Awake! - Portfolio 2015

PORTFOLIO IMON KHANDAKAR TEXTILE DESIGNER

DASTKAR ANDHRA, M.Des Project 3 AVANI EarthCraft, Summer Internship

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UPASANA DESIGN STUDIO, Textile Designer 31 Tantuvi - A great Indian warp, Graduation Project 41 Auroville PAPERS, Workshop 45 Colours of Nature, Freelancer 49 Jayanth Kalamkari Design, Freelance

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SILK MEMORY - Textile Ink-jet Printing, NID 59 Basic & Advance Weaving, NID 63/67 Dyeing Workshop, NID 71 Advance Print design, NID 77 Constructive Textile/ Surface Development, NIFT 87 Thing I enjoy doing 90

Dastkar Andhra

Hyderabad, Telangana & Andhra Pradesh, 2015

  Diploma Project developing collection of contemporary cotton handloom saris Dobby & Three Shuttle(Kuppadam) Temple border technique designing along with redefining quality of drape of a sari through material & loom technology. Ultimately the project was an attempt to find out new ways to create product ranges with different look that would be feasible in the market within the constraints of existing setup by introducing new techniques or by making changes in the loom and infrastructure.   Role Description: Project Leader, Researcher on Material & Trend, Collection Visualization, Workshop Conducting, Cluster Selection, Production In-charge, Documentation & client Presentation.

Imon Khandakar | Textile Designer | Industrial Faculty

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Project Methodology ABSORPTION

ASSIMILATION

• Accepting company objective & facilities • Visiting & collecting information about weaving & dyeing involvement • Understanding the sector • Research on loom, technique, material • Learning about system & cultural taste • Understanding market • Experiencing problems • Accepting the customer need

SYNTHESIS

• Analyzing existing fabrics • Classifying available material and style • Structuring combinations of existing woven • Sari understanding - contextual

RE-DEFINE

• Re framing the brief according to the gathered information & learning

IDEATION

EVALUATION

• Design approach • Identifying need • Marketability • Production ability • The design process • Sharing information to artisans • Final design development & sampling • Observation • Suggestion • Learning

  In rural India almost every aspect of life has special significance and translated into symbolic expression in clothing & other forms of personal adornment. Even the sari colour can have meaning.

Sari Layouts

Gadwal course

Narayanpet silk

Dharmavaram

Kothapally

khadi Kuppadam

Pochmpalli

narrow 8 meter

sada bottanchu

Baluchari

Banaras Brocade

Bangla Stripe

Korvai

Uppada zari

Venkatagiri muslin

Illkal

Narayanpet

Siddipet patta

Desi muslin

Skirt sari

Tamil Kornad

Patola

Tangil Jamdani

Mangalgiri missing dent

Wide Kornad

r rde Bo mp Co s

ion

it os   The idea of exercise on layout & border composition is done to develop an eye for actualization of the designs. Therefore actual size printout has been taken for Motifs, stripes & other elements to mix and match according to modern aesthetics and urban customer taste.

By doing this ideation process it helped to build a understanding of how border design for a sari works in terms of size & scale, positive negative space, colour interaction in both warp & weft interlacement happens.

Design Direction

The idea of a contemporary sari was getting born out of many inspirations like Jamini Roy’s & renowned Andhra Painter Thota Vaikuntam’s painting and throughout my field visits to coastal Andhra one can encounter Kolam as a daily & spontaneous form of practicing ritualistic art forms.

So a deliberate attempts made to achieve graphically subtle look and macro-micro visual perception in terms of distance by introducing stripes in the border along with the simplest form of dobby. So started to visualize striped border in range of 1” – 6”, because width of the border maximum varies in between both traditional and contemporary in an aesthetically balanced layout.

Introduction of rhythm here would make it strong in terms of balance out the body & pallu in a contemporary manner by addition and subtraction of space and colour play.

Tarangini / 2.5” Dobby

Dharani / 2.25” Dobby

Konia / 2” Dobby

Srivatsa / 2.75” Dobby

Bela / 1.5” Dobby

Adrika / 1.25” Dobby

Nalini / 1.5” Dobby

Hira / 2.5” Dobby

Ambipadm / 2.5” Dobby

Rudhra / 2” Dobby

Saroja / 1.75”” Dobby

Mudra / 1.75” Dobby

Selected Warps Out of the exploration on figures, layouts, Border compositions 16 warps have been selected to go for pre processing for sari development further. This borders are characterized on the basis of their look variety, technical possibility & easy for modification. Colour combination can variety according to dyeing & production.

The range has possibilities in warp & weft both ways to explore in each sari making process, which created a range of striped, checked, extra weft textile samples to further sari sampling.

Samudri / 1.5” Dobby

Warp_14/ 2” Dobby

Warp_15/ 1.5” Dobby

Warp_16/ 2.5” Dobby

Tarangini

Konia

Srivatsa

Bela

Adrika

Nalini

Hira

Ambipadma

Rudhra

Saroja

Mudra

Samudri

Project Display of saris elaborate from pit loom weavers of Andhra Pradesh - a fresh summer collection along with flavour of Guntur Pettu chire, a unfurling length of cotton fabric, handwoven at Mangalagiri.

Imon Khandakar | Textile Designer | Industrial Faculty

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Tarangini

Konia

Collection 1 Overview

Srivatsa

Collection 1 Overview

Samudri

Mudra

Collection 1 Overview

Hira

Collection 1 Overview

Saroja

Bela

Collection 1 Overview

Ambipadma

Collection 1 Overview

Nalini

Kuppadam Temple Exploration

Kuppadam, a weaving technique using three shuttles is practiced by weavers to create solid body and borders. Generally, one shuttle is used in weaving and this is thrown across the fabric width to create lengths of fabric. Two extra shuttles are used to create three distinct parts in one width of the fabric. Today, this technique is used mostly by weavers in Srikakulam and Mahaboobnagar districts of Andhra Pradesh.

This collection of motifs and forms are created out of triangular manipulation in terms of line quality, size-scale, positivenegative, summer look, and simplification of the techniques. This extra weft technique is used mainly to weave solid body & border, but in this explorations the idea is to create light pastel look on to the weave along with the solid border. Initial possibilities are observed in terms of drape composition and give a light look for summer.

The look of the sari has been visualized in light zamin with solid darker border. To achieve this effect a white warp with black/ Indigo stripe border is set for creating contrast while different colour weft interaction happens and creates a positive-negative look to it.

The forms are very much inspired by the grid work for developing a kippadam interlacement with understanding of picks, counts of the weft, colour interaction in urban potua context.

• Line

• Solid

• Size & Space

• Multicolour Wefts

To make it contemporary the technique is simplified aesthetically and also to achieve good quality under weavers limitation & capacity. Borders have been kept without any extra warp embellishment. The border look is created with the help of representative intervals to make the process simpler.

Series of visualization on size, scale, repeatation, positive - negative & interaction as three shuttle technique.

Digital explorations.

Line Kuppadam

Solid Kuppadam

Size & Space Kuppadam

Multicolour Wefts Kuppadam

AVANI EarthCraft

Kumaon, Uttarakhand, 2014

Using local resources, traditional kumaoni skills to create local livelihood opportunities for a joyful community life & bringing natural resources, people and design in full harmony to bring them to the contemporary market.

Avani consists of 5 livelihood centre speared in Pithoragarh district & Chankana is one of them.   2 months of my working in Chankana, broadly describe as capacity building of the centre through creative motivation and exploring more handloom possibilities in wool, silk, and linen as a new material for fabrics and Saris. Also looking after production planning, exhibitions and waste management of Avani Garment production.

Imon Khandakar | Textile Designer | Industrial Faculty

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Fine linen Indigo-undyed Saris for summer, inspired form interaction between sky & snowy Himalaya which is also reflects on traditional stone architecture of Kumaon region.

44s Linen fabric development for garment in colour textured combination. Strength is increased by playing with density of warp.

  Natural Dyed Linen Fabric for different fashion purpose by creating lighter - denser fabrication.

Undyed warp & dyed weft interaction to sustain cost.

Opposite side: Marino-silk floated Shawls,natural dyed, matty lustre of red, purple, indigo & yellow interaction.

  Recycled Coasters, made out of production waste fabric manipulation of Tibetan wool fabric by easy stitching technique.

Opposite side: Laptop sleeve, made out of production waste fabrics by patch work.

Making Aipan, a community service for the centre.

UPASANA DESIGN STUDIO Auroville, India, 2011-2012

Upasana is a place where creativity, fashion, design, Indian culture, business, social responsibility and spiritual progress get woven together seamlessly. It is a place where people are the central focus and all the projects, products and resources are to help people to grow and develop into their full radiance.

The collections are based on season and ‘Kapas’ & ‘Varanasi weavers’ Project, also waste management as a product development.

Major projects are - PARUTHI, JANAKI, TSUNAMIKA, VARANASI WEAVERS, TRANQUEBAR, KAPAS and SMALL STEPS. Imon Khandakar | Textile Designer | Industrial Faculty

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Organic cotton handspun, natural dyed yarn, Chambre tabby weave

  Play of different count strips & dent gap - Handloom, tabby weave, organic cotton, natural dyed.

  This is a spring - summer collection inspired from earthy colour of organic cotton blend with solid natural dyed colour border. Also property of cotton itself. Therefore the line is very minimal in nature for daily use.

Temple border exploration of Odishi saree for exhibition in Chennai along with B/W cotton stoles. opposite side: Paruthi summer collection 2011.

  Chambre cross colour stole designed to support local kapas handloom weaving unit.   Stole exploration in different count cotton combination, yarn dyed to support local Kapas handloom weaving unit.

Surface development of floral pattern from cotton production waste fabrics. Converted into tunic.

Exhibition named ‘Kapas- a way forward’, cotton yarn, fabric installation, promotion, Launch of Paruthi collection.

Pondicherry, India, 2011

Tantuvi- A Great Indian Warp Graduation project, NIFT, 2010 Upasana Design Studio, Auroville

This is a 6 months project under a organization/ company to develop a 3 range of collection under ‘Varanasi Weavers’ project as a silk brocade weaving from Banaras in handloom setup to create value for the weavers as they work only 6-8 months a year. This project includes one exsisting motif , new possibilities and also 2 new collection of design development of stoles, dupattas & running material also various design sampling for silk brocade.

Imon Khandakar | Textile Designer | Industrial Faculty

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Range of Banarasi silk woven Stoles, Inspired from Japanese Seigaiha Pattern

Bindu - Dot Personified   6 designs collection from dots in black & zari silk brocade handloom Dupattas. Play of size of dots and zari boder.

AUROVILLE PRESS Auroville, India, 2011

  The Auroville Press team, which comprises Auroville Press, Auroville Press Publishers and Auroville Papers. Our aspiration is to manifest beauty and bring it into many aspects of our daily life. Team works in tandem with local villagers and produces hand-made paper items.   I worked with Auroville Papers, in a workshop to develop collection inspired from the leaves around auroville. Creating a collection of texture in different product development for a particular season.

Imon Khandakar | Textile Designer | Industrial Faculty

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Double Photo Frame 15 X 15 cm Writing paper set, 10 sheets & envelopes, 19.5 X 9.5 Set of 5 Tags, 8 X 6 cm Notepad, 12 X 8 Thank you card, 7 X 7 cm (clockwise)

Gift bag, 41 X 32 cm Notebook, 19 X 13.5 cm, 54 sheets) Gift papers, 76 X 54 cm Photo album, 8 X 8 cm, 10 sheets Set of envelopes, 3 size (clockwise)

Cipressi 77.5 X 55 cm, poster imprint, handmade paper out of Banana fibre

COLOURS OF NATURE Auroville, India, 2011

The Colours of Nature Imon Khandakar | Textile Designer | Industrial Faculty

  The Colours of Nature produces 100% eco-friendly natural dyed textiles in order to recover ancient dyeing art for the modern textile industry. We have recovered the 4000 years old indigo dyeing fermentation technique. We have also recovered the mordent dyes with alum in the technique called Turkish red. The Colours of Nature has taken a holistic approach to the use of natural dyes, integrating all aspects of the process and is further researching in this field.   The brief is to create range of silk stoles in indigo dye by using traditional shibori technique. The collection based on a very simple play of lines in different canvas with the beauty of imperfection of Japanese art. Beside this it also has range of Sling bags.

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Running Stitch,Stitched Shibori, Silk Stoles, Indigo Dyed.

Indigo dyed, Running Stitch, Cotton Bags

JAYANTH KALAMKARI DESIGN & UPASANA Haydrabad, 2012

  This is a collaborative work to contemporaries some kalamkari design and also a calligraphic design form in textile which is inspired from Kabir’s poetry in light cotton fabric which has been later stitched & transformed as tops, turkish trouser & scarves.

Imon Khandakar | Textile Designer | Industrial Faculty

Portfolio 2015 | 53

  Kalamkari comfi & Kakoli skirts, a beautifully handcrafted kalamkari done on organic cotton fabric from Andhra Pradesh. Skirt is made out of 4 different kalamkari designed fabric panel in a beautiful blue & black colour combination for Summer look.

  This compositions are inspired from writings of Kabir in Hindi calligraphic screen printed on organic cotton.

Initially developed as a art pieces for wall, then converted in to garments and fashion accessories.

SILK MEMORY - Textile Ink-jet Printing Classroom Project, NID, 2014 The selected designs from the Weisbrod-Zürrer archives (dating from 1940 to 2012) are an inspiring starting point to develop modern and fashionable inkjet-printed designs. Questions concerning the characteristics of the fabrics will be debated and discussed in class and will function as inspiration for new designs for an “Indian collection” for the European market. By studying our own cultural heritage, Exploiting the potential of the archive and searching for inspiration requires more than anything your creative eye!

Moreover, the modern impression of the textile interpretations and the significance of the designs will be intensified by implementing the latest technologies, such as textile inkjet printing.

Imon Khandakar | Textile Designer | Industrial Faculty

Portfolio 2015 | 59

When to interpret the same woven idea into an Indian context, Kites or PATANG, came to me as an inspiration owing to that argyle form - which is like diamond knitting pattern.

“ This is a kite for the wishes of Gandhi

This is a kite in the glory of unity

This kite does not belong to any religion

It is a kite for the whole country.”

- Naushad Patangwala

Explorations for the layout of the print in mix medium. Hand drawn, digital, photographs.

Final print, 150 X 100 cm, mix media.

Basic Weaving

Classroom project, NID, 2012

The followings are the basic weave understanding & their end use. Aim is to know the weave characteristics & end use. Also we understand the basic functions of the loom and the process of weaving.

Second approach is to know about the special weave derivatives - that have a different end use & accordingly order of weaving. Huck a back, honeycomb, mock leno, distorted weft & corduroy.

Third approach to understand colour and weave effect - concept of 2 colour yarn in the warp - one light, one black to create a number of warp pattern.

Imon Khandakar | Textile Designer | Industrial Faculty

Portfolio 2015 | 63

Tabby weave, material exploration to develop different feeling such as: 1. Sheer 2. Soft 3. Inlayed 4. Perforated 5. Tufted 6. Textured 7. Ribbed

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1. Dent Gap Exploration.

2. Honeycomb.

3. Mock Leno.

4. Huck a back.

5. Corduroy.

6. Distorted weft.

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Colour and weave exploration on same warp, creating design in 4 shaft table top loom.

Black & white 10s cotton yarn is taken to create maximum contrast.

ADVANCE WEAVING Design project, NID, 2013

Advanced Weaving module has been an insight into the world of compound structures with fabrics of a different function and aesthetics.

Introduction to the course started with understanding drafting; tie up plan and treadle plan and their combinations to get a structure graph. A structure graph is a unit which multiplies into a pattern for a fabric throughout.

The entire work process was interesting. Compound weave namely: Leno, Double sided terry, Backed cloth, Multilayer, Quilt, Special warp and weft, Imitation inlay, Extra warp. Hence we were introduced to the Arm Loom (automated). It has 24 shafts and the design feed is manually done which then operates on a loop automatically. Only the weft sequence is to be changed as per our pattern/design.

The entire design process was divided into two sections – understanding and weaving the basic compound weaves and making a prototype/product using any one of them.

Imon Khandakar | Textile Designer | Industrial Faculty

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6 1. Backed cloth 2 Extra Warp 3. Leno 4. Quilted cloth 5. Terry weave 6. Imitation inlay 7. Imitation inlay (back) 8. Extra warp & weft Double cloth & multilayered explorations

Right side

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Final onloom product development on process   This is a on loom collection of Lanterns inspired from the translucency of stained window glass interaction with light exposure.

To create the translucency warp is set on nylon threads with black as wooden boundaries. To give the 3D volume, tubular double cloth weave has been used with a loose beaten weft of coloured cotton yarn & metal wire to hold the structure.

Dyeing Workshop

Classroom project, NID, 2012

  In this workshop we worked on creating fabric texture through different dyeing technique such as Shibori, Heat setting, Clamp Dye as a resist dyeing. Trying to develop composition in fabric through these traditional technique in a modern context. Direct dye, acid dye, reactive dye as a medium of colouration.

Imon Khandakar | Textile Designer | Industrial Faculty

Portfolio 2015 | 71

Clamp & Folded Shibori Exploration

Clamp & Folded Shibori Exploration

Nui shibori or Stitched shibori & Mokume shibori, Resist dye methods, exploration with stitching, and patterns and textures.

Nui shibori or Stitched shibori, Kumo shibori, Arashi shibori exploration

Advance Print design

Design project 2, NID, 2013 The design process encompassed surface development – print. The module was 8 weeks long into two phases: Part 1 : concept development, inspiration, exercise on lines and textures, selecting a color palette based on forecast, understanding repeats, explorations of artworks for print, final artwork selection, colorways and coordinates.

Part 2 : after the final artwork was selected, the same was cleaned on software to reduce the number of colors for the screens. We underwent the process of screen making and printed our fabric samples. The same print was simulated on to any product.

Concept Development The concept generated from the idea of micro to macro view of us and earth. Living in the planet and seeing it is different where we overlook lot of issues which is not proportionate to our views. So here i take a leap from ground perspective to aerial view to see the bigger picture from air, about life on earth.

The beauty of Earth is clear, and the artistry ranges from the surreal to the sublime. Truly, by escaping Earth’s gravity we discovered its attraction. Awe-inspiring portraits of our planet, and a new perspective on the need for sustainable living.

From here, My experience of Ahmedabad as a city & Sabarmati became my inspiration.

Imon Khandakar | Textile Designer | Industrial Faculty

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Mood board Keywords:

• City map • eco system • landscape (pattern, shape, colour & texture) •River • surreal to sublime • micro - macro

Sabarmati river & ahmedabad city interaction Initial concept development • different style of look of the overall surface • indian ink, watercolour, poster colour, sketch pen • Repeatable pattern

Element Exploration

Coordinate design : exploration on different material through different processes. 1. Paper cut 2. Glass eching 3. leno cut 4. 3D paper

Coordinate design Printable exploration

Coordinate design Fabric exploration

Final Repeat development with added detail element & texture tried in different colourways.

Master print on Silk screen, 40 X 30 cm

Digital Mapping of the product & screen printed fabric in various colourways.

Constructive Textile/ Surface Development Classroom project, NIFT, 2009

  This is Basic manipulation through machine stitch to create a thematic surfaces as a construction technique through cording. The composition are based on rhythm in flowy lines to design a embossed white on white look.

Imon Khandakar | Textile Designer | Industrial Faculty

Portfolio 2015 | 87

When the Buddha started to wander around India shortly after his enlightenment, he encountered several men who recognized him to be a very extraordinary being.

They asked him: “Are you a god?” “No,” he replied. “Are you a reincarnation of god?”

“No,” he replied.”Are you a wizard, then?” “No.” “Well, are you a man?” “No.” “So what are you?” They asked, being very perplexed. Buddha simply replied: “I am awake.”

Thing I Enjoy Doing These are my illustration done in various day through a conscious way to connect to that particular day which are a part of me now.

Reality - Abstract in 5 frame Abstract - Reality in 5 frame

Line & Composition

Imon Khandakar Textile Designer ikhandakar@yahoo.com imon_k@nid.edu +91 8488913674 +91 8179112906