PORTFOLIO Kanishtha Kujur National Institute of Design 2019
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PRINT DESIGN
1a
First attempts at understanding repeats, spacing and form balance in print design.
1b A fun print developed for kids using toys as motifs.
Colour trials
Final prints
1c A set of coordinated prints developed taking plants as the inspiration.
Colour and treatment explorations.
Final overall print and colourway.
Coordinates.
1d A concept print with coordinated set of prints along with textile swatches.
The base drawing is inspired from the paintings of French artist Henri Rousseau.
Colour and treatment explorations.
Final painted artwork using mixed media.
Final overall print along with the unit.
Coordinated prints.
Coordinated prints made out of textures.
Textile coordinates made using embroidery and patchwork.
Prints imagined on garments and accessories.
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WEAVING
2a Colour and weave on two shades of desi wool.
2b Explorations with wool in combination with other materials to achieve 2.5 - 3 dimentionality in the samples.
2c Taking Russian laces as the inspiration, several structures were explored to achieve a similar figure and ground visual.
Figure and ground explored using different count yarns.
2d A live project in Molkalmuru, Karnataka with the state Government, gave me the opportunity to study the traditional weaving practices in the town along with designing one saree that celebrates the history of the saree and the craft.
The project involved the documentation of the product range, processes and people involved in the craft, followed by the analysis of the current scenario and coming up with the way forward.
42 | Sarees of Molakalmuru
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Motifs Mango
Peacock
The mango motif is one of the common motifs found in these silk sarees. It is VHHQ LQ GLႇHUHQW IRUPV DQG VW\OHV VL]HV ranging from as small as 2mm to as big as 9inches. They are widely used in borders, bugudi (supporting borders), as all over butas, corner butas and in the pallu as well.
This is a widely used motif in Molakalmuru sarees. Like the mango, this is also seen LQ GLႇHUHQW VW\OHV IRUPV DQG VL]HV LQ borders, pallu and all over body butas. We came across sarees with peacock motif as a recurring theme all throughout the saree where the same motif was adapted for its multiple use.
50 | Sarees of Molakalmuru
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Data Analysis After looking into the whole system of Molakalmuru saree production in the town, and looking into its market and the people involved, we tried to note down the Strengths, Weaknesses, Threats and Opportunities of it. Based on it, we tried to map a way forward that included product developement and other possible intervention points.
Policies And Schemes - Highly skilled weavers - Rich cultural and traditional techniques - HIgh quality material - Localised production - Weavers are aware of new design and colour trends - Mark of Hand - A small group of people still loyal to the traditional designs.
S O - Revival of natural silk dyeing techniques. - Revival of Pochampally design in the borders. - Molakmuru Sarees advertised as an identity of Karnataka and thus gain more importance for customers. - With the emergence of ‘Conscious Consumerism’, there is an increase in the demand for quality handloom product. - Traditional Molakalmuru sarees were worn by royalties. It can be reintroduced for the high end market.
52 | Sarees of Molakalmuru
- The business is highly relied on silk SULFHV ZKLFK DUH YHU\ ÀXFWXDWLQJ - Limited market due to high cost. - Identity crisis ( Molakalmuru sarees EHLQJ VROG XQGHU GLႇHUHQW QDPHV like Kanjeevaram and Dharmavaram sarees) - Weavers unwilling to experiment with new technology and directly look to the market for any changes.
W T - Competition from powerloom industry ( Single shuttle and Kadiyal sarees) - Increasing prices of raw silk - Lack of weavers - Low wages for weavers due to weak market - Loss of older designs and motifs - Loss of skill - The entire town is depending on one KDUQHVV Âż[LQJ VSHFLDOLVW G\HLQJ XQLW DQG warping unit. If one of them falls then the chain would face abrubt problems.
Yarn Supply Scheme by the Central Government provides 10% subsidy to handloom weaver (both individual and the ones associated with cooperatives) on procurement of domestic silk yarn. The maximum quantity of hank to be supplied to a weaver is 4kg per loom per month. +RZHYHU RXU ¿HOG UHVHDUFK VKRZHG that a number of weavers are not aware of the correct policy terms. While the cooperatives are able to avail the 10% subsidy, the individual weavers are not aware that the policy extends to them as well. Beside this, even after the 10% subsidy, the cooperatives have mentioned WKDW WKH DGGLWLRQDO WD[HV QXOOLI\ WKH HႇHFW RI the subsidy.
of material. The schemes seem to be working well for the wool kambli weaving society of Kondlahalli, a village under the taluk Molakalmuru. The suggestion came from the silk cooperatives of the same village to study the implementation ways of the former schemes and apply it for the latter.
There are 3 insurance programmes currently under national schemes, MGBBY, PMJJBY and PMSBY. The weavers however, seem to be aware of only one RI WKHP 7KLV UHĂ€HFWV WKH LQIRUPDWLRQ JDS between the government and the masses. There are separate schemes in place for the wool weavers of Karnataka provided by the state government. It provides aid for purchase of machinery and provided a vehicle to every cooperative for transport
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Product Development A possible product intervention in the current scenario can be on the colour and design of the products in the market. The need of bringing in the “grand look� has killed the identity Molakalmuru had. The design vocabulary that used to exist was very subtle. In the current market as simple products gain more demand, it’s time to revive and bring back the motifs and patterns from the old vocabulary. Traditional moifs, designs and techniques should be used as an identity of the Molakalmuru Sarees and be used to raise value instead of being hidden or absorbing techniques belonging to others. 8VH RI GLႇHUHQW PDWHULDOV OLNH FRWWRQ in weft, can be implemented to make the sarees marketable at cheaper price points making creating a new market for LW 8VLQJ GLႇHUHQW PDWHULDOV ZLOO DOVR PDNH WKH VDUHHV PRUH DSSHDOLQJ IRU GLႇHUHQW weather conditions and occasions as pure silk sarees arn’t very comfortable during summer months or suited for casual wear. We developed designs based on the above points that would help in strengthening the visual identiy of the sarees.
Excerpts from the final document produced.
Designs drafted by us according to the loom setup available at the time. (Left) Use of colour interaction in the pallu. &HQWUH 0RGLÂżFDWLRQ RI WKH WHPSOH ERUGHU EDQGV LQ the pallu. (Right) Use of negative temple border imagery in the pallu along with lines in the border of the body.
Saree designed as part of the outcome. The characteristic features of the traditional Molakalmuru sarees were included like korwai technique, the temple border in border and pallu, muttu motif, along with suble checks all over the body. The saree was produced with silk in the warp and cotton in the warp. The resultant fabric retained the shine of the silk and the softer fall of the cotton.
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INDUSTRY TRAINING Digital prints for several collections developed for rugs during a two month internship.
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