Fa s h io n Desig n
K amal jeet K a ur
POR TF L
P ro j e c t s
1234
Sust ai na bi li ty Transform a nd Re - stru cture Th e N EN Pro ject Th e Capstone p ro ject
PROJECT - 1 FAST FORWARD
FAST FORWARD
A Sustainable approach to Fashion
Sustainability focuses on meeting the needs of the present without compromising the ability of future generations to meet their needs. The project aims at giving holistic understanding towards sustainable fashion . What are the environmental isuues and social impacts that are created by the industry which is driven by fast pace and wasteful production. Bridging the gap between sustainable practises and existing approach to fashion, the proj ect focusses on the individual solutions to identified concerns within the immediate environment. We were given var ious inputs on constructing a garment based on sustainable practises .
TABLE OF CONTENT
Minimal waste garment Zero waste garment Upcycled garment Upcycling our wordrobe garment
MINIMAL WASTE GARMENT
nin ev eo pe Sle
Sleeve opening
g
On fold
Minimal waste garment pattern We made a minimal waste garment with irregular shape, and also identifies the opening of the garment. Minimal waste technique produce very less amount of fabric wastage and the leftover fabric can also be used for addding some other element to the garment. like, pockets, embellishments etc.
Gathers
Gathers
Gathers
sleeve
Lower bodice
Gathers
Upper bodice
sleeve
2 mt of fabric
On fold
ZERO WASTE GARMENT
Zero waste garment pattern
Zero waste is a technique in which not a single inch of fabric is wasted. The pattern is made in such away that it can occupy all the fabric. We were given a 2mt of fabric to make our own variation of zero waste garment.The idea was, not to waste a single bit of fabric and understand the contructionof zero waste silhoutte.
6 mt on fold
UPCYCLED GARMENT
Front bodice
Back bodice
Area that will be cut off
Waste fabric pieces motly around 2 mt stiched together to form an on fold tunnel. The scrap fabric were sourced from ohkla market.
UPCYCLING OUR WARDROBE GARMENT
Before Upcycling We were asked to bring a garment from our wordrobe which we dont wear anymore and open it till its last stich. To reshape it into a new garment. A number of ideations were done on the dress form before reaching the final form.
The final iteration
After Upcycling
Designed and Photography by kamaljeet kaur
Model Renika Gosain
PROJECT 02 TRANSFORM AND RESTRUCTURE
SIM PLY COM PLICATED
The project aims at understanding the basic form and structure that makes a garment. It is also about building a new design approach, that question the existing model of garment and body. The project revolve around 4 elements that are -
The project approaches the garment with the presice sense of dissection and engineering through understanding the 2 and 3 dimensionality of an object. The project aims at constructing an Avant-garde garment with representation of Oxymoron and the various element that were being taught.
E L E M EN T - 1 PA C KA G I N G
U pscali ng the pa ttern x 4 Co nv erti ng 3D i n to 2D G etti ng a crea ti ve packagi ng to start w i th.
Mus li n Explora tio ns
Traci ng the pa ttern on m usli n.
U nd erstandi ng the body from the perspecti v e of packagi ng and how space plays an i m por tant rol e i n the m aki ng of a gar m ent.
Drawstring
Pleats
E LE M E NT - 2 TECHN IQUES
Shirring
Learni ng and explori ng different techniques to und erstand form and structure. In thi s element w e started looki ng a t various techniques w hi ch w i ll help us out to g enera te the fi nal outcome.
Paneling Ruching
Fluting
Gathers
A P P L I C AT IO N O F T E C H N I Q U ES
D rapi ng
Ga th ers
Tw i st a nd Knot
Ov erla pi ng
Plea t s
F lu ti n g
T hro u g h th e i np u t s g i v e n to us a b o u t vario us te ch n iq ues . We e x p l ore d s o m e on th e mus li n . T h es e te ch n i q ues h el p e d us i n d e vel o pi n g o u r fi na l o u t c o m e .
E LE M E NT - 4 OXY MORON Taking inspiration from nature’s packaging. i t look so simple from outside but from inside i t is very much complicated. The inspiration for the garment came from Pomegranate.
S i mpl y C ompli ca ted
when the pomegranate was dissected, the seeds were beautifully stacked together. the peel was plain from outside and from indside, a beautiful shape was crafted due to preesure of seeds on the peel. It also has a transparent sheet between the seeds which is dividing and overlapping the seeds into sections.
Color palatte
ELEM ENT - 3 DESIGN AS A VE RB
Pleates and Tucks This exploration was created to show the overlapping which is present inside the pomegranate.
EX PLO RAT I O N S
In thi s element w e und erstood d esign as a verb and not a noun, and also learnt how a technique i s put i nto action. T hrough (C onnecti ng, E xposi ng, E xpandi ng, E ntang led, O verlappi ng, J uxtaposi ng, S li ci ng etc.) As w e started worki ng on our oxymoron si mu l taneously. T hese are some of the explora tions before reachi ng the fi nal form.
Layering Flower form This shape came from pomgeranate when it was opened the shape that came out looked like a flower.
Pleats This exploration was made to show the depth of the peel.
Gathering This exploration of 4 side gathers demonstrate the depth of the peel.
Layers of fabric were stiched together and rolled to show the stack of seeds that are put together on each one.
DESIGN DE VELOPM E NT To reach the fi nal form, a lot of explora tions w ere done w hi ch w ere further trasnla ted onto the body. T he id ea w as to crea te a form for a form and movi ng from 2 D to 3 D.
E xplora tions on mi ni dress from w i th the 3 d explora tions
P R OCESS - F I N A L G A R M EN T
1
The ov er lappi ng technique w hi ch w e learnt i n element 2 became a base for the construction of fi nal garment. i n na ture packagi ng ‘pomegrana te’ the layers w ere ov er lappi ng each other, and also becomi ng a strong base for the seeds to rely upon. t he nex t step w as to expand the overlap layers and i ntentionally i t helped to arri ve a t a f or m . After thi s four sid e ga thers w ere placed oon the w ai st li ne to support the ov er lappi ng panels.
2 3
t he f i nal f a bri c selected for the garment w as ‘fel t’. As i t has tha t strength and capa bi li t y to stand beca use of i ts thi ck ness, and the structure really needs a stiffer f a bri c to make the form i ntresti ng. ga theri ng w as also explored on the fa bri c to see if t he d ept h i s comi ng or not, a t the end the explora tions on fel t came out very w ell.
4
F el t fa bri c explora tions
3 4 1
2
O v erla p pi n g el eme n t
Pattern tracing of final garment T he fi nal color of the fa bri c selected w as peach. as i t w as a mixture of red and pi n k and i t w as totally d epi cti ng the theme and i nspira tion. T he first draft of pa ttern w as mad e and ga thers w ere add ed duri ng the sti chi ng part. In all the four panels a circle w as cut to fi t the neck .
We starte d wor ki n g wi t h e x p l ori n g 3 D f or m s and c o n verti n g t h em i n to 2D a n d t h e n a gai n m aki ng i t i n to 3 D o n t h e d ress for m . T h e fi na l out com e al so c a me i n a s c o n v er ti n g fro m 2D to 3D . The f i nal d esign on pa ttern paper
FI NAL GARM E NT
M o d el - Sh w et a n g i S ha h i
Project - 03 The NEN Project
Craft Internship Chizami, Nagaland
The Women who Weaves Magic
The project aims at setting a context by undesrtanding and appreciating the ďŹ ner nuances of craft practises in india. we went to Chizami, nagalnd for this project. to understand the lifestyle and culture of the Chakesang tribe. and in fashion context, to understand about the back strap loom weaving and later constructe a garment with a zero waste or minmal waste practises.
North East Network
NEN is a Women’s right organisation started by the Women’s rights activists Monisha Behal in the mid 90s with the aim of improving women’s health standards in the state. NEN through its varoius programmes and survey are provinding with the best of facilties and income to the women.
NEN Founder Dr. Monisha Behal
Chizami is a small village in the phek district of Nagaland. The state touches it border with the Maynmar counrty. We went to Nagaland for our one week craft internship to undestand the craft, culture and traditional practises of Chizami people. we worked very closely with the Chakesang tribe. We stayed at the North East Network headquaters.We understood the life of chakesang tribe through their agriculture practises, architecture, livelihood, craft practises, clothing and textiles and most impotantly the back strap loom weaving.
NEN Chizami headquaters
The Journey
DELHI
Travelling through the longest journey of more than 2,300 Km. We reaced this beautiful place in the Phek district of Nagaland at the North East Network (NEN) headquaters in Chizami.
Mon Longleng Mokokchung Tuensang
Wokha Zunheboto
Kiphire We travelled through train to reach Nagaland. During our journey we crossed different states starting from Uttar Pradesh, Bihar, West Bengal, and Assam to reach Nagaland.
Dimapur Peren
Kohima
Phek Chizami
NAGALAND
Agriculture
Terrace farming field
Agriculture is a way of life and a part of life for chizami people. Terrace farming and Jhum cultivation (slash and burn) are the main agriculture practises done by them. The terrace farming both wet and dry fields are more than 400 years old. Around 70% of naga people follow agriculture as thein main occupation. They grow crops for themselve as well as for the market. Nagaland is known to be the land of festivals.There are many festivals celebrated related to agriculture.Millet is grown in large amount, it is a staple food of Nagaland.
Architecture
Every house in chizami holds a story behind it. The wooden panels (Kelicha) in front of these houses are owned by the owner. People who can put this wooden panel in front of their houses are hunters, Elito (rich and able to slaughter buffalo), Ezathshu(people who offer feast of merit to whole village). For the Chakesang tribe feast of merit is all about building a sence of community. Richness for them is not what you have but how much you can share with the community matters the most.The walls are also constructed using bamboo.
Basketry
There are various types of baskets used for various purpose by chizami peoples. Baskets hold so much value and importance in their life. All the baskets are smoked before using to protect it from insects.
Apfuse (grand parents ) weaving the basket
The base material used for making baskets is bamboo. It is available in abundance in Chizami. Bamboo is cultivated during the autumn season. Baskets are also given to girls when they get married to store things in them. Bamboo are cut in stripes and kept in water to make it softer. The base is prepared first. There are many types of basket weaving technique that are used by basket weavers. Baskets are also cleaned with water before finishing. Baskets are used to keep grains, measuring grains, carry firewood or vegetables,water or sometimes they are also used to carry childrens.
Raincoat
Hand knitted raincoat made by Chakesang tribe.
A women twisting the rope for the initial step.
The Raincoat loom
Seperating the Enhi material
Enhi is a type of grass used for making raincoat. It is collected in the month of september. The process of making raincoat is very complex and time taking. It gives a dual protection to the farmer. Protect the farmer from rain as well as from harsh sunrays. Enhi (date palm)
Step to step process on the loom
Spinning - Cotton
Raw cotton
Cleaning of cotton
Removing seeds
The home grown cotton is the base of chizami weaves to produce beautiful pieces of shawls and fabrics. other than cotton, jute and Stinging nettle (locally available material) is also used by chizami weaves. Processing of cotton and then cleaning it, removing seeds, spinning using a spindle and converting into hanks is all done by hands. The yarns are also dyed using natural dyes for which the raw material is also found and produced within the village.
Making yarn hanks
Spinning of cottton using spindle
Chizami Weaves
Setting up the warp
The backstrap loom
Back strap loom weaving is one of the most portable loom in the world. it is easy to use, convinent, and easy to carry. Weaving on a backsarp loom is a complex process. In this weaving process, even the lifting of warp and weft and putting the weft yarn is totally done by hands. The back is supported by a backstrap, which help the weaver to weave. One such limitaion of back strap loom weaving is, its limitation of width. You can’t produce a fabric of more than 20 inches on this loom. But that is not the end of story. Two or more fabric are joined together using beautiful hand joineries to create a bigger piece of fabric. The ďŹ nishing part of fabric is also done very beautifully.
In chizami weaves most of the womens involved in weaving are from chakesang tribe. Till now around 600 women weavers are registered, from which half of them work on regular basis. NEN gives the fredoom to women to work from home, by this they are able to do their housekepping job as well as produce the outcome for Chizami weaves on time. The back strap loom weaving is a part of slow fashion. The weaver earn a good amount of income as the dying craft is slowly gaining popularity.
Inspiration
The intricate detailing in the basketry and the joineries (that are used to join two piece of fabric to widen its length) became my center of attraction for the garment. The Chakesang people weave baskets for different purposes and they are vailable in different size variation also. and same is with joineries, they do beautifull joineries which make the garment appealing.
After understanding the culture and clothing of the Chakesang tribe of nagaland. With the understanding of the back strap loom we created our own insiration to make a zero waste garment according to the back strap loom weaving.
Moodboard
Colour swatches
Design development
Design development is made on the basis of zero waste and minimal waste theory. The silhouettes are simple and daily wear. wrap around skirts and overgarments are their staple garments which they wear on daily purpose.
Draping exploration
draping explorations done using the back strap loom fabric proved to us by the college. exploring different forms on the manequin to make a zero waste garment or a garment with minimal amount of wastage.
Drape exploration for zero waste pleated skirt which later became ďŹ nal ďŹ nal garment.
Front
Back
Side
CAD iterations of ďŹ nal garment
Pantone - 231F20
Pantone - 772122
Pantone - 844E48
On the loom Belt
Spec sheet of zero waste garment - Pleated skirt
18 inch
x1
2mt 4 in
2 in
Back x1
30 in
x2
2mt
2mt
x1
Front
2 in
x1
Model - Jyoti Saini
A sincere thanks to the whole NEN team and our faculty to introduing us to this beautiful place, Chizami and learn about the backstrap loom weaving and to explore the other craft of the place.
Photography - Kishan Singh
PROJECT - 04 THE CAPSTONE PROJECT (Foundation year)
ਫ� ਲ kari from the land of five Rivers Punjab
The Capstone project was the final pathway project in foundation year to faciliate us to enter into our individual choice of carrer and also to reflect the skills and knowledge we have gained during the foundation year. We were allowed to explore and understand our area of interest and begin by choosing a theme from the various options provided. My choosen theme came out from handicraft, and i further selected Phulkari as an inspiration to lead the project. Phulkari is an embroidery technique from Punjab. The colors and the embroidery really fascinates me. The intricacy of this craft is really admiring.
What is Phulkari ?
Phul means ‘ Flower’ and ‘ Kari’ means work. The base of this craft is’ khaddar’ cloth and silk threads. The origion of this beautiful craft can be traced back to the 15th centur y. The female member of the family used to gather in their leisure hours to spin the charkha and embroider. Phulkari is used for ceremonial ocassions, during a birth of a child or at marriages. It is mostly worn over a tight fitted choli and ghagra, formed the rural women of punjab. In phulkari embroider y is done from the reverse side using darning stich over counted threads. Only one thread is taken up with each pick of the needle, leaving a long stich below to form a pattern. Stiching is done diagonaly and it form a pointed ends. Some have opinons that this craft migrated from persian art, where an similar emboider y called gulkari was practised. While some other theor y states that when jat tribes of punjab, basically peasents migrated from central asia, persia. They came up with patterns that were inspired from persian gardens, chahar bagh which means four garden consista of four sqare within a sqare. There were also predictions that first sikh guru, Guru Nanak Dev ji sister also used to do Phulkari.
Women doing Phulkari embroidery
Although machine made phulkaris are now widely available in the market. but the beauty of hand done phulkaris will remain the same.
Hand made Phulkari back
Hand made Phulkari front
Machine made Phulkari back
Like the front, the back of this beautiful embroidery also look symmetric. This peice ia around 100 year old which was found at the Punjab emporium.
Machine made Phulkari front
Types of Phulkari
Bagh phulkari
Chope Phulkari
Sainchi Phulkari Bawan bagh Phulkari
Darshan Dwar Phulkari
Motifs
The motifs of Phulkari are mostly geometric figures, followed by flowers and fruits, animals and birds
Exploring Phulkari motifs and pattern with colur rendering
Exploring Phulkari patterns
Understanding the 3d geometry of phulkari motifs
Explorations using paper foldind to understand the 3d geometry
Design Development
Final design
Procees
Taking forward the idea of creating 2d motif into 3d to create an Avant-garde garment. The structure was created with sunboard and thread dyed in traditional Phulkari colors, were being put upon the structure.
Final outcome
Mela Phulkari The best part of this project was, that the wearable art got selected for installation at the anuual Mela Phulkari exibition hosted by 1469 original, at India Habitat Centre, New Delhi in the year 2018. Organised by Phulkari revivalists Harinder Singh and Kirandeep Kaur curated by Dr. Alka pande. This was a life turning moment. As a college project was loved and appreciated so much that it become a part of the exibition. so the only thing which was updated was the finishing. wooden frames were added at the edges of the installation to protect the threads from fraying and give it a professsional look.
PHULKARI is not just an embroidery its an expression of love that is put onto the cloth.
TH ANK YO U