BUA KOBITA
এটা বুৱা কিবতা
BUA KOBITA
এটা বুৱা কিবতা
Woven Poems from Assam
A Graduation Project Submitted in partial fulfillment of Under-graduate programme in Textile Design Student : Hemakshi Devi Faculty guide/Mentor : Dr Reena Aggarwal Department of Textile Design National Institute of Fashion Technology, Mumbai 2016-2020
Name of the Department Textile Design Series No ..... Cataloging - in - publishing data UDC NO Study and survey of the Craft and Documentation Name of the Document BUA KOBITA Name of the Student HEMAKSHI DEVI NIFT, MUMBAI 2016-2020 Series No ……. Cover Page Designed by Hemakshi Devi Copyright 2016-2020 @National Institute of Fashion Technology, Mumbai
All rights reserved No part of this book may be reproduced, stored in retrieval system or transmitted in any form by means of electronic, mechanical, photo copying, recording or otherwise without prior permission from National Institute Fashion Technology, Mumbai, except by a review/ reader who wishes to quote brief passage in connection with a paper review/essay written for inclusion in a periodical, newspaper or broadcast. Faculty guide/Mentor : Dr Reena Aggarwal
“ maidens of lovely Assam weave poems on their looms ” “ dhunia Axomor kuwori xokole taat xaalot KOBITA BUE ” Gandhiji
BUA KOBITA
COMPLETION CERTIFICATE
JURY CERTIFICATE This is to certify that Mr./Ms. ______________________________________ has completed his/her Graduation Project titled _______________________________ _________________________within a specified time frame. The Jury evaluated the work of the student and found the work up to the mark and recommended the award of the Bachelor of Design (Textile Design) Jury Members: _____________________________________________________________________ _____________________ _____________________________________________________________________ _____________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _______________ ******************************************************************* *********** Subsequent remarks and follow up if any:_________________________________ _____________________________________________________________________ _____________________________________________________________________ __________________________________
Center Coordinator Textile Design Dated:____________________________
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ACKNOWLEDGEMENT A strong foundation makes a structure stand and sustain for the years to come. Though at times, one might need to refurbish the laid foundation. In such situations, we turn to our mentors, friends and family to keep ourselves diligent and motivated.
I take this opportunity to thank my college, National Institute of Fashion and Technology, Mumbai, for giving us an opportunity like this one to get an insight about the industry before we step into it. My deep gratitude to my Faculty Guide, Dr. Reena Aggarwal, for her immense guidance and support throughout the project period. I would like to thank all my faculties of the Textile Design Department at National Institute of Fashion and Technology, Mumbai for all the knowledge and training over the years.
8 / NIFT Mumbai / Graduation Project ’20
I would like to offer my gratitude to Dilip Barooah, the Eri man of Assam and founder of Fabric Plus, who gave me the opportunity to experience, learn and work with textile traditions so old. Working with a textile technocrat with such vast knowledge of textiles has proven to be a very successful learning experience. I would also like to thank Prayaag Barooah, my mentor and the Marketing Head at the company who single-handedly manages to keep the company at the position of being the best in the market, for providing me with honest feedback and teaching me whatever I lacked the knowledge of. I am also grateful for all the help I received from the other employees of the brand. I would like to specially thank the Weaving Head, Mr, Vikky Borah and the the Sales Head, Dhanjit Sharma, without whose help I could not have figured out my way through the working process in such short time. The experience of moving back to my native state after six long years has been overwhelming. I would like to thank all my friends and family in Assam for making it a pleasant shift. I am also grateful for the moral support and good wishes they bestowed upon me through the period of the project and for always believing in me.
SPECIAL MENTIONS NATIONAL INSTITUTE OF FASHION TECHNOLOGY, MUMBAI Dr. Reena Aggarwal Centre Co-ordinator Textile Design
MY FAMILY & FRIENDS Jayanta Nath My Father
Jitu Moni Devi My Mother
Jharna Devi
FABRIC PLUS Dilip Barooah Founder
Prayaag Barooah Marketing Head
Dhanjit Sharma Sales Head
Vikky Borah Weaving Head
Mayuri Bharali
My Elder Sister
Fashion Designer
Vinayak Grover
Jolly Sharma
Sanjukta Saikia
Public Relations
Hemakshi Devi / Textile Design / 9
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SYNOPSIS My expectation from a graduation project was to achieve an all-round experience in the fast paced textile industry before heading out to the sera work culture. In the process of finding solutions within limitations and constraints, one learns to step out from the threshold of being a student to becoming a thorough professional.
Fabric Plus Pvt. Ltd. Assam, the largest producers of Eri and Muga silk dedicated towards promoting indigenous raw materials and crafts and their innovations, sponsored this four month gradutaion program, later extended due to coronavirus pandemic guidelines. The wish to work with the likes of a social enterprise that stands a class apart in terms of using natural fibres and supporting sustainability in the textile world, made me apply for an internship here.
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Graduation Project is an important component that concludes the four year graduation program at NIFT that requires the students to work under the real industry working environment and systems of a design company or brand of their choice. The project aimed at fabric development and innovation in order to result in an increased range of products. As per the proposed brief, the project includes three collections, an upcycled collection, woven explorations for traditional wear and a woven-cum-print collection of home furnishings
Ultimately the attempt was to find out new ways to create product ranges with different looks that would be feasible in the market within the constraints of existing setup by introducing new techniques or by making changes in the infrastructure. The fabric developed or innovated would need to be based on the strength derived from the techniques that the weavers practice and better understanding of market needs.
The First phase of the project was the thorough research of the brand language to create designs that represent the brand legacy and still be an innovative addition to the already existing designs and techniques. The Second phase was to understand the weavers, the cultural backgrounds, socio-economic conditions, skills, available resources and the markets where the products can fit into. Phase Three solely dealt with the generation of ideas and concepts for the three deliverables of the project. It comprised of material explorations and concept generation through sketches and digital artworks. Starting with what was already prevailing, ideas were exchanged and re-examined which led to an influx of appropriate changes, improvisation and innovation. In phase Four, Regular market feedback is taken to test the effectiveness and overall performance of new products which helped in design upgradation and innovation. Altogether it has been a good learning experience to work with such an huge array of techniques. materials, process, look and most importantly people. This produced an in depth understanding of the silk hand-loom sector of Assam and the history of age old textile traditions of my own culture.
Hemakshi Devi / Textile Design / 11
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CONTENTS
12 / NIFT Mumbai / Graduation Project ’20
14
The Craft Handloom In Assam
120
Collection Two Bohaag
32
The Sponsor Fabric Plus Pvt. Ltd.
166
Collection Three Gendhai
48
The Project BUA KOBITA
202
54
Collection One Kasi Onay
204
Conclusion
Bibliography
Hemakshi Devi / Textile Design / 13
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HAND-LOOM IN ASSAM
the craft
The North Eastern Region of India (NER) and Assam in particular, is acknowledged as an epicenter for hand-loom, passed down for generations. The synthesis of both tribal and non-tribal techniques along with the migration of ancestral arts from Tibet, Bhutan, Bangladesh, Myanmar and China have contributed greatly to the development of the hand-loom sector in this region.
Fig. 1 A happy weaver setting up the warp in her household fly shuttle loom
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The age old tradition of hand weaving can be best described as a form of translation of stories and myths from the human psyche to fabric, further endowed and consecrated in the warmth of household hand-looms and the spirits of the silkworms itself.
Weaving is the second largest activity after agriculture in Assam. Mostly practiced by the women during their leisure time. Every community and tribe has a handloom set up in their households for all the activities involved such as rearing, spinning, reeling and weaving. They utilize their weaving skills to aid their families financially. Most often, these skills are inherited from the previous generations or self trained. Every tribal community in Assam has its own distinct visual language. They have a unique colour, motif, patterns which are skilfully woven. They use extra warp and extra weft technique with stripes and checks in their designs. The communities in the plains use a two shaft fly shuttle loom with handpicked extra weft, while, a little higher above in the hills the tribes use back strap looms. They mainly weave cotton and eri products.
Over the decades the hand-loom industry of Assam has generated large scale employment in rural areas with the usage of diverse traditional knowledge and skills, locally available rich resources and low capital investments which can easily generate income. Assam being blessed with a tropical climate, it thrives with natural resources and abundance in flora and fauna which acts as raw materials as well as design inspiration. Activities like silkworm rearing, growing castor plants as food, yarn making and weaving generates income for thousands of rural households. Hand spinning and hand weaving is a solution for employment of large clusters in the rural communities. The traditional hand-loom skills still hold their own value in the world market. They score over factory-made silks in the richness of their textures and designs, in their individuality, character and beauty. Personality of the weaver, his/her hereditary skill, innate sense of colour and balance all help to create a unique product. Weaving in Assam is so replete with artistic sensibility and so intimately linked to folk life that Gandhiji, during his tour to promote khadi and swadeshi, was so moved that he remarked: "maidens of lovely Assam weave poems in their clothes"
Hemakshi Devi / Textile Design / 15
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DRAWBACKS The Foundation Unlike other places in india weaving has always been an informal leisure activity carried out as a hobby and not as a source of income. Therefore it becoming an important commercial activity is considerably a new idea and lacks professionalism.
Fig. 2 Rural household set up of rearing Eri silkworms which are feeding on Castor plants
New Generation There is a tendency of the newer generations to move away from the traditional weaving activities. Wherein the transfer for knowledge from one generation to the next is lost. Inefficiency in Production There is a constant pressure to increase the productivity where restoring the age old craft is overlooked. For marketing purposes, there is a rise in the degradation of quality. This concept of increasing profit revenue have also influenced the weavers into using of synthetic materials in order to compete with cheap mill made products. Lack of Infrastructure and Finance Even though the government of India has been providing monetary and non monetary aid to the handloom sector, it hasn't been able to reach the grassroot levels.
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Role of NGOs Many Non Government Organizations have made attempts to help promote and sustain the craft through their own models. Organizing young weavers in a cluster into Self Help Groups or Joint Liability Groups has been one of such attempt models which has not been able to generate expected results, major reasons being marriage and family constraints.
Promoting Eri Silk For many years, non-mulberry silk varieties like Eri has been overlooked by silks like Muga and Mulberry commercially. But with abundant exotic rare varieties of wild silk and traditional weaving skills, there is immense scope in promoting Eri in the domestic and international market.
An Unorganised Sector The industry is highly unorganised, especially in the spinning and weaving sectors. Very few private owners have an organised set up in Assam. Therefore, there is no constant supply of the same yarn count or colour which also leads to fluctuation in prices. In the weaving sector also, the weavers sell whatever they make in their own leisure time to the retailers without any proper cataloging of designs.
Hemakshi Devi / Textile Design / 17
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Sericulture has been practised in the state from time immemorial, and is proud of traditionally producing Muga & Eri silks. Muga culture is endemic to Assam, the largest producer of this famous golden silk in the world. Assam is known for producing all the four types of silks, 01 ERI 02 MUGA 03 MULBERRY (PAT) 04 TUSSAR ERI SILK
01
History and Significance Eri or Errandi Silk is a signature fabric from North-East India, which is also popularly known as ‘Ahimsa Silk’ or the ‘Silk of Peace’ due to methods used in its production. Unlike other silks, the moth is allowed to leave the cocoon before the Eri silk is extracted earning the recognition of an ‘eco-friendly’ fabric. The name “Eri” is derived from the Assamese word for the castor plant, “Era”. It is one of the softest and purest forms of Silk. The silkworms give the yarn a dull yellow, gold like sheen. It is said that Eri silk worms were brought into the region by travelling Buddhist monks 2000 years ago. They cultivated Eri silk for themselves as this fabric kept them warm in harsh winters. The entry of Eri silk brought with it a solution to address the lack of cotton for the native people, who were quick to learn the process of cultivating this silk from the monks. Since then it has travelled through these lands for generations, coloured in aesthetics and symbolism of each tribe that it has found a home in.
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Eri Degumming and Spinning by Traditional Methods. Cocoons loosely tied in cloths are boiled in a 10% sodium solution for 45-60 minutes. Individual cocoons are then stretched or open in plain carbonate water into thin sheets. 4-5 such sheets are joined to make a cake, which is dried and used for spinning. In Assam, ash obtained from banana leaves, wheat stalk, paddy straw, pieces of green papaya are commonly used as degumming chemicals; some places also use soap and soda. Takli spinning, the traditional spinning process, consists of a spindle with disc-like base. The spindle is occasionally rotated to impart twist. Production is around 40-60 gm from two persons per day. Although the takli is very simple and cheap, its output is quite low.
Properties ¬¬ 100% Natural ¬¬ Durable ¬¬ Staple Fiber ¬¬ Discontinuous Filament ¬¬ Anti-fungal/bacterial ¬¬ Odourless ¬¬ Breathable ¬¬ UV protection ¬¬ Low carbon footprint
Application ¬¬ Fashion apparels ¬¬ Home Decor ¬¬ Winter wear Due to its thermal properties ¬¬ Considered ‘Holy’ By Buddhist monks, cruelty-free process
Improved spinning devices have been developed in which spinning is done on continuous spinning principle with drafting, twisting and winding, using a motor with pedal mechanism. The production is around 150-200 gm per person per day with 70-80% recovery from the cocoon shell.
¬¬ Cruelty-free ¬¬ Easy to wash ¬¬ Sweat proof Low moisture retention ¬¬ Thermal insulation Eri is warm in winters cool in summer ¬¬ Quick-dry High evaporation rate
¬¬ Cosmetics and Biotechnology Sericin extracted from cocoons ¬¬ Protein Source The pupae ¬¬ Biodiesel Castor seeds
Fig. 3 Eri silk cocoons left by the moths Fig. 4 Takli spinning equipment for Eri silk
Eri Silk Industry at Present This wonderful silk has undergone enormous technical advancements in today's time to be used in every kind of fashion and home decor products. As the production of this silk entails minimal use of water and chemicals, it has low impact on the environment. Also it is becoming a favored choice of textile amongst conscious consumers who believe in sustainability. Hemakshi Devi / Textile Design / 19
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MUGA SILK
WOVEN POEMS FROM ASSAM
02
History and Significance This golden yellow colour silk is the prerogative of India and a pride of the state of Assam. It is obtained from the silkworm, Antheraea assamensis which feed on the aromatic leaves of Som in Upper and Soalu plants in Lower Assam. They carry out a life cycle of 50 days in summer and 150 days in winter.
Muga Silk Industry at Present The younger generations are discountinuing muga rearing owing to the uncertainty of income. At the same time young entrepreneurs in the silk business are focusing more on the varieties which are easily available such as Eri and Tussar. Local markets are also flooded with either blends of Muga and Eri or dyed Eri, marketed as 100% Muga.
Muga silk was recognized as a protected geographical indication (GI) in 2007 to the state of Assam and is an integral part of the tradition and culture of the state.
In Kautilya’s ‘Arthsashtra’ , there is mention of Kamrupa, erstwhile Assam, as the land of cocoon rearers and muga silk as dakula. The traditional silk industry is said to have been at its peak in the regime of Ahom rulers during 13th to early 19th Century AD. However, it suffered a huge setback during British colonial regime due to predatory trade policy and introduction of machine woven synthetic imitation fabrics.
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Properties ¬¬ Durable Known to outlive its owner ¬¬ Lustrous Gets more lustrous as it ages & softer with every wash ¬¬ Highly Resilient Gets a fine texture by
dry ironing in a damp state & a crushed look ¬¬ UV protection ¬¬ Moisture Absorbent ¬¬ Low carbon footprint ¬¬ Natural Golden Hue Because of low porosity it cannot be bleached or dyed
Application ¬¬ Fashion apparels ¬¬ Protein Source ¬¬ Home Decor The pupae ¬¬ Accessories ¬¬ Sun-shield ¬¬ Medical Field Absorbs close to 80% High mechanical ultra-violet rays & strength and durability moisture
Muga Cocoon Cooking or Boiling is the process of making the cocoon fiber reelable by swelling, softening and cause a little dissolution of the sericin. One of the traditional cooking processes involves boiling muga cocoon with alkaline solution prepared from plaintain ash and straw ash by keeping a 1:25 material : liquor ratio. Locally available alkali, enzymes, slippery agents from natural sources are used which enhance the quality of yarn like rice straw, papaya latex, bark of simolu (Bombyx mulbarium), inner core of elephant fruit, fresh leaves of china rose. Reeling of Muga Silk is the extraction of silk filament from cocoons by employing a set of processes. Muga silk is generally reeled by traditional ‘Bhir’ reeling process. In recent years, pedal driven reeling machines and motor driven reeling-cum-twisting machines are also used in some areas. About half of the silk in each cocoon could be reeled and the remainder, used as silk waste, noil, is further processed to spun silk. After the reeling, they are dried in shade for 3-4 days, following which they are wound into skeins on a ‘Sereki’. The sizing of the skeins involves the application of a mixture of powdered rice and water. Normally 1kg of raw silk can be obtained from 4500-6000 cocoons depending upon the quality compactness and weight of shell. Raw silk is subjected to re-reeling which produces the yarn in hank form.
Fig. 5 Muga fabric and cocoons Fig. 6 Bhir reeling of Muga on a Sereki Fig. 7 Reeling of Muga silk in a Industry setup
Hemakshi Devi / Textile Design / 21
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MULBERRY (PAT) SILK
WOVEN POEMS FROM ASSAM
Pat silk has been used since ancient era in Assam and is produced from a silkworm known as Bombyx mori that feeds only on mulberry leaf. The climatic condition of Assam is very much favorable for mulberry silk. The silk worm carries out a life cycle of 60 days. The worm produces white creamy coloured silk.
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TUSSAR SILK
03 Although every district of Assam produces mulberry silk but Sualkuchi is the main. The mulberry yarn is generally reeled in the rural areas of Assam using manually operated and reeling machines. The yarn that is locally reeled at domestic level is too insufficient in quantity to meet the required demand for commercial purpose. For all these difficulties, now-a-days it is seen that mulberry yarn produced in Bangalore, Karnataka are bought in.
04
Tussar Silk , also often referred to as ‘Wild Silk' and 'Kosha Silk' in Sanskrit, is an exquisite thread obtained from a wide winged moth that is yellowish-brown in colour, "Antheraea Paphia". Part of the group known as Emperor Moths, these silkworms are not fed mulberry leaves, which causes a cost difference between Tussar silk and other forms of silk. In fact it is the rearing of the Tussar silk worms that makes them a cheaper variety. That said, Tussar silk is as lustrous a variety as any other.
Fig. 8 Processed mulberry and tussar silk yarn kept for air drying
Tussar silk is a lot more textured than any other variety of Silk. The fabric is also a lot more porous in comparison, therefore, cooler and breathable. Being cooler than the other varieties of Silk makes Tussar extremely wearable in warmer parts of the world. Like most of the other textile arts, this too became a fabric of mechanization.
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The traditional handloom, locally called 'Taat Xaal', used is the same for cotton as well as for silk. Throw Shuttle Loom is still predominantly prevalent in the plain areas, while Loin Looms are commonly found in the hilly areas of Assam and the demand for improved Fly-Shuttle Looms exists throughout from the difficulties faced in weaving broader fabrics.
Chiri, Sali A few splited sticks flat and round, used for different purpose during the process of warping, weaving and for ornamentation
LOOMS AND ACCESSORIES
Sereki A truncated cone-shaped bamboo frame, used as a device to place the hanks. It has five small bamboo sticks attached to a longer, common bamboo stick at the centre forming a cylindrical shape
Despite the long history of weaving in Assam, the loom and the accessories used by the weavers have remained very simple. Throw-Shuttle Loom (also called country loom) and the Loin-Loom constitute the traditional looms of Assam. The Fly-Shuttle Loom originated from the difficulties faced in weaving broad fabrics on the throw shuttle loom. Now, Dobby and Jacquard machines are mounted on looms to be used for fancy weaves and produce elaborate designs. These are mainly found in commercial and Government production centers.
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Both Throw-shuttle and loin looms can be easily made out of indigenous materials mostly bamboo and wood. They use metal frame in some areas. The frame on which the loom is suspended consist of stout posts which are driven into the ground forming a rectangle. The posts are joined on the top by cross beams. The other parts of the loom are the warp and cloth beams, reed, slay, pulleys treadle, temple, shuttle.
Ugha A small bamboo frame, shaped like an elongated barrel. It is an indigenous device to wind the warp yams Rachbhara An awl to pass the yarn through the reed Letai A small cone shaped device to wind yam while sizing prior to warping
Maku The shuttle to pass the pick across the warp-shed Fig. 9 Jotor Fig. 10 Chiri/Sali Fig. 11 Maku Fig. 12 Sereki
Jotor Winding machine used to wind yarn onto bobbins for weaving Hemakshi Devi / Textile Design / 25
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Fly shuttle loom and Throw shuttle loom constitute a very important part of weaving in Assam. The silk yarn that is woven into fabrics on the loom are classified into Digh & Bani
WOVEN POEMS FROM ASSAM
The process of weaving First, the yarn is spun around the Sereki to remove the knots or uneven fibres of the thread and again spun onto the Letai. Then the thread is spun into smaller spools called Bobin, performed with the help of the spinning wheel called the Jotor. The jotor is run single handedly by a person who spins the thread into the wheel with one hand while wrapping the thread into a number of Bobins with the other hand. The thread from each of these bobins placed on the Ugha serially, is spun around a huge wooden wheel called the Warping Drum, which helps in achieving the exact size and length of the fabric to be woven. Each thread is then very systematically taken out from the wheel and placed on the long wooden bar of the loom called the Norosh. The lose threads are then inserted one by one into a threaded frame called the Boa, done with a lot of precision. Followed by insertion into a comb like frame called the Raah, they are then taken to the front to form the base of the garment.
The vertically woven silk thread that forms the base of the garment is called the Digh (Warp) The silk used to weave the horizontal patterns or flowers is called the Bani (Weft)
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The bani threads are placed on spools inside a small wooden frame called the Mohura, which is placed on a bigger frame called the Maku attached at the side of the loom. The dyed yarn from the mohura is then woven into designs on the digh.
1. 2. 3. 4. 5. 6. 7. 8. 9.
1. 2. 3. 4. 5. 6. 7. 8. 9.
Frame - Taant Warp - Digh Clothes Beam - Kapur Gari Reed - Raah Beater - Durpoti Peddle - Goroka Putol Lease rod - Bew Muthi Haath
Frame - Taant Warp - Digh Warp Beam - Norosh/Haal Gari Pulley - Nasoni Beater - Durpoti Lease Rod - Bew Bamboo Stick - Chiri/Sali Heald - Phulia Reed - Raah
Fig. 13 Fly Shuttle Loom Fig. 14 Throw Shuttle Loom
Hemakshi Devi / Textile Design / 27
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DYES Historically it has been recorded that Assam has a great wealth of indigenous natural dyes, found in very large quantities in rural areas. The tradition of dyeing is an ancient art of Assam. Dyeing with natural dyes is still in practice in some parts of Assam and are obtained from various parts of plants and herbs such as stem, wood, root, bark, leaf, flower, fruits and seed, etc. The dyeing hubs of the state are in Chaygaon, Guwahati and Kaziranga. Naramohan Das and Silk N Dyes are known to be the primary hubs for Natural Dyes as well. Other organisations that conduct dyeing activities are Grameen Sahara, Fabric Plus, Ajit Ramshri, DIANVC, Sara Foundation ifashion. The Dyeing Sector in Assam exist only in certain individual dyeing facilities now, unable to contribute substantially to the textile sector. The culture of dyeing though prevalent in the past has died down over the years due to growth of artificial dyeing. It lacks proper operational frameworks and sustainable business models. 28 / NIFT Mumbai / Graduation Project ’20
NATURAL DYE Drawbacks Lack of proper dyeing facility Cottage level dyeing facilities are run on individual capacities Cottage level dyeing facilities are devoid of proper operational frameworks and sustainable business models
02
For dyeing with natural sources, the cloth/ yarn is generally boiled with the aqueous extracted solution of one or more specific Natural Dye until all the colouring material is absorbed. Main sources are Flowers - Sewali phul, Hibiscus (Joba phul), Marigold (Gendhai Phul) Leaves - Henna (Jetuka pat), Indigo (Nil), Teak (Segun) Barks - Jackfruit, Red sandal wood Skins - Pomegranate, Onion Roots - Madder, Turmeric, etc
Waste treatment of chemical dyes is nonexistent. This issue is aggravated when it is known that most dyeing activities occur inside natural water sources Dyeing for silk has not been able to gain commercial success due to the small lot sizes
Fig. 15 Women preparing dyestuff from natural sources Fig. 16 Dyeing Eri silk yarn with Segun paat extract
High degree of use of imported dyes Lack of dye manufacturer in the region
AZO FREE DYE ACID DYE
01
For dyeing silk or woolen fabric or yarn, acid dyes are used. Dye solution of 8 to 10 Ph is heated after adding water to match liquor ratio for about 1 hour until dye bath becomes colorless. Small amounts of acetic acid works as the fixer.
03
Azo-Free dyes are free of azo compounds, like benzidine and a few amine groups, which contain carcinogenic chemicals and can be absorbed by the body through skin contact, leading to their ban. However, manufacturers have long been practising avoidance of use of azo groups as effluent of azo dye manufacturing plants can pollute water, and azo dyes can lead to skin cancer.
Hemakshi Devi / Textile Design / 29
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DESIGN In Assam handwoven textiles are ornamented with traditional woven motifs, which have been handed down from generation to generation. Mostly inspired by nature, motifs have a symbolic meaning. The inspired objects are simplified or distorted into geometric and stylised forms, rather than naturalist designs. These designs are brought out by means of employing an additional layer of dyed yarn. These extra yarn normally float over the main interlocking warp and weft, traditionally called extra weft technique.
Gach-Pat Floral and plant sources compose for a major part of the motifs adorned on Assamese textiles. Flowers from the smallest and simplest form to large distinct petals are found. Big bold flowers in stylized geometric forms often used as a single unit or as a buta is usually found. Similar to flower (phool), plants (gach) and creepers (lata) are abundantly used in. Running motifs often used for borders are mostly lata. They are often used a sole motif or in tandem with other coordinated motifs. Pankata and Kasari are two other terms often used to denote stylized forms of leaves and flowers arranged systematically to form a border.
Kingkhap Designs of lions and peacocks were used as a royal emblem for designing the dress items of the aristocrats, made in gold and silk. This design is known as Kingkhap design as it symbolizes the royalty and generosity of the former Ahom kingdom. This design consists of ‘two lions facing each other’, signifying royalty. The most commonly used traditional Assamese motif with a symbolic meaning, it has lived through generations. However, at present, this design is depicted in stylized forms or paired with other motifs.
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Geometric
Geometric forms of have been used in Assamese textiles for ornamentation in various cultural context. Small diamond with a cantered dot, Gunaphutuki, is the oldest design used. Though this motif hold different meanings in different contexts, it usually represents a pigeon's eye or a peacock's eye. A close observation reveals that these are essentially symbolic in nature. Kech is another form of geometric ornamentation, there are bands of geometric arrangement of lines which is usually combined with dobua, another ribbed geometric pattern which is an indigenous tribal design.
Socio-Religious-Cultural Objects
Kaziranga
Gamkharu design has been derived from an Assamese bracelet called ‘Gamkharu’ which is a traditional part of Assamese costume. This design is used in the borders.
Kaziranga design has been derived from elements of the ‘Kaziranga National Park’, the most remarkable wildlife sanctuary of Assam, known for the One Horned Rhinoceros. This design consists of animals, birds, flowers and creepers that are found in Kaziranga. This design represents the pride the state in unique way on the textiles.
Japi design represents the traditional headgear of the state which farmers wear to protect themselves, also used as a welcome gift. The japi design is decorated with circle, temple shape, design with a half star. Junbiri design has been derived from the traditional necklace of the Assamese culture ‘Junbiri’, sickle shaped which can be compared to a crescent moon. Similarly other traditional jewelery shapes are also derived into motifs like Dhulberi. Xorai design is a traditional symbol of Assam, an offering tray with a stand at the bottom, stylised to make a motif.
A variety of animal motifs like rhino, butterfly, peacocks, elephants etc. are adopted into the textiles in stylised forms. These designs are stylised to simple forms without losing its identity. Sarai (birds), Moura Sarai (peacocks) ducks, swans are regarded as sacred motifs by Assamese hindus. The borders of gamosa used in temples often has peacock adorned on them. Another common motif is the butterfly known as 'pokhila' in the local language is often woven in different shapes depending on the expertise of the weaver. Hemakshi Devi / Textile Design / 31
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FABRIC PLUS PVT. LTD. The Vision is to enhance livelihoods,
offer sustainable solutions for the healthy growth of the regional textiles industry and preserve age old traditions that are relevant to the modern society.
the sponsor Fig. 17 Founder of Fabric Plus Pvt. Ltd., Dilip Barooah
The Mission is to nurture and enhance
the silk industry of Assam & the Northeast, and create a revolution right from the grassroots; bringing a means of income to the traditional silk bearing families.
Venturing into the textile sector in 2003, Fabric Plus is the largest commercial producers of Eri & Muga Silk. Specializing in Eri Silk, hand-loom fabrics, finished apparels and home furnishing, the company features as one of the most organized handloom set ups in India, and has played a pioneering role in the promoting of traditional hand-loom fabrics of North East India. Fabric Plus is a Social Enterprise and a Brand that weaves elements of tradition and contemporary textile art and craft seamlessly together. Over the last 15 years, their work has translated into creative expressions of many and added to the lives of over 50,000 rural householders in Assam & North East India. Fabric Plus is working with Women On Wings towards creating jobs for women.
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The core ideology of Fabric Plus lies in bridging the distance between technology and the traditional by creating jobs and being part of a movement where sustainability and conscious use of resources are critical.
The idea of the ‘plus’ in Fabric Plus is about additional impact on the society at large. The company embraces the principles of free market, fair trade and promotion to create sustainable livelihoods.
The Sericulture & Weaving network of the company touches more than 55,000 families across the North-east region, primarily in Assam. The silk spinning factory, mostly manufacturing Muga and Eri silk yarns, produces over 250 kg of yarns a day, impacting directly and indirectly 17000 women in the downstream activities.
“Our objective is to serve our society – its people and our traditions, the environments we inhabit and ultimately the stories that arise from the synthesis of our interactions. As a Social Enterprise, the company aims to develop communities across the North-Eastern region of India in terms of cultural preservation and adaptation, socio-economic stability, livelihood generation and environmental welfare.” - Dilip Barooah, Founder Hemakshi Devi / Textile Design / 33
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STRUCTURES THE HEAD OFFICE AND RETAIL 01 Located at a prime location in the city of Guwahati, Assam, the office space of Fabric Plus also includes the retail shop within it. With different sections for the adminitrative, design, weaving, sales, marketing and finance teams, it is an open space with a great working environment. The retail space displays and stores all their products which acted as a constant inspiration for the project's research and design sense. Fig. 18 Consultancy meeting with a client at the office about Eri yarn and fabric
SERVICES Eri Muga Silk Yarns engage farmers to domesticate silk worms, buy the cocoons from them and produce yarn
Garments sewing facility with over 100 Juki machines that supplies to hospitals, hotels, schools, universities
Fabrics personally design fabrics from silk, cotton, remi, bamboo, hemp and blends
Corporate Gifts traditional organic items bring credibility to corporate gifts
Made To Order customised yardages and fabrics that are suitable for home furnishing, apparels, accessories
Consultancy R&D for yarn & fabric development, handloom set up, design innovation, textile tourism, social campaigns, curating handloom & handicraft stores
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THE YARN PROCESSING AND HANDLOOM UNITS 02 Approximately 55kms away from the head office, the company has its first yarn processing and handloom unit at Chaygaon in the Industrial Growth Centre. The handloom weaving section is set up on the first floor with 35 working single and double jacquard looms. The yarn processing section in the ground floor and basement includes services for degumming, fibre opening, combing, drafting, spinning and dyeing. The company has a second and third weaving unit in Amingaon, around 26 kms away from the head office and in Cooch Behar/Koch Bihar, West Bengal respectively.
Fig. 19 Women reeling yarn in the yarn processing & weaving unit
THE GARMENTING UNIT
03
The garment construction unit is located in a government sponsored apparel and garment making center in Boragaon about 16 kms away from the head office. The factory holds 50,000 pieces production capacity in this set up of 106 Juki machines with 80% women employment. The unit has sections for designing, cutting, sewing, inspection, packaging and storage. The work force is a jolly crowd of talented local people which confirms that the industry has been successfully able to create jobs in areas that were not prone to exposure.
Fig. 20 Tailors sewing in the garmenting unit at Boragaon
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CLIENTS 05
THE COMPANY ORGANISATIONAL STRUCTURE 04 Dilip Barooah
Founder, Managing Director
Joyotpol Roy Director Finance & Operations
Dhanjit Sharma Chief Distribution & Retail Incharge
Trailokya Barma Factory Head
Arup Choudhury Human Resource Manager
Vikky Borah
Prayaag Barooah
Dyeing and Weaving Head
Chief Marketing Head Prashant Garg
Bhabesh Talukdar
Diganta Kalita
Accounts Head
Retail Marketing
HR Assistant
Bhargab, Dipendra, Dipankar, Leena, Pompi
Fabric Plus cater to national and international markets with an unmatched sense of quality with B2B and B2C products. Their clients include Hugo Boss, Hermes, Empori Armani, Brookes Brothers, Fab India to name a few.
Utpal, Nabaraj, Priyanka
Mayuri Bharali Design Head
Sales Executives
Assistant Accountants
Dhurbajyoti Mazumdar Head Material Department
Rishikiesh, Nayan Assistants
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Raju In-house Tailor, Sales Executive
Dipankar Baruah Spinning Head
Gauranga Baruah Assistant
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DESIGN
Others Types
YARN 01
Red Eri, Muga Ghicha, Muga Spun, Mulberry Spun & Filament, Cotton, Wool, Linen, Remi, Bamboo, Modal
Extensive R&D and years of work into the Yarn division along with designing innovative techniques for degumming, fibre opening, combing, drafting and spinning has enabled Fabric Plus to develop a wide variety of yarns that can cater to any kind of market demand. The commencement of their yarn factory has helped spread awareness and appreciation for the indigenous natural fibre, Eri Silk. Consequently, the handloom industry has witnessed a tremendous growth in the textile sector in the Northeast. All their yarn varieties are produced in both single & double ply, ranging from 15nm to 140nm with the provision of a gassed yarn option available for every yarn count.
Types & Counts
Eri Silk nm 1/15, 20, 30, 40, 60, 80, 120, 140 nm 2/15, 20, 30, 40, 60, 80, 120, 140
Muga Silk nm 1/30, 60, 120, 140 nm 2/30, 60, 120, 140
Mulberry / Pat Silk nm 1/30, 60, 140 nm 2/30, 60, 140
Tussar Silk nm 1/30, 60, 140 nm 2/30, 60, 140
Fig. 22 1/120 nm Eri silk yarn Fig. 23 2/60 nm Muga silk yarn
Fabric Plus dyes their yarn according to the need of the customer in a wide variety of colours possible through Natural dyes and Azo-Free dyes. For Natural/Organic Dyes, they use turmeric (curcuma), indigo, lac, madder, teak leaf, tea, onion peel, phutki and several other products of nature depending on the requirement. Azo-Free dyes are environment friendly, free of azo compounds which contain carcinogenic chemicals and can be absorbed by the body through skin contact
Blends Eri - 100%, Cotton, Wool, Muga, Bamboo, Modal, Viscose, Mulberry, Cashmere
Fig. 21 Eri silk roving
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DYE 02
Muga - 100%, Cotton, Wool, Bamboo, Modal, Viscose, Mulberry
Fig. 24 Yarn dyed using Natural dyes and Azo-free dyes
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MOTIFS 03
FABRIC 05
The variety of design used is extensive yet carries a flawless simplicity and never-ending charm. Fabric Plus derives major design components from nature and traditional elements like pakhila(butterfly), phulpat(flowers & leaves), gor(one horned rhino), jaapi(a traditional hat), gamkharu(a traditional bangle) etc, which are very integral to the Assamese culture. Generally geometric and floral designs are small, but the company also produces wide range of all over designs and self jacquard designs along with checks and stripes
At fabric plus, the process of R&D is a continuous one allowing experimentation and development of unique fabrics while improving upon quality and variety in the process. Their weavers have been known to produce high quality of Eri, Muga and other indigenous silk fabrics. They work closely with the technical teams who are constantly discovering new techniques of weaving and dyeing that inspire clients to find their expressions and create something that’s unique to them.
Fig. 27 100% Eri fabric with Stripes of Muga Gicha Fig. 28 100% Eri fabric with extra weft motifs in Eri & Muga
Types Eri Silk, Muga Silk, Mulberry/Pat Silk, Tussar Silk, Cotton, Wool, Linen, Polyester, Bamboo Blends ERI- 100%, Red, Muga, Muga spun, Cotton, Wool, Bamboo, Modal, Viscose, Mulberry MUGA- 100%, Spun, Ghicha, Wool, Chiffon
TECHNIQUES 04
Fig. 25 Eri fabric with extra weft Phool butas in Eri yarn Fig. 26 Muga & Eri yarn Geometric Gach-pat all over pattern
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At Fabric Plus, Weaving is the core strength. With traditional Jacquard in both the Chaygaon and Amingaon units attached to around 50 four shaft throw-shuttle looms, they produce fabrics mostly in Plain weave, Twill weave and some of their variations in a wide variety of GSMs depending to the requirement of the client. The designs and motifs are woven using the extra weft technique. Knitting is also done sometimes as per requirement of the client
Ornamentation of the fabrics is done using various techniques like Extra weft woven motifs, Woven all over design, Self Jacquard all over patterns, Embroidery, Block Printing, Screen Printing, Digital Printing, Laser Cutting, Smocking and other surface manipulations and techniques.
Fig. 29 100% Eri fabric Fig. 30 100% Muga fabric
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Products of Fabric Plus; (left to right) Fig. 31 Woven Eri cotton cushions; Fig. 32 Woven Eri and Muga Sador Mekhela; Fig. 33 Woven indigenous silk stoles; Fig. 34 Woven Eri Women’s western wear(dress); Fig. 35 Woven Eri and Eri Cotton Men’s indo-western wear
PRODUCTS
PRICE RANGE
06
Home Furnishing
Apparel
BED LINEN Sheets, Runners, Pillow Covers
WOMEN'S WEAR Mekhela Sador, Sarees, Kurtas, Pants, Palazzos, Shirts, Tops, Trousers, Dresses, Jackets & Coats
LIVING ROOM Curtains, Cushion Covers, Wall Hangings TABLE LINEN Table Cloth, Place Mats, Runners, Coasters
Price Range Cushions Rs 250 - 700 Curtains Rs 2,000 - 7,000 Table Linen Sets Rs 2,000 - 3,000 Wall hangings - Rs 600 - 10,000
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MEN'S WEAR Shirts, Kurtas, Jackets & Coats
Price Range Sarees Rs 7,000 - 50,000 Sadar Mekhela Rs 7,000 - 48,000 Western Wear Rs 1,000 - 11,000 Jackets & Coats - Rs 2,500 - 10,000
07
Accesories SHAWLS, STOLES TIES, CUFFLINKS JEWELLERY BAGS, CLUTCHES
Price Range Shawls & Stoles Rs 500 - 7,000 Jewellery Rs 150 - 500 Ties Rs 500 - 1,200 Bags & Clutches - Rs 150 - 1,000
Others YARDAGES Dress Material, Home furnishing GIFTS Gamusa, Corporate Files, Momentos
Price Range Gamusa Rs 250 - 750 Home Yardage Rs 800 - 5,000 Dress Yardage Rs 800 - 5,000
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COMPETITORS In Assam, there are boutiques in every street where Local designers and entrepreneurs engage weavers and artisans from the rural areas to make collections for them for the seasons to come or buy ready products from the weavers and sell in their outlets. Most of these brands cater to a large market during the wedding and festive season, mostly January, April and October, with products like Mekhela Sadors, Sarees, bridal wear, evening wear. They also make western garments out of the traditional materials, always made to order. The designs are moving away from the traditional and amalgamating with modern motifs. Mulberry silk is very commonly used for these products and also Muga silk, keeping the price range of these products on the higher end.
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Ereena is an extension brand with
Some brands stood out in the market by introducing a more inclusive product range and were more aware of idea of sustainability and upliftment of craft. They had products that ranged more than just sarees and mekhela. They included home furnishing, accessories and stationery, similar to the product range at Fabric Plus. They also had products dyed by the method of natural dyeing. The brands studied are
Fabric Plus. They work with a small, elite group of 80 master weavers in Andhra Pradesh, Bengal and Assam to create innovative designs using Eri Silk with ikat, jamdani, jacquard and natural dye block printing. They believe in comfort and elegance making products like sarees, stoles, shawls, cushion covers and throws. Fig. 39 - 42 Product range of Ereena
Fig. 43 - 46 Product range of Kirameki
Fig. 36 - 38 Product range of Konyak
Kirameki is a designer label that often features natural, organic and
plant based fabrics of Assam, thus supporting weavers in the process. Their design echoes sustainable fashion, natural fabrics woven primarily from pineapple (pina) fibre, Banana fibre and Eri Silk, into making women's wear, men's wear, bridal wear and accessories. Fig. 47 - 50 Product range of Atut
Konyak is the platform for grassroots ar-
tisans of Northeast, with native handicrafts and handlooms. They make products like Apparel, Home furnishings, organic textiles, basketry, tea, etc. They take pride in creating an awareness of natural fibres as well as concentrate on Naga textiles.
Fresh, feminine and timeless – Atut showcases a seamless harmony of traditional roots, out-of-the-box eye for fashion, and a global understanding of the needs of people, across the world. Atut deals with 8 different traditional Assamese motifs & has a limited edition range of lifestyle products. This eco-friendly label speaks the open character of the fashion world, that accepts contemporary perspectives. Hemakshi Devi / Textile Design / 45
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REALISATIONS
WOVEN POEMS FROM ASSAM
Fig. 51 A Throw-Shuttle Loom set-up at one of our women weavers’ house, from the Boko village cluster
Fabric Plus having established its name in the market, has a distinct identity in creating for others. As they start creating for their own now, a visual language which stands out from its competitors, even from the ones with similar ethics and working structure is very important. Every collection should of-
fer a new story that can be tracked in the collection.
The location plays an important role. The
company is situated in a place where the traditional and cultural sensibility is strong and provides quicker access to resources all around the state, along with the company's own extensive units of yarn, weaving and garmenting. As an intern, the previously stated points provide me with immense room to explore.
The area of prints being less explored by the company, gives an opportunity to create a palette of designs to choose from, which could be woven as well as printed.
Learning about the history of traditional textiles of Assam, I realized that there is a lot of scope of working with tradition-
al designs which can be stylized or contemporarized preserving its identity as well as add something new to design weaving techniques. The style chosen can be explored by hand drawing and further improvising digitally in order to catalogue them for the company and the weavers.
The look and feel could be best reflected through woven designs and ideally natural dyes. The company has
their own dyeing unit for where this process in conducted on demand as well as the option of working with rural clusters where women dye yarn naturally in their households. The colour story can be easily derived from the available and local traditional prints, connecting the contemporary with the oriental.
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BUA KOBITA
| Woven Poems from Assam the project
DESIGN 02
Project Brief INDO-WESTERN GARMENTS
01 major
(5 yardages, 10-15 ensembles) ¬¬ 60s and 80s count ¬¬ Indigenous Assamese Silk, Cotton ¬¬ Domestic/National/International market ¬¬ Women, Age Group: 20 & above
এটা বুৱা কিবতা Bua // boo-a: // Woven Kobita // ko-bi-ta: // Poetry
The approach to this collection would be based on the brain storming and analysis of the simplicity of Assamese traditional motifs, repositioning of Indigenous silks in contemporary aesthetics, comfortable silhouettes and upcyling.
¬¬ Design innovations within the traditional handloom skills keeping the identity of the region intact ¬¬ Working on yarn compositions, properties and construction ¬¬ Understanding Assamese designs and their inspiration in terms of modern trends to develop a sense of the aesthetics prevailing ¬¬ Understanding the market targeted will help in understanding the simplicity of designs in handloom / hand crafted products
EXPERIENCE
Project Scope TRADITIONAL WEAR
02
major
(4 Sador Mekhela, 4 Sarees) ¬¬ 120s count ¬¬ Indigenous Assamese Silk ¬¬ Domestic/National market ¬¬ Women, Age Group 25-50 The approach to this collection would be based on the initial research of the Assamese culture, traditional textiles, fauna and flora as well as breaking the stigma of colour.
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TRADITIONAL WEAR
03
(3 Sador Mekhela, 1 Saree) ¬¬ 120s count ¬¬ Indigenous Assamese Silk ¬¬ Rima Das, Female, 38
minor
KNOWLEDGE 01
¬¬ A close look on traditional garments in Assam as an age old importance ¬¬ Understanding weavers, there cultural background, socio economical condition, skills, available resources in modern context and market to fit the products ¬¬ Understanding of the processes followed in both the traditional and industry set ups for yarn processing, dyeing and weaving
03
¬¬ Ideas to implementation, costing and prototyping the final product range, will provide for a good exposure and learning experience in the competitive fast paced market ¬¬ It will introduce one to the working environment of a successful and thriving brand name, its market and the design processes ¬¬ Hands on experience while working with the weavers directly and overlooking the production process of the collections The overall idea of the project is not to make the designs look clumsy rather breathable and keep scope for further permutation and combination for future use. Hemakshi Devi / Textile Design / 49
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PROJECT METHODOLOGY
|
Assim il
atio n
DE FI N
E
Ex pe ri
m
Refine
|
t en
Synthes ize
Y PE OTOT R P
|
I D E AT
alu Ev
ate
E Bra
rm insto
|
Con ce
pt u a liz e
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Specification & Costing sheets Validation & feedback for design refinements Content Writing
lyse
|
ANALYSIS, INSIGHTS & RE-DEFINING 03 Insight generation Building Personas Opportunity Mapping Redefining Project Brief and Scope Initial Sketches
Produce
Domain Understanding Contextual Study Market Study Cultural Study Technical Study Exhibition Participation Field Visits
DESIGN PROCESS
ARTISAN TRAINING IDEATION & CONCEPTUALIZATION
04
Concept Exploration & selection Exploring different scenarios in the context of different personas Visualization of ideas, concept & explorations Paper concept validation
06
An a
TE ST
PRIMARY & SECONDARY RESEARCH 02
FEEDBACK & VALIDATION
E
Understanding the brief Preparing a time-line Understanding in-house design process
PA TH IZ
01
EM
PROJECT PLANNING
rption Abso
EXECUTION & PROTOTYPING
07
Production planning Pre Loom processes Final designs & sample development Making Visual language
IMPLEMENTATION & PRODUCTION
05
08
Design Refinements Design Colourways Quality Improvement Experts Views Sample selection for production
Interacting with weavers & dyers Discussion & refinement of selected ideas, techniques
DOCUMENTATION
09
Documentation of the applications, process and learning
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The design process for the project has been divided into three broad categories Research 01 About the craft About the sponsor About the market
Conceptualisation 02 Themes Colour story Products Costing
Development 03 Design Sampling Refining Production
For a unique identity of the collections, it was essential to go step by step from inception to execution. Gaining some context through secondary research, I began discussing my findings and confusions with the employees of the office along with friends and family who are experts in this field. Researching on the competition enabled me to see existing designs and made sure how my designs would set a mark.
Conceptualization began with presenting ideas for themes & products to the team and the weavers in order to discuss the vision, feasibility and market. Drafts presented in the beginning were then amalgamated to form the final collections.
Fig. 52 Templates of the drafts presented for ideation and comceptualisation based on the research done
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Kasi //kah-see:// From the Holy City Onay //O-na-i:// Embrace of Eri
“Doir Pani Eri’r Kani” An age old Assamese saying, compares Eri fabric to curd, signifying it peaceful, pure and wholesome attributes. The more Eri silk is used, the softer it gets. 54 / NIFT Mumbai / Graduation Project ’20
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KASI ONAY
WOVEN POEMS FROM ASSAM
collection one
Kasi Onay is an initiative by to re-purpose the waste fabrics along with fresh designs into creating clothes that promise to deliver comfort and care. It is an attempt at amalgamating the energies of Eri into fabrics to emulate the nurturing feminine virtues existing in this peace silk.
THE BRIEF A collection of Indo-Western Garments, a new section for the company, upcycled (5 yardages, 10-15 ensembles) ¬¬ 60's & 80’s count ¬¬ Indigenous Assamese Silk, Cotton ¬¬ Domestic/National/International market ¬¬ Women, Age Group: 20 & above, Professional, Independant, Environmentally and Culturally aware ¬¬ Comfort catering to a wide variety of situations and events ¬¬ Simple, Minimal, Elegant ¬¬ Blending modern and traditional designs ¬¬ Exploring the possibilities of Eri ¬¬ Budget friendly, Affordable to all The approach to this collection would be based on the brain storming and analysis of the simplicity of Assamese traditional motifs, repositioning of Indigenous silks in contemporary aesthetics, comfortable silhouettes and upcyling.
THE CONCEPT In alignment with the idea of sustainability and slow fashion, the initial month of conceptualizing we started with a project of upcycling rejected and left over yardages of Fabric Plus, along with a few fresh yardages designed for retail purposes.
This collection started with the primary agenda of exploring the possibilities of Eri Silk, which has been extensively used for traditional wear and accessories all through its history, as well as amalgamate it with modern values. Western wear silhouettes in Eri has
been a new concept, moreover, this is the first line of ready-made garments introduced into the stores of the company which gives me a vast opportunistic area of design.
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THE THEME
Collaborating modern simplicity and traditions, we returned to our roots with this collection and used some of the oldest and common traditional Assamese motifs as inspiration. Motifs of Kingkhap, Gach-lata and Pokhila designed especially for the lightweight fabrics.
Keywords
HANDLOOM REVISITING ROOTS UPCYCLED SUSTAINABLE ORGANIC COMFORTABLE ETHICAL ELEGANT
THE COLOUR & YARN STORY
For the Fresh Fabric Yardages Dye Used - Azo Free Dyes As this collection has both, re-purposeful fabrics and fresh ones, hence the palette chosen for the fresh fabrics is such that it compliments the neutral palette of the fabrics to be upcycled, in order to create a co-ordinated collection while still portraying the feeling of comfort and care and subtle hints of tradition that the collection promises.
Warp Yarn 100% Cotton - nm 2/80 - Mill-spun
Weft Yarn 100% Eri - nm 1/60 - Hand-spun
Design Yarn Extra Weft - Acrylic - Mill-spun Hemakshi Devi / Textile Design / 57
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Original hues
NL 395
NL 136
Outcome |On White Eri Warp
Accent hues
NL 84
THE MOOD
NL 186
NL 24
Outcome|On Black Eri warp
(dye codes from the official Eri Yarn Azo free dye shade card of Fabric Plus)
THE LOOK Strong Feminine Silhouettes
oversize sleeves, giant ruffles and full size skirting, contrasted with modern sheers Natural Basics Textures
upgrade soft utility look with refined sustainable fabrics to serve the purposeful and flexible appetite Craft Curator Trims
crafted hardware feels honest and luxurious and add emotional value to a piece
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MOTIF EXPLORATIONS
Inspiration | The Free Eri Moths Analog Derivations
Fig. 53 Eri silkworm moths and eggs
Digital Derivations
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Inspiration | The Plant of Care
Analog Derivations
Fig. 54 Sustainability artwork
Digital Derivations
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Inspiration | The Strength of Kingkhap
Analog Derivations
Fig. 55 Ancient fabric with the Kingkhap design
Digital Derivations
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LAYOUT EXPLORATIONS
Final Motifs of Kasi Onay Since the collection is targeted towards modern, independent and strong women, the motifs of the free moth and the kingkhap are symbolic in nature of the same values.
Sustainability is at the core of the project, hence the plant, Gachlata, motif has been used, which also represents the care and comfort promised in these clothes.
The Free Eri Moths | Pokhila
The Plant of Care | Gachlata
Since these yardages were to be sold at the retail outlet in continuation to the collection, I consulted the sales team or what kind of designs sell the most. It was concluded that minimal styled yardages with repeat patterns were the most selling ones.
Keeping that in mind, I explored the different repeat patterns possible in a 4-Shaft Fly Shuttle loom with a Jacquard attachment. Since this project had a limited budget, the sizes of the motifs were not experimented with a lot as each size of motif would require a different card to be made.
Motif - Gachlata - Phul 01 Motif size - 1x1 inch Phul 01
The Strength of Kingkhap Phul 02
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FINAL LAYOUTS & SAMPLES KASI ONAY | Yardage
Motif Gachlata - Phul 01
Layout
01
Technical Specifications
WEAVE
SIZE
WARP DETAIL
1”
Base weave - Plain Motif weave - Extra weft
Length - 2.5 m Width - 44” off loom | 45” on loom Reed - 60 GSM - 95 approx.
Yarn - nm 2/80 Cotton, 100%, Millspun Bleached, White color
1”
WEFT DETAIL
Yarn - nm 1/60 Eri Silk, 100%, Handspun Dye - Azo Free Dye, NL 84, Melon color
EPI - 48 PPI - 26
MOTIF DETAIL
DRAFTING & DENTING
YARN
Price / Kg
Cotton nm 2/80
Rs 840
Eri nm 1/60
Rs 2630.5 + 600 dye 45 gm
Rs 146.70
Acrylic
Rs 500
Rs 35
Total Cost
+ 5% wastage
Per Meter Cost Consumption 54 gm Rs 45.36 70 gm
2.5m
Costing Sample
Rs 239.40
DESIGN DEVELOPMENT
Cost
Weaving Charge
Rs 300/day
Rs 300
Card Development
Rs 3.25/-
Rs 36
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4”
Size - 1”x1” Extra Weft Technique Yarn - Acrylic, Millspun Dye - Azo Free, Acrylic 13, Lime color
Drafting - Straight Denting - 2 in a dent No. of Shafts - 4
Finishing
4”
Rs 200
Total
Rs 536
Cost of Fabric Production /m Rs 239.40 + 536 = Rs 775.40 = Rs 776
44”
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KASI ONAY | Yardage
Motif Pokhila
02
Technical Specifications
Layout
WEAVE
Base weave - Plain Motif weave - Extra weft
SIZE
1.2”
WARP DETAIL
Length - 1.5 m Width - 44” off loom | 45” on loom Reed - 60 GSM - 95 approx.
Yarn - nm 2/80 Cotton, 100%, Millspun Bleached, White color
2”
WEFT DETAIL
Yarn - nm 1/60 Eri Silk, 100%, Handspun Dye - Azo Free Dye, NL 136, Cocoon color
EPI - 48 PPI - 26
MOTIF DETAIL
DRAFTING & DENTING
Size - 2”x1.2” Extra Weft Technique Yarn - Acrylic, Millspun Dye - Azo Free, Acrylic 13, Lime color
Drafting - Straight Denting - 2 in a dent No. of Shafts - 4
1.5m 4”
4”
YARN
Price / Kg
Cotton nm 2/80
Rs 840
Eri nm 1/60
Rs 2630.5 + 600 dye 45 gm
Rs 146.70
Acrylic
Rs 500
Rs 35
Total Cost
+ 5% wastage
Per Meter Cost Consumption 54 gm Rs 45.36 70 gm
Cost
Weaving Charge
Rs 300/day
Rs 300
Card Development
Rs 3.25/-
Rs 36
76 / NIFT Mumbai / Graduation Project ’20
Sample
Rs 239.40
DESIGN DEVELOPMENT
Finishing
Costing
Rs 200
Total
Rs 536
Cost of Fabric Production /m Rs 239.40 + 536 = Rs 775.40 = Rs 776
44”
Hemakshi Devi / Textile Design / 77
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KASI ONAY | Yardage
Motif Gachlata - Phul 02
03
Technical Specifications
Layout
WEAVE
Base weave - Plain Motif weave - Extra weft
SIZE
1”
WARP DETAIL
Length - 3 m Width - 44” off loom | 45” on loom Reed - 60 GSM - 95 approx.
Yarn - nm 2/80 Cotton, 100%, Millspun Bleached, White color 1”
WEFT DETAIL
Yarn - nm 1/60 Eri Silk, 100%, Handspun Dye - Azo Free Dye, NL 395, Blue Shadow
EPI - 48 PPI - 26
MOTIF DETAIL
DRAFTING & DENTING
Size - 1”x1” Extra Weft Technique Yarn - Acrylic, Millspun Dye - Azo Free, Acrylic 9, Dandelion color
Drafting - Straight Denting - 2 in a dent No. of Shafts - 4
YARN
Price / Kg
Cotton nm 2/80
Rs 840
Eri nm 1/60
Rs 2630.5 + 600 dye 45 gm
Rs 146.70
Acrylic
Rs 500
Rs 35
Total Cost
+ 5% wastage
Per Meter Cost Consumption 54 gm Rs 45.36 70 gm
Cost
Weaving Charge
Rs 300/day
Rs 300
Card Development
Rs 3.25/-
Rs 36
78 / NIFT Mumbai / Graduation Project ’20
4”
3m
Costing Sample
Rs 239.40
DESIGN DEVELOPMENT
Finishing
4”
Rs 200
Total
Rs 536
Cost of Fabric Production /m Rs 239.40 + 536 = Rs 775.40 = Rs 776
44”
Hemakshi Devi / Textile Design / 79
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KASI ONAY | Yardage
Motif
04
Technical Specifications
Layout
Gachlata - Phul 02
WEAVE
Base weave - Plain Motif weave - Extra weft
SIZE
1”
WARP DETAIL
Length - 2 m Width - 44” off loom | 45” on loom Reed - 60 GSM - 95 approx.
Yarn - nm 2/80 Cotton, 100%, Millspun Dye - Azo Free, Black color
1”
WEFT DETAIL
Yarn - nm 1/60 Eri Silk, 100%, Handspun Dye - Azo Free Dye, NL 186, Rain Forest
EPI - 48 PPI - 26
MOTIF DETAIL
DRAFTING & DENTING
Size - 1”x1” Extra Weft Technique Yarn - Acrylic, Millspun Dye - Azo Free, Acrylic 9, Dandelion color
Drafting - Straight Denting - 2 in a dent No. of Shafts - 4
YARN
Price / Kg
Cotton nm 2/80
Rs 840
Eri nm 1/60
Rs 2630.5 + 600 dye 45 gm
Rs 146.70
Acrylic
Rs 500
Rs 35
Total Cost
+ 5% wastage
Per Meter Cost Consumption 54 gm Rs 45.36 70 gm
Cost
Weaving Charge
Rs 300/day
Rs 300
Card Development
Rs 3.25/-
Rs 36
80 / NIFT Mumbai / Graduation Project ’20
4”
2m
Costing Sample
Rs 239.40
DESIGN DEVELOPMENT
Finishing
4”
Rs 200
Total
Rs 536
Cost of Fabric Production /m Rs 239.40 + 536 = Rs 775.40 = Rs 776
44”
Hemakshi Devi / Textile Design / 81
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KASI ONAY | Yardage
Motif Gachlata - Phul 02
05
Technical Specifications
Layout
WEAVE
Base weave - Plain Motif weave - Extra weft
SIZE
1.5”
WARP DETAIL
Length - 5 m Width - 44” off loom | 45” on loom Reed - 60 GSM - 95 approx.
Yarn - nm 2/80 Cotton, 100%, Millspun Dye - Azo Free, Black color
WEFT DETAIL
Yarn - nm 1/60 Eri Silk, 100%, Handspun Dye - Azo Free Dye, NL 395, Brandy Brown
EPI - 48 PPI - 26
1”
MOTIF DETAIL
DRAFTING & DENTING
Size - 1”x1.5” Extra Weft Technique Yarn - Acrylic, Millspun Dye - Azo Free, Acrylic 9, Dandelion color
Drafting - Straight Denting - 2 in a dent No. of Shafts - 4
5m
4”
4”
YARN
Price / Kg
Cotton nm 2/80
Rs 840
Eri nm 1/60
Rs 2630.5 + 600 dye 45 gm
Rs 146.70
Acrylic
Rs 500
Rs 35
Total Cost
+ 5% wastage
Per Meter Cost Consumption 54 gm Rs 45.36 70 gm
Cost
Weaving Charge
Rs 300/day
Rs 300
Card Development
Rs 3.25/-
Rs 36
82 / NIFT Mumbai / Graduation Project ’20
Sample
Rs 239.40
DESIGN DEVELOPMENT
Finishing
Costing
Rs 200
Total
Rs 536
Cost of Fabric Production /m Rs 239.40 + 536 = Rs 775.40 = Rs 776
44”
Hemakshi Devi / Textile Design / 83
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FINAL SILHOUETTES
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TECH PACKS
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UPCYCLED JEWELLERY The stitching table fabric waste had been upcycled into developing jewellery. It was a small socialising project for the design team with outcomes that started selling.
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LOOKBOOK Size - A4 - 8.3 x 11.7 inches Paper GSM - 80 CMYK, Hardbound
98 / NIFT Mumbai / Graduation Project ’20
Hemakshi Devi / Textile Design / 99
BUA KOBITA
100 / NIFT Mumbai / Graduation Project ’20
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HINT OF MINT Double Breasted Blazer
Rs. 11, 760 | 100% Eri Silk
A-line Shorts
Rs. 4,020 | 100% Eri Silk
102 / NIFT Mumbai / Graduation Project ’20
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SILKY CHAMPAGNE Eri Kesapat Jacket
Rs 3,044 | Eri Kesa Pat
ONE IN A MELON Button-Up Maxi Dress
Rs 6,088 | Cotton x Eri
BRANDY BROWN Pleated Shift Dress
Rs 5,073 | Eri x Cotton
104 / NIFT Mumbai / Graduation Project ’20
Hemakshi Devi / Textile Design / 105
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DIMES OF LIME Maxi Dress
Rs 6,088 | Cotton x Eri
PEACH MELBA A-line Dress with Belt Rs 4,860 | 100% Eri
106 / NIFT Mumbai / Graduation Project ’20
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BRANDY BROWN A-line Dress
STRAWS OF HAY
Rs 5,073 | Cotton x Eri
Drawstring Dress
Rs 5,310 | Matka Cotton
108 / NIFT Mumbai / Graduation Project ’20
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DANCING DANDELIONS Midi Dress
Rs 5,073 | Cotton x Eri
DEEP IN ATLANTA Jumpsuit with Belt
Rs 6,088 | Cotton x Eri
110 / NIFT Mumbai / Graduation Project ’20
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DEEP IN ATLANTA Button Up Top
Rs 3,044 | Cotton x Eri
RAIN IN FOREST Wide Legged Pants
Rs 4,059 | Cotton x Eri
RAIN IN FOREST Wrap Top
Rs 4,059 | Cotton x Eri
ONE IN A MELON Flared Pants
Rs 4,059 | Cotton x Eri
112 / NIFT Mumbai / Graduation Project ’20
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SILKY CHAMPAGNE Cowl Neck Dress
Rs 3,300 | Eri Wool Muga Spun | 100% Eri
TWILLS OF MAHOGANY Double Breasted Jacket
Rs 10,950 | Eri Denim
114 / NIFT Mumbai / Graduation Project ’20
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DEEP IN ATLANTA Pin Tucks Top
Rs 3,653 | Cotton x Eri
116 / NIFT Mumbai / Graduation Project ’20
TINT OF ORCHID V-neck Top
Rs 3,570 | 100% Eri
Hemakshi Devi / Textile Design / 117
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COLLATERALS In the first month, Kasi Onay started becoming a sales success for the company leading to a idea of turning the collection into a sub-brand focusing on upcycling and sustainability in western wear made of Eri fabric. I designed the collaterals for the upcoming brand as well, namely, the logo, and the cloth tags.
118 / NIFT Mumbai / Graduation Project ’20
Hemakshi Devi / Textile Design / 119
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Bohaag Not just a festival, nor just a month, Bohaag, the backbone of Assamese culture. The advocate of creation, of unity, regions and religions. Not just about the fresh blooms, nor the cuckoo’s first song, Bohaag, a new feeling and a new thought, of sanctity, love and affection.
120 / NIFT Mumbai / Graduation Project ’20
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BOHAAG
WOVEN POEMS FROM ASSAM
THE STORY BEHIND
collection two
The streets of Assam echoed with the immortal tunes of late Dr. Bhupen Hazarika’s songs. Songs that shriek and reveal the spirit of the land, its people and their struggles.
THE BRIEF A collection of Traditional Assamese Women’s Wear (6-8 pieces) ¬¬ 120's count ¬¬ Indigenous Assamese Silk ¬¬ Domestic/National market ¬¬ Women, Age Group 25-50, Professional, Environmentally aware ¬¬ Minimal, comfortable, yet sophisticated ¬¬ Seasonal and experimental designs The approach to this collection would be based on the initial research of the Assamese culture, traditional textiles, fauna and flora as well as diving deep into recent events in the state.
122 / NIFT Mumbai / Graduation Project ’20
DESIGN DIRECTIONS ¬¬For the Modern and independent woman, yet with a hint of culture ¬¬Reflection of the traditional Assamese design sense of keeping motifs symbolic in nature ¬¬Represent Assam’s beautiful culture by means of an identifiable mark ¬¬Evoke the feeling of desire for something rare, playing on the seasonal nature significance ¬¬Resonate with our customer’s sophisticated requirements ¬¬Controlled lines and formalistic motifs, keeping in mind geometrical aspects like symmetry and 2-dimensionability ¬¬Intersecting designs to create an illusion of depth, to produce aesthetically and visually pleasing compositions ¬¬Abstract designs of cultural objects, portraying the feeling related symbolically ¬¬A limited colour palette invoking simplistic values ¬¬Play of traditional as well as new experimental layouts
The Citizenship Amendment Act, 1955 came into effect as a declaration of eligibility for Indian citizenship to illegal migrants who are Hindus, Sikhs, Buddhists, Jains, Parsis and Christians from Afghanistan, Bangladesh and Pakistan, and who entered India on or before 31 December 2014. For the Assamese mass, it is a reminder and rekindling once again of the six-year-long struggle of the Assam Agitation between 1979-1985, for the survival of our culture, language and indigeneity.
Fig. 56 Protests happening in Assam against the Citizenship Ammendment Act
These protests have been marked by protest marches with people dressed in the unambiguous shades of Black and White with burning yellow torches and Slogans of “Joi Aai Axom’’. Standing amongst the large congregations of monochrome exemplifying the demonstration of resistance and political expression through the power of music and visual art symbolized the resilience. Nonagenarians to teenagers, the diverse sections came forth and voiced their dissent, hand in hand, with the yearning and hopes for a serene yellow sky filled with colours of joy to welcome the advent of “BOHAG”.
“...we will continue these silent protests in the hopes of achieving the right thing indefinitely if required. Amidst all this unrest, the only thing we are looking forward to now is for Bohaag to arrive and celebrate bihu and everything that comes along, with as much vigour...” - a statement made by a protestor in our conversation during one of the silent marches that followed after office hours every evening along with my colleagues. These stories and conversations became an inspiration for this collection of Assamese traditional wear. Hemakshi Devi / Textile Design / 123
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THE THEME
Bohaag
Bohaag // bo-haag: // the first month of the Assamese New Year (mid-April)
Keywords
NATURAL SUSTAINABLE SOPHISTICATED MODERN SYMBOLIC CULTURAL SEASONAL SYMMETRY 124 / NIFT Mumbai / Graduation Project ’20
The Assamese celebrate three festivals called Bihu during the year, each marking a distinct phase of the farming calendar. The most important of these is Bohag Bihu, which marks the advent of the seeding time, the first flush of tea, the blooming of Kopou Phool (fox tail orchid), the melodious voice of the cuckoo bird, the biggest celebration of the year (rongali), the wrath of bordoisila (a local wild wind) and the wedding season. As suggested in the poem, it is not just a month or a festival, Bohaag is a period of celebration — uniting the culturally diverse Assamese population, regardless of culture, religion and status. Hemakshi Devi / Textile Design / 125
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THE COLOUR & YARN STORY A palette of Golden Muga against the amalgamation of Black and White, which signifies our solidarity with the protests which started in Assam and took a toll nationwide. Those dark days of silent protests were marked by the citizens of Assam in attires of black and white only marching in the golden light of the torches, signifying the hopes of better days and yearning for the festivities of bohaag.
Warp Yarn 100% Eri - nm 2/120 - Handspun Weft Yarn 100% Eri - nm 1/120 - Handspun
Single ply-120nm yarns when coupled along with its double ply variant, yields fabrics which have finesse, lustrous with the fabric’s hand like a mother’s touch to the skin. The double ply variant of 120 nm eri silk yarn is usually best used for warping for strength while combining the single ply in the weft, for comfort.
Design Yarn - Extra Weft Technique 100% Eri - nm 2/120 - Handspun Muga Spun - nm 2/120 - Mill-spun
The process of Natural Dyeing We discovered a community of women working passionately with natural dyes in the viallge of Boko.
Black | Iron Ore Raw material required ¬¬ 2 kilograms of Myroblan leaves (Terminalia chebula Retz, as mordant & fixer ¬¬ 2 kilograms of scrapped Gooseberry tree bark (Phyllanthus Emblica, as mordant ¬¬ 1 kilogram of finely powdered Iron Ore, the dyestuff Fig. 59 The iron ore source: a 12-foot tall monolith rock
As this project concentrates around the Assamese silks, natural dyeing and handloom , so the yarn choices throughout has been Eri
and Muga silk.
Original hues Naturally Dyed Black Eri Natural Unbleached Undyed Eri Natural Muga spun Naturally Dyed Yellow Eri | accent hue Outcome | On a Black warp Naturally Dyed Black Eri Natural Unbleached Undyed Eri Outcome | On a Unbleached Undyed Eri warp Naturally Dyed Black Eri Natural Unbleached Undyed Eri
Fig. 60 Scrapped gooseberry bark used as a mordant and dye fixative
Fig. 57 1/120 Muga silk yarn Fig. 58 2/120 Unbleached Undyed Natural Eri silk yarn Fig. 61 Myrobalan tree : fruits in dry form is used as dye and leaves used as a mordant
The design yarns do not change its hue in different warps as they are woven using the extra weft technique, which means they float over the base fabric. 126 / NIFT Mumbai / Graduation Project ’20
Hemakshi Devi / Textile Design / 127
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Process of dyeing 1kg Eri yarn with Iron Ore ¬¬ Scrapping and weighing 2kgs of the gooseberry bark, as well as 2kgs of the myrobalan leaves ¬¬ Crushing 1kg of the Iron Ore into a fine powdered form ¬¬ Boiling 15 litres of water in a large steel pot along with the mordants and fixer, set to boil for a few hours ¬¬ Straining off the plants from the dyebath ¬¬ The iron ore powder is placed in a self-contained cloth to acquire a clean bath of black color to soak the yarn ¬¬ Meanwhile, the yarn was soaked in water to filter the impurities and prepare the yarn for the dyebath ¬¬ Cooking the wet yarn over the fire for one hour and soaked overnight ¬¬ Following morning, the yarn is washed thoroughly with a pH balanced hand soap ¬¬ The yarn is then detangled and placed to dry in full shade. Exposure to the sunlight will naturally bleach the color
(left to right) Fig. 62 Weighing the Myrobalan leaves Fig. 63 Scrapping out the Gooseberry bark Fig. 64 Iron ore pieces collected Fig. 65 Crushing the Iron Ore for dyestuff Fig. 66 Adding dye to the bath Fig. 67 Boiling and Prolonged Soaking of the Yarn in the stained bath Fig. 68 Dyed yarn left to dry in shade
If the black color turns out to be unsatisfactory, the entire process would need to be repeated. The second soak would require more plants and iron ore added to the bath. The bath must contain the same ratio of ingredients to water in order to reach the expected color.
Yellow | Turmeric | Cucurma Longa Raw material ¬¬ Alum or Myrobalan leaves, as mordant ¬¬ Finely powdered dried Turmeric, as dyestuff Process of dyeing 1kg Eri yarn with Iron Ore
Fig. 69 Grinding the mordant, Alum, into Fig. 70 Mordanting the yarn in alum a powdered form water in order to ensure color fixation
128 / NIFT Mumbai / Graduation Project ’20
Fig. 71 Boiling the dyestuff with water to prepare the dye bath
Fig. 72 Mordanted yarn soaked in the dyebath to take color
¬¬ The turmeric pieces are kept in sunlight over days to dry completely ¬¬ Dried turmeric is then grinded into a fine powder ¬¬ In a steel pot, the turmeric powder is added to water and boiled ¬¬ Meanwhile, the yarn was soaked in alum water, washed and then rinsed ¬¬ The wet yarn is then cooked in the turmeric dyebath ¬¬ Soaked until the dyebath turns cold ¬¬ The yarn is then detangled and placed to dry in full shade. Exposure to the sunlight will naturally bleach the color
Hemakshi Devi / Textile Design / 129
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MOTIF EXPLORATIONS Inspiration | First Flush of Tea Initial Derivations
130 / NIFT Mumbai / Graduation Project ’20
Inspiration | Kopou Phul Foxtail Orchid Final Derivations
Initial Derivations
Final Derivations
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Inspiration | First Crops Initial Derivations
Inspiration | Cuckoo Bird Initial Derivations
Final Derivations
Final Derivations
Inspiration | Jaapi Initial Derivations
132 / NIFT Mumbai / Graduation Project ’20
Final Derivations
Hemakshi Devi / Textile Design / 133
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LAYOUT EXPLORATIONS
Final Motifs of Bohaag
First Flush of Tea
First Crops
Cuckoo Bird
Kuli
Saah Dhaan
Jaapi
Kopou Phool | Foxtail Orchid
The design directions of geometrical symmetry and layout experimentation was in mind while exploring the use of these motifs in a Saree and a Sadar mekhela layout. Stripes and Checks has always been used in Assamese textiles, it creates a sense of harmony. During my market research I observed that use of all over checks and stripes have been almost never been explored but only the traditional stripes in the borders and pallus have been prevalent. Hence we decided to introduced all over stripes and checks into the collection along with size play, to balance the experimental modern outlook with some traditional factors.
The focus was kept on new styles of amalgamating All over Stripes and Checks with Symmetrical Motifs which has not been seen in the market yet, with the sole aim to bring something new for the Assamese folks this Bihu. Keeping that in mind, I explored the different possibilities in a 2-Shaft Fly Shuttle loom. Since a 2 shaft loom has it’s own limitations of designs, we stuck to different motif sizes and placements.
Checks and Stripes Explorations
Kopou 02
Jaapi 01 Kopou 01
Jaapi 02 Kopou 03 134 / NIFT Mumbai / Graduation Project ’20
Kopou 04
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Final Checks and Stripes
Horizontal Pin stripes on natural eri warp
Vertical Pin stripes in black eri warp
Widow Pane Checks in black eri warp
Pattern Explorations
140 / NIFT Mumbai / Graduation Project ’20
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FINAL LAYOUTS & SAMPLES Bohaag | Sador Mekhela 01 SIZE
Sador
2.8 m
Specifications
Length - 6.3 m Sador 2.8 m + Mekhela 2.5 m + Blouse 1 m Width - 40” off loom | 42” on loom Reed - 60
40”
EPI - 44 PPI - 22
DRAFTING & DENTING Drafting - Straight Denting - 2 in a dent No. of Shafts - 2
Motif Orchid | Kopou 01
WEAVE
Base weave - Plain Motif weave - Extra weft
SIZES (aanchal to body) 2” x 2.5” 1.5” x 2” 1” x 1.5”
4”
Blouse
1m
WARP DETAIL
Yarn - nm 2/120 Eri Silk, 100%, Handspun Dye - Iron Ore, Black Stripe - nm 2/120 Muga Spun, Millspun
Mekhela
WEFT DETAIL
Yarn - nm 1/120 Eri Silk, 100%, Handspun Dye - Iron Ore, Black
2.5 m
MOTIF DETAIL
Extra Weft Technique Yarn - 2/120 Muga Spun, Millspun Natural Golden colour Yarn - nm 2/120 Eri Silk, 100%, Handspun Dye - Turmeric, Muga Color 146 / NIFT Mumbai / Graduation Project ’20
FINISHING Tassel - 2” - 20 in number ¬¬each stripe is two warp ends
Hemakshi Devi / Textile Design / 147
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Bohaag | Sador Mekhela 02
Sador
2.8 m
Specifications SIZE
Length - 6.3 m Sador 2.8 m + Mekhela 2.5 m + Blouse 1 m Width - 40” off loom | 42” on loom Reed - 60
40”
EPI - 44 PPI - 22
DRAFTING & DENTING Drafting - Straight Denting - 2 in a dent No. of Shafts - 2
Motif
Jaapi 01
Blouse
Jaapi 02
WEAVE
4x4”
Base weave - Plain Motif weave - Extra weft
1m
WARP DETAIL
Yarn - nm 2/120 Eri Silk, 100%, Handspun Dye - Iron Ore, Black Checks - nm 2/120 Muga Spun, Millspun
Mekhela
WEFT DETAIL
Yarn - nm 1/120 Eri Silk, 100%, Handspun Dye - Iron Ore, Black Checks - 2/120 Muga Spun, Millspun
2.5 m
MOTIF DETAIL
Extra Weft Technique Yarn - 2/120 Muga Spun, Millspun Natural Golden colour
FINISHING Tassel - 2” - 20 in number ¬¬each check is two warp ends and two weft picks
148 / NIFT Mumbai / Graduation Project ’20
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Bohaag | Sador Mekhela 03
2.8 m
Specifications
Sador
SIZE
Length - 6.3 m Sador 2.8 m + Mekhela 2.5 m + Blouse 1 m Width - 40” off loom | 42” on loom Reed - 60
40”
EPI - 44 PPI - 22
DRAFTING & DENTING Drafting - Straight Denting - 2 in a dent No. of Shafts - 2
Motif Orchid | Kopou 01
WEAVE
SIZES (aanchal to body) 2” x 2.5” 1” x 0.5”
Blouse
1m
Base weave - Plain Motif weave - Extra weft
WARP DETAIL
Yarn - nm 2/120 Eri Silk, 100%, Handspun Natural, Unbleached, Undyed
Mekhela
WEFT DETAIL
Yarn - nm 1/120 Eri Silk, 100%, Handspun Natural, Unbleached, Undyed Stripe - nm 2/120 Muga Spun, Millspun
2.5 m
MOTIF DETAIL
Extra Weft Technique Yarn - 2/120 Muga Spun, Millspun Natural Golden colour Yarn - nm 2/120 Eri Silk, 100%, Handspun Dye - Turmeric, Muga Color
150 / NIFT Mumbai / Graduation Project ’20
FINISHING Tassel - 2” - 20 in number ¬¬each stripe is two warp ends
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Bohaag | Sador Mekhela 04
2.8 m
Specifications
Sador
SIZE
Length - 6.3 m Sador 2.8 m + Mekhela 2.5 m + Blouse 1 m Width - 40” off loom | 42” on loom Reed - 60
40”
EPI - 44 PPI - 22
DRAFTING & DENTING Drafting - Straight Denting - 2 in a dent No. of Shafts - 2
Motif Orchid | Kopou 03
WEAVE
Blouse
SIZES (aanchal to body) 2” x 1.5” 1.5” x 1”
Base weave - Plain Motif weave - Extra weft
1m
WARP DETAIL
2”
Yarn - nm 2/120 Eri Silk, 100%, Handspun Natural, Unbleached, Undyed
Mekhela
WEFT DETAIL
Yarn - nm 1/120 Eri Silk, 100%, Handspun Natural, Unbleached, Undyed Stripe - nm 2/120Muga Spun, Millspun 2.5 m
MOTIF DETAIL
Extra Weft Technique Yarn - nm 2/120 Muga Spun, Millspun Natural Golden colour Yarn - nm 2/120 Eri Silk, 100%, Handspun Dye - Turmeric, Muga Color
152 / NIFT Mumbai / Graduation Project ’20
FINISHING Tassel - 2” - 20 in number ¬¬each stripe is two warp ends
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Bohaag | Saree 01
5.5 m
Saree
Specifications SIZE
Length - 6.9 m Saree 5.5 m + Blouse 1.4 m Width - 40” off loom | 42” on loom Reed - 60
40”
EPI - 44 PPI - 22
DRAFTING & DENTING Drafting - Straight Denting - 2 in a dent No. of Shafts - 2
Motif
Dhaan
Blouse
WEAVE
Base weave - Plain Motif weave - Extra weft
WARP DETAIL
Yarn - nm 2/120 Eri Silk, 100%, Handspun Dye - Iron Ore, Black Stripe - nm 2/120 Muga Spun, Millspun
1.4 m
WEFT DETAIL
Yarn - nm 1/120 Eri Silk, 100%, Handspun Dye - Iron Ore, Black
MOTIF DETAIL
Extra Weft Technique Yarn - 2/120 Muga Spun, Millspun Natural Golden colour Yarn - nm 2/120 Eri Silk, 100%, Handspun Dye - Turmeric, Muga Color
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Bohaag | Saree 02
5.5 m
Saree
Specifications SIZE
Length - 6.9 m Saree 5.5 m + Blouse 1.4 m Width - 40” off loom | 42” on loom Reed - 60
40”
EPI - 44 PPI - 22
DRAFTING & DENTING Drafting - Straight Denting - 2 in a dent No. of Shafts - 2
Motif
Saah
Blouse
WEAVE
Base weave - Plain Motif weave - Extra weft
WARP DETAIL
Yarn - nm 2/120 Eri Silk, 100%, Handspun Dye - Iron Ore, Black Checks - nm 2/120 Muga Spun, Millspun 1.4 m
WEFT DETAIL
Yarn - nm 1/120 Eri Silk, 100%, Handspun Dye - Iron Ore, Black Checks - nm 2/120 Muga Spun, Millspun
MOTIF DETAIL
Extra Weft Technique Yarn - 2/120 Muga Spun, Millspun Natural Golden colour Yarn - nm 2/120 Eri Silk, 100%, Handspun Dye - Turmeric, Muga Color
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FINISHING Tassel - 2” - 20 in number ¬¬each check is two warp ends and two weft picks
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Bohaag | Saree 03
5.5 m
Saree
Specifications SIZE
Length - 6.9 m Saree 5.5 m + Blouse 1.4 m Width - 40” off loom | 42” on loom Reed - 60
40”
EPI - 44 PPI - 22
DRAFTING & DENTING Drafting - Straight Denting - 2 in a dent No. of Shafts - 2
Motif
Orchid | Kopou 04
Blouse
WEAVE
Base weave - Plain Motif weave - Extra weft
WARP DETAIL
Yarn - nm 2/120 Eri Silk, 100%, Handspun Natural, Unbleached, Undyed 1.4 m
WEFT DETAIL
Yarn - nm 1/120 Eri Silk, 100%, Handspun Natural, Unbleached, Undyed Stripe - nm 2/120Muga Spun, Millspun
MOTIF DETAIL
Extra Weft Technique Yarn - nm 2/120 Muga Spun, Millspun Natural Golden colour Yarn - nm 2/120 Eri Silk, 100%, Handspun Dye - Turmeric, Muga Color
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FINISHING Tassel - 2” - 20 in number ¬¬each check is two warp ends and two weft picks
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Bohaag | Saree 04
5.5 m
Saree
Specifications SIZE
Length - 6.9 m Saree 5.5 m + Blouse 1.4 m Width - 40” off loom | 42” on loom Reed - 60
40”
EPI - 44 PPI - 22
DRAFTING & DENTING Drafting - Straight Denting - 2 in a dent No. of Shafts - 2
Motif
Jaapi 01
Kuli
Blouse
WEAVE
Base weave - Plain Motif weave - Extra weft
WARP DETAIL
Yarn - nm 2/120 Eri Silk, 100%, Handspun Natural, Unbleached, Undyed 1.4 m
WEFT DETAIL
Yarn - nm 1/120 Eri Silk, 100%, Handspun Natural, Unbleached, Undyed Stripe - nm 2/120Muga Spun, Millspun
MOTIF DETAIL
Extra Weft Technique Yarn - nm 2/120 Muga Spun, Millspun Natural Golden colour Yarn - nm 2/120 Eri Silk, 100%, Handspun Dye - Turmeric, Muga Color
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FINISHING Tassel - 2” - 20 in number ¬¬each check is two warp ends and two weft picks
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COSTING Bohaag | Black Eri Silk Warp
Bohaag | Natural Eri Silk Warp
YARN
TYPE
PRICE / KG
DYEING
QUANTITY
COST
YARN
TYPE
PRICE / KG
WEFT
nm 2/120 Dyed Eri
Rs 3750
Rs 600
420 gm
Rs 1827
WEFT
nm 2/120 Natural Eri
WARP
nm 1/120 Dyed Eri
Rs 3450
Rs 600
260 gm
Rs 1053
WARP
DESIGN 1
2/120 Muga Spun
Rs 9500
100 gm
Rs 950
DESIGN 2
2/120 Dyed Eri
Rs 4350
100 gm
Rs 435
Total Cost
Rs 4265
Rs 600
DYEING
QUANTITY
COST
Rs 3750
420 gm
Rs 1575
nm 1/120 Natural Eri
Rs 3450
260 gm
Rs 897
DESIGN 1
2/120 Muga Spun
Rs 9500
100 gm
Rs 950
DESIGN 2
2/120 Dyed Eri
Rs 4350
100 gm
Rs 435
Total Cost
Rs 3857
Rs 600
DESIGN DEVELOPMENT
PRICE
QUANTITY
COST
DESIGN DEVELOPMENT
PRICE
QUANTITY
COST
CARDS
Rs 3.25
350
Rs1138
CARDS
Rs 3.25
350
Rs1138
WEAVING CHARGES
Rs 300
6 days
Rs 1800
WEAVING CHARGES
Rs 300
6 days
Rs 1800
Rs 200
FINISHING
FINISHING Total Cost
Rs 3138
Rs 200 Total Cost
Rs 3138
Total Cost Of Production = Rs 4265 + Rs 3138 = Rs 7403
Total Cost Of Production = Rs 3857 + Rs 3138 = Rs 7403
Markup - 200 % ESTIMATED MRP = Rs 22,209
Markup - 200 % ESTIMATED MRP = Rs 20,985
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LOOKBOOK
Sarees
Sador Mekhela 164 / NIFT Mumbai / Graduation Project ’20
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Gendhai Everywhere The golden glint, the canary peek The rust of the edge and the carmine in the heart. Everywhere I look, little bulbs of joy. In celebrations and in mourning, In flower markets by the hundreds. The young girl's fancy The wise woman's pride. In petals, buds, leaves and layers, Steady, steady. Through seasons in the sun and rain, Through glory and disdain, The flower that never wilts. You've caught the sunshine, dear marigold, A thousand different rays. And in all those petals, you hold the sun's grace. Unfailingly generous, unrelenting and strong, Wise old soul.
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GENDHAI
WOVEN POEMS FROM ASSAM
DESIGN DIRECTIONS
collection three
THE BRIEF
THE STORY BEHIND
A collection of Traditional Assamese Women’s Wear (4 pieces)
In the first few days of my internship, I had the chance of meeting Rima Das, the filmmaker best known for her film, “Village Rockstars” which won several National and International awards, also being India's official entry for the Oscars, 2018 in the Best Foreign Language Film Category. She has been a devoted customer to Fabric Plus for many years now. She wanted to get a few pieces of Assamese Traditional Wear for her upcoming trips to the Toronto Film Festival, Berlin Film Festival and the Cannes.
¬¬ 120's count ¬¬ Indigenous Assamese Silk ¬¬ Client - Rima Das, Female, 38 Award winning Director, Down to Earth, Culturally & Environmentally aware ¬¬ Minimal, comfortable, yet sophisticated ¬¬ Timeless, Traditional designs and layouts
Fig. 73 The client, Rima Das, Producer & Director
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Fig. 74 Poster for her Oscar nominated and award winning movie Village Rockstars
As an inspiration, she brought along with her a piece given to her by her mother. We talked and discussed color palettes, fabric, explored a few motif ideas having different elements of the piece. The discussion that lasted more than an hour, helped me zero in on the Marigold Flower motif or ‘GENDHAI’, in Assamese, which also happens to be mother’s favourite flower and hence the name of this collection.
Keywords
TIMELESS EMOTIONAL TRADITION COMFORTABLE ORGANIC SOPHISTICATED CULTURAL PERSONAL
Eri, being the most light and breathable, was her first choice of fabric. It was her desire to have a subtle color palette and she concurred to my suggestions of using the yarn available that was being processed for my upcoming collection ‘Bohaag’ as we had limited time.
Fig. 75 Rima Das, me and the production team in a discussion
¬¬Reflection of the Gendhai flower into motifs symbolic in nature ¬¬Evoke the feeling of desire for something rare, playing on the emotional significance ¬¬Resonate with our customer’s sophisticated requirements ¬¬Controlled lines and traditional motifs, keeping in mind geometrical aspects ¬¬Abstract designs of cultural objects, portraying the feeling symbolically ¬¬A limited colour palette invoking simplistic values ¬¬Play of traditional as well as experimental Hemakshi Devi / Textile Design / 169
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Number of garments - 4 Number of days in hand - 28
THE COLOUR & YARN STORY
Since the project was tight scheduled, the designing process had to be completed in a week in order to have enough time for dyeing and weaving. The design inspiration was taken from motifs in her mother’s piece and other geometric traditional Assamese motifs that already existed. I started with redesigning the existing designs into motifs that could resonate with the designs . As per her selection of motifs, layouts were explored possible in the 2 four shaft fly shuttle looms that had been assigned.
A palette of Golden Muga against the amalgamation of Black and White, which signifies our solidarity with
the protests which started in Assam and took a toll nationwide. Those dark days of silent protests were marked by the citizens of Assam in attires of black and white only marching in the golden light of the torches, signifying the hopes of better days and yearning for the festivities of bohaag.
TRADITIONAL ASSAMESE GARMENT Mekhela Sador or Sador Mekhela
is the traditional Assamese garment, draped similar to a saree, worn by the women. There are two main pieces of cloth that are sprawled around the body. Mekhela the bottom portion, wrapped from the waist downwards is called the mekhela.
Warp Yarn 100% Eri - nm 2/120 - Handspun Weft Yarn 100% Eri - nm 1/120 - Handspun Design Yarn - Extra Weft Technique 100% Eri - nm 2/120 - Handspun Muga Spun - nm 2/120 - Mill-spun
As this project concentrates around the Assamese silks, natural dyeing and handloom , so the yarn choices throughout has been Eri
and Muga silk.
Original hues Naturally Dyed Black Eri Natural Unbleached Undyed Eri Natural Muga Azo Free Dyed Red Eri | accent hue
Sador or Chador the top portion of the two-piece dress is a long length of cloth that has one end tucked into the upper portion of the mekhela and the rest draped over and around the rest of the body. Blouse Traditionally designed to match the design of the mekhela.
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(left to right) Fig. 76, 77, 78, 79 Muga Spun Yarn, Eri Silk Yarn, Iron Ore dyed Black Eri Yarn, Azo free dyed Red Eri Yarn
Since the same dyes & yarns as Bohaag has been used here, refer to page number 127 for details
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MOTIF EXPLORATIONS
Inspiration | Traditional Assamese Motifs
Inspiration | Gendhai Phool | Marigold Flower
The clients’s mother sador mekhela and other pictures she collected over the time of designs she found pleasant.
Fig. 80 Types of Gendhai Flowers
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LAYOUT EXPLORATIONS The client wanted to interpret the layout on her mother’s piece onto hers, which was a traditional Assamese layout with an amalgamation of stripes and borders on the pallu, motifs in a half brick repeat in the body and extra borders that can later be attached to the sador by sewing.
The focus was kept on the traditional style on her mother’s piece of amalgamating Stripes, borders and repeated motifs yet a hint of modernity with the sole aim to make something relatable for her journey.
Border options for layouts
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All Over patterns
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Explorations of the repeat patterns for the body
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Aanchal design explorations
Fig. 81 The client, Rima Das, seen wearing a piece from the colllection at IIFM, Indian Film Festival of Melbourne
After a discussion on the explorations, the client decided to have one black warp sador mekhela, one over all design sador mekhela, one aanchal design saree and one sador mekhela resembling her mother’s.
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FINAL LAYOUTS & SAMPLES Gendhai | Sador Mekhela 01
2.8 m
Sador
Specifications SIZE
Length - 6.3 m Sador 2.8 m + Mekhela 2.5 m + Blouse 1 m Width - 40” off loom | 42” on loom Reed - 60
40”
EPI - 44 PPI - 22
DRAFTING & DENTING Drafting - Straight Denting - 2 in a dent No. of Shafts - 2
Motif
Blouse
Gendhai
WEAVE
Base weave - Plain Motif weave - Extra weft
1m
WARP DETAIL
Yarn - nm 2/120 Eri Silk, 100%, Handspun Natural, Unbleached, Undyed
Mekhela
WEFT DETAIL
Yarn - nm 1/120 Eri Silk, 100%, Handspun Natural, Unbleached, Undyed Stripe - nm 2/120 Muga Spun, Millspun
4x4” 2.5 m
MOTIF DETAIL
Extra Weft Technique Yarn - 2/120 Muga Spun, Millspun Natural Golden colour
1cm FINISHING Tassel - 2” - 20 in number ¬¬each stripe is two weft picks
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Gendhai | Sador Mekhela 02 Sador
2.8 m
Specifications SIZE
Length - 6.3 m Sador 2.8 m + Mekhela 2.5 m + Blouse 1 m Width - 40” off loom | 42” on loom Reed - 60
40”
EPI - 44 PPI - 22
DRAFTING & DENTING Drafting - Straight Denting - 2 in a dent No. of Shafts - 2
Motif
Blouse
WEAVE
8”
Base weave - Plain Motif weave - Extra weft
1x6”
1m
0.5x2.5” 7”
WARP DETAIL
Yarn - nm 2/120 Eri Silk, 100%, Handspun Natural, Unbleached, Undyed Border - nm 2/120 Muga Spun, Millspun
Mekhela 2x2 cm
WEFT DETAIL
4”
Yarn - nm 1/120 Eri Silk, 100%, Handspun Natural, Unbleached, Undyed Stripe - nm 2/120 Muga Spun, Millspun
0.5” 0.5cm
MOTIF DETAIL
Extra Weft Technique Yarn - 2/120 Muga Spun, Millspun Natural Golden colour
2.5 m
FINISHING Tassel - 2” - 20 in number
4”
¬¬each stripe is two weft picks
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Gendhai | Sador Mekhela 03 Sador
2.8 m
Specifications SIZE
Length - 6.3 m Sador 2.8 m + Mekhela 2.5 m + Blouse 1 m Width - 40” off loom | 42” on loom Reed - 60
40”
EPI - 44 PPI - 22
DRAFTING & DENTING Drafting - Straight Denting - 2 in a dent No. of Shafts - 2
Motif
Blouse
WEAVE
4.5”
Base weave - Plain Motif weave - Extra weft
1m 4” 1x2”
WARP DETAIL
Yarn - nm 2/120 Eri Silk, 100%, Handspun Dye - Iron Ore, Black
Mekhela 9”
WEFT DETAIL
Yarn - nm 1/120 Eri Silk, 100%, Handspun Dye - Iron Ore, Black Stripe - nm 2/120 Muga Spun, Millspun
0.1x0.5” 0.5”
MOTIF DETAIL
Extra Weft Technique Yarn - nm 2/120 Muga Spun, Millspun Natural Golden colour Yarn - nm 2/120 Eri Silk, Handspun Dye - Azo Free, Red
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2.5 m
2.5”
FINISHING Tassel - 2” - 20 in number
1” 2”
0.5cm
¬¬each stripe is two weft picks
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Gendhai | Saree
Saree
5.5 m
Specifications SIZE
Length - 6.9 m Saree 5.5 m + Blouse 1.4 m Width - 40” off loom | 42” on loom Reed - 60
40”
EPI - 44 PPI - 22
DRAFTING & DENTING Drafting - Straight Denting - 2 in a dent No. of Shafts - 2
Blouse
Motif
WEAVE
4.5”
Base weave - Plain Motif weave - Extra weft
3.5”
WARP DETAIL
Yarn - nm 2/120 Eri Silk, 100%, Handspun Natural, Unbleached, Undyed
1x3”
WEFT DETAIL
1.4 m
Yarn - nm 1/120 Eri Silk, 100%, Handspun Natural, Unbleached, Undyed Stripe - nm 2/120Muga Spun, Millspun
MOTIF DETAIL
Extra Weft Technique Yarn - nm 2/120 Muga Spun, Millspun Natural Golden colour
31”
3x2 cm
FINISHING Tassel - 2” - 20 in number
2.5”
¬¬each stripe is two weft picks
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COSTING Gendhai | Saree
Gendhai | Sador Mekhela
YARN
TYPE
PRICE / KG
DYEING
QUANTITY
COST
YARN
TYPE
PRICE / KG
WEFT
nm 2/120 Dyed Eri
Rs 3750
Rs 600
420 gm
Rs 1827
WEFT
nm 2/120 Natural Eri
WARP
nm 1/120 Dyed Eri
Rs 3450
Rs 600
260 gm
Rs 1053
WARP
DESIGN 1
2/120 Muga Spun
Rs 9500
100 gm
Rs 950
DESIGN 1
DESIGN 2
2/120 Dyed Eri
Rs 4350
100 gm
Rs 435
Total Cost
Rs 4265
Rs 600
DYEING
QUANTITY
COST
Rs 3750
420 gm
Rs 1575
nm 1/120 Natural Eri
Rs 3450
260 gm
Rs 897
2/120 Muga Spun
Rs 9500
100 gm
Rs 950
Total Cost
Rs 3422
DESIGN DEVELOPMENT
PRICE
QUANTITY
COST
DESIGN DEVELOPMENT
PRICE
QUANTITY
COST
CARDS
Rs 3.25
350
Rs1138
CARDS
Rs 3.25
350
Rs1138
WEAVING CHARGES
Rs 300
6 days
Rs 1800
WEAVING CHARGES
Rs 300
6 days
Rs 1800
Rs 200
FINISHING
FINISHING Total Cost
Rs 3138
Rs 200 Total Cost
Rs 3138
Total Cost Of Production = Rs 4265 + Rs 3138 = Rs 7403
Total Cost Of Production = Rs 3422 + Rs 3138 = Rs 6560
Markup - 200 % ESTIMATED MRP = Rs 22,209
Markup - 200 % ESTIMATED MRP = Rs 19,680
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LOOKBOOK
Gendhai | Sador Mekhela 02
Gendhai | Sador Mekhela 01 198 / NIFT Mumbai / Graduation Project ’20
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Gendhai | Saree
Gendhai | Sador Mekhela 03
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CONCLUSION
Fig. 82 On our way to collect Iron Ore for dyeing, me and some of the members of the cluster in Boko village
This project was meant to be the culmination of my education at NIFT, but one of the biggest things that I learnt from it is that learning never stops. As hopeful and starry-eyed as I was when I started this project, it was also one of the biggest wake up calls and made me realize just how sheltered our time at NIFT has been.
202 / NIFT Mumbai / Graduation Project ’20
During the initial stage of the design process, the research was the most prominent part. My research turned out to be extensive both in execution as well as documentation, and I was once again pleasantly surprised by the amount of interest the research stage generates in me. Where everything I could possibly require for my research was available on the internet, primary hands-on research ended up being an exercise in observation and irreplaceable in a myriad of ways. However, alter all this research it was difficult to come to terms with the fact that for most companies research is little more than a means to gauge the waters. For me, design does not comprise of much if it does not contain groundwork and articulation in the early stages itself.
As for the main design process itself; it was mostly smooth sailing. During our education at NIFT, we are taught to focus on exploration to look into every possible avenue, reject most options and accept options that finally click the right spot. The industry, turns out, has neither time nor requirement for nearly as extensive exploration as I was used to doing. The idea that each exploration was a proposed design and would be taken forward as one, took some getting used to. As far as weaving as a technique employed for design is concerned, the process of design changed immensely in order to adapt to company constraints, and that was a major upheaval. However, l was glad that I had ended up in a place that gave importance to sustainable processes as well as product.
Dyeing along with the women on ground was a huge inspiration as well as a great learning opportunity. They were extremely helpful and hospitable.
Overall, my experience was as sweet as it was bitter. I can see myself working in the industry at some point, but I am left to wonder if that point will come today or after a few more years of education. I do know that for me articulating about creating something meaningful only parallels the joy of creating something meaningful. I find my fulfillment in creating something and knowing that deep thought went into it, that it tells stories and somewhere fits into a bigger picture. We often fall short of ingraining big ideas into our designs; philosophies and constructs, dreams and missions, and it is usually because we lose sight of them along the way. What with the practicalities
and nitty-gritty details of a design process, we are unable to hold on to the bigger idea. While this project has taught me that a design process and its implementation can both be unexpected and often do not go the way we would ideally have it, I know that there exists a line balance between practical design and design which incorporates big ideas, and someday I will find it.
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BIBLIOGRAPHY Fig 0.1, 0.2.0.3: .n4.cdu Fig 3.2 : TIM Silk Concept Facebook Page Fig 3.3, 4.8: Male Twee Facebook Page Fig 3.4 : Gangs Maki tAvtutv.gangarnaki.corn) Fig 3.5 : ANKA iacebeek page Fig 3.6. 4.6: Ana:. :a Facebook page Fig 3.7 : InBri Facettok page Fig 3.8 : 0: Q.42 Facebook page Fig 3.9. 4.7: Ekace Facebook page Fig 3.10: Anekhi Facebook page Fig 4.5 : Upasana Facebeek page Fig 4.11 : A-Khi:a.Paat Facebook Page Fig 4.12-4.14: The Cunha:: Address Facebook Page Fig 4.17 - 4.18: Keeka India Insragram Fig 7.13.5. Rg 7.13.1 : Sanjulca Facebook page Fig 7.13.6. Fig :.13.4: Dena Facebcok page Fig 7.13.7. Fig 7.13.2 : Kitarreld Facebook page Fig 7.13.8 : Meshes'', Boutique Facebook page Fig 7.13.9. Fig 7.13.4: Karnak Facebook Page
WOVEN POEMS FROM ASSAM
WEB REFERENCES Author : Manshree Saikia Article title : Gamosa - An indigenous textile symbol of Assam URL : http://thestylesight.com/2017/08/08/gamosa-creation-assam/ Article title : Gamocha URL : http://www.assaminfo.com/culture/1/gamocha.htm Article title : Indian Village Directory URL : https://villageinfo.in/assam/kamrup/boko/pairanga.html Article title : Asian Textile Studies / Brown Dyes URL : http://www.asiantextilestudies.com/brown.html Article title : Areca catechu URL : https://en.wikipedia.org/wiki/Areca_catechu Article title : Lac URL : https://en.wikipedia.org/wiki/Lac Author : Menuolhoulie Kire Article title : Motifs on Silks of Assam URL : http://www.dsource.in/gallery/motifs-silks-assam Author : Dr. Anshu Sharma Article title : Weaving Culture of Mishing Tribe of Assam URL : http://textilevaluechain.conVindex.phfrnemstassocia-tion-newsntern777-agm-meet-tmma Author : Marion Article title :1That Is Branding? URL : https:/Ammv.thebrandingjoumatcon2015/10/ what-is-branding-definition/ BOOK REFERENCES
All other images net mentioned above are owned by the author of this document Images are arranged in the order of their serial number
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Labanya Mazumdar (2013). Textile Tradition Of Assam : An Empirical Study Guwahati: Bhabani Books & Fabric Plus Hemakshi Devi / Textile Design / 205