENTATION
PATANGA Nature has created everyone, but every creature varies from one another. Patanga was a study of understanding nature in its smallest form through dragonfly as a creature. There were explorations and understanding of different types of structure and weave plans which helped in developing the surface on a doby loom. Form, transparency, texture and contrast were few keywords which helped building the whole concept.
VARTAO (COLLABORATION WITH NGO) This is a collaborative effort with the Ngo Khamir acting as the mediator for us to be able to approach weavers in the region of Kutch. The project uses a co-creational approach between textile design students and weavers from Kutch to revive desi wool and promote the usage of Kala cotton to create a sustainable future. Our main intention is to promote the usage of kala cotton and Desi wool among the weavers in Kutch. This will eventually help in reducing large carbon footprints which contribute to global pollution. This will be due to usage of local fibres to produce products for the local market. To bring out those rich tales which are generally passed orally from generation to generation but are now getting lost in this fast moving world rushing towards technology and loosing our cultural identities. It is an effort in preserving and promoting them using local material and craftsmen and enabling them to bring out their stories through their creative genius on handwoven fabric.
AVANI (INTERNSHIP PROJECT) Avani (NGO) in Uttrakhand creates a lasting shift in the socio-economic fabric of rural villages of the Kumoan region. The process of production is as important as the products themselves. They combine traditional knowledge and craft with a modern approach to production and distribution. The use local resources to create contemporary products and services for a global market. In my internship period of two months at Avani, I tried to incorporate various dyeing techniques like shibori, aarashi into their dyeing pallet using the natural dyes available. A number of explorations were done to create two ranges of carry away bags using the waste from the stitching and weaving departments. Photo shoots and documentation of process which I did for them includes woven, theme boards and the annual report documentation of Avani. A quatum of understanding of how things function on a larger scale with the help of limited resources available in the hilly areas and getting to know how a company functions. With various textile and crafts practices carried across India, Avani delivered the experince of a sustianable community practice with limited infrastructure and vernacular materials.
ETA [LUMINOUS]
A range of stoles and mufflers focusing on celebrating material as it is and using the shine of munga silk and tussar silk.
KORA
A range of muffler and stole using the material as they are and finding purity in the undyed. material- lenin, marino, eri silk, munga and tussar.