I K E B A N A GRADUATION PROJECT 2021 // LAKSHMI MECHERY
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NATIONAL INSTITUTE OF FASHION TECHNOLOGY, KANNUR
GRADUATION PROJECT
BACHELOR OF FASHION DESIGN Batch 2017 - 2021
Khara Kapas Lifestyle Pvt Ltd., Gurgaon, Harayana
Submitted By, Lakshmi M Prasad BD/17/775
Submitted To, Prof. Shangrella Rajesh
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6 | CERTIFICATE OF ORIGINALITY
8 | DECLARATION
DECLARATION This is to certify that the document entitled “GRADUATION PROJECT DOCUMENT” submitted by Lakshmi M Prasad, BD/17/775, Batch: 2017- 2021, student of Bachelor of Design in Fashion Design at National Institute of Fashion Technology, Kannur is the record of work carried out by her during the period of 11th January 2021 to 3rd May 2021 under the guidance of Ms Shilpi Yadav and Ms.Shreeja Sharma at Kharakapas Lifestyle Pvt. ltd, Gurgaon and Ms. Shangrella Rajesh, Assistant Professor, Fashion Design, Kannur
10 | ACKNOWLEDGEMENT
ACKNOWLEDGEMENT I would like to express my sincere gratitude towards Khara Kapas Lifestyle Pvt. Ltd for giving me the opportunity to do my graduation project. I am extremely grateful to Ms Shilpi Yadav, Ms Shreeja Sharma, for their concern and efforts and under whose guidance I was able to complete this internship. I am thankful to my college mentor Prof.Shangrella Rajesh for her constant inputs and direction throughout the span of this project which helped me in the completion of it. I extend my sincere gratitude towards the Director, NIFT, Kannur and Prof. Manu Prasad Mathew (Course Coordinator, Department of Fashion Design, NIFT, Kannur) for providing us students with the opportunity to be exposed to the industry environment and for making this Graduation Project a part of the Semester 8 curriculum.
12 | CONTENTS
CONTENTS PRIMARY RESEARCH
DESIGN PROJECT
1. Company Profile 2. Map 3. About the Brand 4. Company Vision & USP 5. The Founder 6. Organisational Structure 7. Infrastructure 8. Product Development & Process 9. Brand Architecture 10. Merchandise Mix 11. Understanding Sub-Products 12. Sizing 13. Sale Channels 14. Social Media Presence
1. Khara Translation 2. Design Brief 3. Design Process Flowchart 4. Concept Note & Ideation 5. Inspiration Board 6. Mood Board & Key Points 7. Colour Story 8. Client Study 9. Fabric Research 10. Value Addition Study 11. Print Directions 12. Trims and Details 13. Look, Board 14. Plans & Discussions 15. Silhouette Explorations 16. Range Plan 17. Design Development 18. Final Illustrations & Costing 19. Final Line-Up 20. Technical Illustrations 21. Specification Sheets
SECONDARY RESEARCH 1. Competition Analysis 2. Collection Analysis 3. The Khara Kapas Trends 4. Dyes 5. Green Packaging 6. SWOT Analysis 7. Brand Positioning 8. Customer Relationship Management 9. Inventory & Order Management 10. Promotions 11. Merchandising 12. Consumer Research 13. Target Audience 14. Process
CONCLUSION 1. My experience 2. Project Completion Certificate 3. References 4. BTS
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COMPANY PROFILE Year of Establishment: Address:
Landmark: Ownership: Partners: Capacity: Unit Type: Products: Total Facility Area: Production Lines: Total Workforce:
2015 Khara Kapas 18, New Colony, Madanpuri Road, Sector 7, Gurgaon - 122001. Haryana. Chiranjeevi Hospital Partnership Firm Shilpi Yadav & Madhur Ramani 1500 units/month Retail & partial export Women’s Apparel, Bags, Footwear 1500 sq. feet 8 50
#18, New Colony, Sector 7, Old Gurgaon - 122001
KHARA KAPAS | 21
In our current reality where many brands follow fast fashion to oblige the interest of numerable consumers, brands like Khara Kapas is a much-needed refresher. These brands are causing a buzz and making sustainability a way of life for ages to follow. Regardless of how little the brand began, today it has procured a standing to be one of the brands which follow slow, sustainable and ethical fashion.
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Khara Kapas, signifying 'Pure Cotton' in Hindi, begun with the belief that garments produced using unadulterated fabrics can bring joy into everyday lives. The brand was launched in February 2015 as a design start-up based on introducing age-old Indian textiles and craftsmanship into the 21st century. Free-flowing outlines and minimalist silhouettes let the attention and careful craftsmanship that goes into making Khara Kapas' garments. In one of the interviews of our creative director, Shilpi Yadav, with your story media Pvt.Ltd., she says, "We work intimately with small artisans all through the country. Small weavers have been the foundation of our business. We find motivation and inspiration in their work. So many of them are the last domains of their art. It is amazing that they have managed to preserve these techniques in the face of modern pressures.”
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KHARA KAPAS | 27
Khara Kapas is a sustainable clothing brand that creates handcrafted pieces with their solidarity being cotton variations and Indian handloom. The brand works closely with craftsmen and weavers across the nation keeping the rich Indian legacy alive through their utilization of pure handloom cotton and cotton variant fabrics, subtle tones and simple prints. Their design philosophy revolves around the idea of minimalism, clean cuts and relaxed silhouettes, in pure fabrics, earthy tones and simple Indian motifs for prints. Each garment is handcrafted from scratch & is a result of endless days of hard work that a team of weavers, dyers, craftsmen, and tailors put in for one finished product. .The brand is home to a staggering scope of cotton variations and Indian handlooms, regularly exploring fabrics like mulmul, jute, chanderi and material for variety.
The brand swears on using cotton and just that to make delightful maxi dresses, kurtas, shararas and what resembles an astonishing assortment of cotton outfits. Playing with a variety of prints, patterns and designs, Khara Kapas is endeavouring to accomplish straightforwardness through hand-picked textiles, well-thought designs and ethical business practices. The brand works intimately with Indian artisans to serve the penchant of cotton lovers. With the assistance of these weavers, the brand celebrates the Indian culture, tradition and rich legacy of the country in the entirety.
USP | 29
Khara Kapas endeavours to avoid global fashion trends and reveal in true spirits what resonates with their image and the clients they serve. Brand Identity & USP 1. Ensure the purity of fabrics 2. Local Sourcing 3. Say no to even a semblance of mass production
30 | USP
" To Inspire and excite creativity in customers." - Quality: The brand guarantees that good quality cotton is used to deliver the garments, and ensures, that the final product goes through an exhaustive quality check prior to reaching the client. Good quality extends the life of the garment,in this way, diminishing the total purchasing amount, henceforth makes them take a stride back from fast-fashion culture. - Handcrafted: The brand attempts to source its fabrics from local vendors and weavers across the nation instead of sourcing them from mass assembling units. This has uplifted so many fabric weaving units and also is a way of employment generation. - Organic: The brand is absolutely against utilizing harmful dyes that can contaminate the environment, and uses Azo-free organic dyes for their clothing and stays true to their brand’s goal to create an Eco-friendly fashion environment. - No to Fast Fashion: The fashion business has fostered a trend to produce much more than required, because of which there has been a ton of wastage and gathering. To cut this down, Khara Kapas followed the "make to order" style of business, where production happens just when there is demand.
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SHILPI YADAV - THE FOUNDER Shilpi Yadav acquired her bachelor’s fine arts from Delhi University and afterwards proceeded to study textile design at the National Institute of Design. She topped off her education studying merchandise marketing in the world’s start-up capital, San Francisco. After getting back to India, she started her vocation working at local design studios and ascended from that point. “The last job I had was as the creative head for an e-commerce company before starting Khara Kapas,” she adds. Shilpi's father, being in the military, had various postings for the duration of his life, which likewise prompted a great deal of travelling for the family. As a result, from a young age, she was presented to numerous societies and cultures all over the nation. She says, “I remember my excitement when my mum used to open her trunks of a variety of fabrics and sarees and drape on me.” Accordingly, an incentive for purity and supporting Indian fabrics turned into Yadav's motto for Khara Kapas."Khara Kapas was founded with blood, sweat and tears.” The organization was bootstrapped with an underlying speculation of INR 70,000. The company was cash positive in the initial six months. Khara Kapas began in a single room with two sewing machines in Yadav's home. The very first collection comprised of 50 pieces, which were put to trial with a small pop-up exhibition where only family, friends and friends-of-friends were invited. The response received was overwhelming. The profit from the pop-up was put back to the company for expansion. The brand gained popularity through word-of-mouth and started selling through Facebook as a ‘Made-to-Order’ (MTO) brand. Within the first year, the company opened its design studio, by putting back profits into the company. In the second year, they opened their first store.
34 | FAMILY
The Khara Kapas family has developed and grown throughout the years. It began as a team of three with Shilpi and two tailors and has grown into a family of 50. The brand is separated into various divisions making it an efficient and brilliant team. Administrative Dept: Management & Merchandising team- Madhur Ramani (CEO), Shreeja Sharma (Brand Image Manager), Mansi (Asst. Brand image manager) Finance & Accounts Dept.: Accountant- Mr Bhim Singh Production Department: Pattern Master & Cutting Master with team Quality Control QC head- Mrs Sangeeta Handwork and Packing Department: Mrs Tanu, Mrs Manju Logistics Dept.- Mr Bhim Singh Interns: Mayank S Kamboj, Lakshmi Mechery, Prachi Chauhan
36 | ORGANISATIONAL STRUCTURE
Shilpi Yadav (Founder)
Madhur Ramani (CEO)
Shreeja Sharma (Brand Manager)
Mansi (Assistant Manager Operations
Intern 1
Bhim Singh (Accountant)
Azad (Pattern Master)
Sangeeta (Quality Check Inspector)
Helpers
Raju
11 Tailors Tanu Ahmed Dharam (Dyeing Unit Head)
Intern 2 Ramparvesh (Pattern Cutting Master) Intern 3
Chaman Manju
Sumit
Sumit (Rider)
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Stairs
Stairs Storage
Washroom
Stairs
Patterns Washroom
Iron
Iron Table
Design Department
Accessories Inventory
QC Table
Pantry
Sewing Machines
Cutting Department
Fabric Table
Finance
Inventory
Reception
Handwork and Tying
Fabric Inventory
Stairs Storage
Thread and Trim Inventory
Sewing Machines
Rack
Rack
Iron Table
Dyeing Area
Trial Room
Pattern Making Table with Roll
INFRASTRUCTURE
Vat + Stove
Iron Table
Inventory
Table
Dye Rack
Studio Space
Rack
Display Rod
Iron Table
The Khara Kapas studio is nestled in the lanes of old Gurgaon- A lush green patch amidst the dusty roads and grey buildings. The studio is an extension of the Yadav’s home. The main office and the design department is placed on the first floor of the office building while the ground floor is occupied by the dyeing unit, sewing unit and the studio. The area is surrounded by lots of trees and altogether it is a scenic atmosphere to work.
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PROCESS When an order is placed on the online website, the item is dispatched in 10-14 days. The garment is made to order, the brand doesn't keep stock or inventory. Each piece of clothing is produced from scratch. An order can be Cash on Delivery (COD) or an online paid order. The website is fueled by Shopify. While ordering an item, the client has the opportunity to pick a fabric and alter it according to one's own body measurements. The brand sells through various other platforms including Etsy, Ogaan etc. The organization follows a typical start-up culture. The group performs multiple tasks, and work around getting jobs done. Each season, the process begins with an idea worked by Yadav. She is responsible for trend research, range choice, silhouette design, and so forth. All of this information is translated into initial pattern making, done by Azad Master. These patterns are used to construct test fits. Yadav either chooses, dismisses or recommend changes in these test fits, consequently starting another round of test fits, until the plan has culminated. She additionally sources the fabrics, manages and directs the colour and print. When the final fabrics and test fits are prepared, the patterns are altered and the sampling is done.
Bhim and Shilpi work out the costing of each garment. A photoshoot is planned out, and the entire team contributes to help. The photographs and description of each garment are curated by a substance author or content writer and is passed on to Shreeja. She uploads all the content on Khara Kapas' site through Shopify. She is responsible for getting the message out about the new collection via webbased media, social media and third-party stores. After this process, clients can place an order online. Once an order is placed, the fabric is handed over to Ram Parvesh for cutting. He gets ready bundles of cut fabrics for each garment and allots a tailor for sewing. After the article of clothing is sewed, it is given over to Dharam for dyeing, washing and drying, then to Sumit for pressing. From here the garment is given to Tanu for thread cutting and handwork. She lays out the finished garment on the QC table for Sangeeta to check and approve. After this, she packs the finished piece. Bhim is liable for creating the invoice for this bundle, and other dispatch related tasks. The packet is then sent out to delivery by the courier partners or the rider.
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Sustainability can’t just be “about what you wear or a tag line you put across your business practices. It involves everything from how you choose to live, what you eat, and how you contribute to society. -Shilpi Yadav
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HOW SUSTAINABLE ARE WE? PRE-PRODUCTION 1. We only utilize 100% natural fabrics, sourced locally from craftsmen of Orissa and Andhra Pradesh. We trust in supporting and sustaining the Indian handloom and craft. 2. We directly source from artisans. No middleman is involved, and the artisan is paid his full due without haggling. 3. Our assembling unit is intended to fulfil every one of the fundamental requirements and ensures the safety of all the employees and workers. We guarantee sanitation in the facility and toilets, provide safe and clean drinking water, and work on reasonable wages. The facility is built to self-ventilate, guaranteeing an ideal temperature. 4. We attempt to limit our in-house waste. We use steel cups rather than dispensable ones. Sampling is done using old, leftover fabric. 5. We are additionally a pet-accommodating office. 6. We plant a few indoor air purifying plants, as well as accommodate an outdoor vegetable garden
PRODUCTION 1. We use only azo-free dyes, and bio-enzyme detergents, to diminish our effect on the climate. 2. Water is made fit for use in our vegetable garden. 3. We are exclusively a "Made to Order" brand and cut fabric just on order, and as indicated by the customer's measurements. 4. We gather our fabric and paper waste daily. Waste fabric is upcycled into products for our Upcycle Shop or used around the office. The paper waste is recycled and used for packaging and printing 5. We essentially preach slow fashion, and work only around two major seasons. We believe in providing quality over quantity. POST-PRODUCTION 1. Our packaging is green. 2. We continually work on deadstock management to limit wastage. A chunk of old stock in mint condition is put up every month for Clearance Sales. The remaining lot is passed onto un- deprivileged girls through our in-house charity ‘Gift Power’.
MERCHANDISE MIX | 51
WESTERN WEAR
AHIMSA LEATHER BAGS
Dresses Tunics Tops Skirts Trousers Jackets
Totes Briefcases Mini Baskets Baguettes Bowlers Satchels Backpacks Cross Body Hemispheres Wallets
INDIAN WEAR Ghagra Set Sharara Set Kurtis Tops Dupattas Saris Stoles
CANVAS BAGS Totes Briefcases Mini Baskets Wallets
MENSWEAR
AHIMSA LEATHER SHOES
Trousers Shirts
Mules Slip Ons Cross Overs Gladiators Canvas Mules Ikat Mules
KIDS WEAR Dresses Trousers Shirts
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THE KHARA ACCESSORIES
Khara Kapas retails women’s bags and shoes. The textiles used are Ahimsa leather, canvas and handwoven fabric. Ahimsa leather is a sustainable, and cruelty-free variety of pure leather. The canvas used is a thick textured fabric in various colours and pattern. The only handwoven fabric explored yet is in various ikat prints. All these accessories come with Khara Kapas branding. The bags include totes, bowlers, baguettes, briefcases, baskets, satchels, crossbody, backpacks, hemispheres and wallets in various colours, combination of fabrics, and sizes. All bags were constructed in-house. All the bags are designed keeping in mind their utility. The shoes include slip ons, crossovers, mules, juttis and gladiators in Ahimsa leather, canvas, ikats and prints. All footwear is outsourced. While the juttis are sourced from Jaipur, everything else is constructed by a vendor in Delhi. The sizes range from 36 to 42. All footwear is constructed keeping in mind the wearer’s comfort. They come with a 0.5-inch heel so that the foot is not completely flat, and cotton-padded soles for breathability and absorbency of sweat. All shoes come with Khara Kapas branding and are sold with shoe bags or boxes. The Accessories portion of Khara Kapas doesn't function anymore and do not have a leather department. But, The Bags and Shoes continue to sell as there is a certain amount of inventory left from the previous production. The above study and exploration were done during multiple product photoshoots, and inventory management during the internship tenure.
SIZING | 55
Size
XS
S
M
L
XL
Shoulder
13.5
14
14.5
15
15.5
Chest
34
36
38
40
42
Waist
28
30
32
34
38
Hip
38
40
42
44
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The estimating sizing chart of Khara Kapas is entirely different from the typical measurement standards different brands follow. The brand's design ideology to make free fitted, comfortable pieces of clothing is the reason behind it. This is the standard size chart the brand follows, nonetheless, they additionally modify it as indicated by the client's measurements as its a made to order brand.
SIZING | 57
The following are sales channels used by Khara Kapas. Sales Outsourcing – Using a third party as a sales force. Retail Selling through physical locations such as a shop or product showroom. E-commerce Selling through digital channels such as a website, application or game. Direct Marketing Directly reaching out to prospective customers by telephone, mail, door-to-door or digital communication tools such as email. Import & Export - Distributors in a foreign market that import products or local distributors that specialize in exporting products.
i. Online: Kharakapas (Shopify), Etsy ii. Direct: Kharakapas Studio, OgaanHyderabad, Ogaan- Hauz Khas, Aza Defence Colony, Aza Mehrauli, Aza Bandra iii. Third-party (Online): Aza, Tata Cliq Luxury, Aashni & Co, Nykaa Fashion, Little Black Book (Offline retail stores): Anonym, Story of India, Monsoon, Paper Boat, Project Café, Thunnal, Autumn Leaf, Toile, Urban Elahe, Ikkivi, Clove Store, Amethyst, Either Or, Anantam iv. International Stores: Hind Kuwait, Urshika Kapoor Studio, Akiko, Japan
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SOCIAL MEDIA PRESENCE AND MORE Khara Kapas has a fully functioning presence on social media like Facebook, Instagram and Pinterest. They put up posts about their collections, activities around the studio, photographs of clients (Khara Kapas Tribe) etc. This way potential customers and the target market will get an opportunity to see their garments, the process and all the work that goes into making the garments, information about what their garment is made of, where and how it is made, and who makes it. This by implication urges people to own a Khara Kapas product. After delivery of products, customers are personally thanked for their purchase and encouraged to write feedback and share photographs of them using the products. Each customer styles the items differently. When the same is exhibited on the brand's social media, it allows clients to perceive the potential of their purchases, and furthermore supports the building of a community. Khara Kapas participates routinely in exhibitions all around the globe. Being an online platform, pop-up stores offer a chance to interact with customers first-hand and acquire feedback. The items are likewise regularly supported by big names for commercial and business photoshoots. This aids in the extension of the brand's presence and market. The brand has been promoted through publications such as Grazia and Vogue. Their garments are also often seen worn on bloggers.
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When it comes to sustainable fashion, the main responsibility of fashion companies is obviously to change their sourcing, production, distribution, employees wellness, and marketing practices towards greater sustainability. But what about also contributing to more sustainable consumption patterns? Kharakapas jumps in there. My beautiful handcrafted dress, the first one that they produced as Indian occasion wear, is recovered beautifully. My favourite dress in a new look... same fit, same silhouette, more loved than before! And, big happiness at doing my bit towards sustainable fashion! Thank you Khara Kapas for making it possible. Diya Sharma, California For me, KharaKapas - is a feeling of pure love across seven seas. Packaged especially for me ... which fits like magic no matter what style :) Farzeen Ahmed, Dubai
62 | COMPETITION
Eká finds charm in the familiar - pastoral pleasures, a lilting breeze or the warmth of a lifelong friend. This spirit takes shape in soulful clothing that lives on through individual expression. We make our own textiles, favouring the mechanics and raw beauty of natural fibres. They become our canvas upon which every layer deliberately embraces the irregular and gives craft an abstract interpretation. Eká, in Sanskrit, means ‘one’ and echoes the sin- gular effort of many individuals. Building a commercial brand with a unique aesthetic that bridges the east and west sensibilities has been the guiding design outline and as such, garments are versatile: fluid in shape, evolved in textiles and texture, and seen as essential to timeless wardrobes. Worn as separates or layered, each involves craftsmanship along with extensive development with traditional textile techniques. Functional and timeless, Eká is made in India and draws from indigenous skills whereby natural materials are developed from India’s regional craft belts.
“We at Doodlage, Up-cycle factory waste into short limited edition collections. Recycle post consumer waste and post cutting scraps into new fabrics to create season-less well finished garments made for longevity. What we waste is Segregated and converted into accessories, soft furnishing products and paper to make our packaging or statio- nery products. All our pieces and fabrics are made with ethical production units and our packaging is designed to be plas- tic free”
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Comfort and style go hand-in-hand at The Summer House. Crafted from luxury cotton and silks, you’ll find a range of free-flowing tops, checkered skirts made with Chanderi silk, marbled silk capes, and bohemian dresses made from organic cotton {from their latest collection called The Alternative}. Eco-friendly fabric such as Tencel is used to make a pair of bright-orange trousers while handwoven, soft khadi goes into making robes. In The Summer House, we have made a choice to question every process and ask if we can do it better. We have made a choice to say no to the easy way of sourcing materials. All our fabrics come from an environment that does not abuse the earth. All our clothing is made in our own production studio. While this increases our cost of operation, it allows us to have full control over workmanship. For home-wares, we work directly with craftsmen and NGOs to ensure they benefit instead of middlemen. Our entire team works in a well-lit, happy studio and earns fair wages. We provide training that enables each an opportunity to enhance their skill and grow in their career. At no point is financial gain given precedence over physical and mental health. We have made a choice to be inclusive, fair and responsible.
At Nicobar we’re creating a modern Indian way of living, dressing, and looking at the world. This is at the heart of everything we do. We’re a company that believes in culture as much as commerce, and that journeys are usually as worthy as destinations. These are the stories we’re telling through our product and through a community. How can a country like India not have its own interpretation of a tropical design language? In 2014, we had just returned from a trip to Sri Lanka and were blown away with how Geoffrey Bawa had reimagined Sri Lanka and been a catalyst in the development of a design identity (in the same way that Muji has interpreted a Japanese design language and Ikea a Swedish one). With our vast coastline and the only ocean named after a country, we knew our inspiration was going to be “journeys across the Indian Ocean” a theme we related to personally growing up in India but living and traveling at various points across Asia, the US and Europe. Inspired by journeys across the Indian Ocean, our philosophy is simple: we make products that are designed to last, not trend-driven, inspired by natural design and materials, and influenced by the culture we grew up in. Fabrics matter, as do fit and form. Whether in clothing or home-ware, these things matter: simplicity, versatility, the ability to layer and to build, and no big logos. Detailing matters; Little bits of whimsy to make our guests smile and to elevate the everyday. Look under collars and cuffs, at the thread in buttons... it’s the little
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PREVIOUS COLLECTION ANALYSIS The aim of this research was to identify key details, silhouettes and fabrics used in the past collections. The same is done to get a clearer and deeper understanding of the brand language and aesthetics. The learnt knowledge was finally put to use in a marketing campaign by conceptualizing a story and writing the content and conducting a fashion creative shoot for the launch of the upcoming collection.
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TIJORI - FESTIVE '19
“My Grandma says she has witnessed an unseen world - unseen from behind her ghoongat and now behind her glasses. Skimming through her chest of belongings, she narrates her fables. “Households have changed, but the celebration is the same.” Her favourite was evidently the celebration of beauty. From everyday bindis to occasional beedis, to the chime of her anklets. She is my sartorial guru. This festive season, we revisit our grandma’s chest to prepare for a modern shringaar. The comfort of her aged muls, celebrated with strings of gold and silver, and dipped in colours of the season.” The Tijori Festive edit comprised of festive, occasional wear, made out of pure cotton. Khara Kapas broke the stereotype of using only silk and artificial fabrics to design festive wear. This collection is made purely out of cotton. The surface techniques done in this collection include tie-dyeing, foil printing, gota patti and tassel work. The collection comprises of sarees, blouses, tops kurtis, shararas,ghaghris, charisma. You can see an influence of the Haryanvi culture in the knee-length crushed ghagris, the collared blouses, with a slight touch of modernity The colour story for this collection ranges from off whites, mustards, yellows to reds, greys and blacks.
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ONE QUARTER ANNA - FALL'18
She wore around her neck - a quarter anna. “Remove the shackles that try to bind you”, said the onlooker. Shackles like such don’t bind you, they re-mind you of who you are she thought to herself, smiling, recalling glorious memories. Something old and new, forgotten and blue, from relentless to relentless - she had come a long way. Fall is the season of nostalgia, and we are its fondest prey. ‘One-quarter anna’ takes us on a rewind journey to our Jane Austen journals and tales of freedom recited with utmost diligence. We commemorate our pinafores and chemises, in deeply saturated autumn hues, with peekaboos of inked calligraphy, hints of hidden lace, and surprises of that plaid fabric that was cut out to make new frocks. Each garment of the fall collection is made with coarsely woven cotton, which makes the fabric, thicker and suitable for the cold. The colour story of the collection follows a mellow tone, from beige to olives, with a pinch of bright red that spruces up the vibe of the collection. The silhouettes of the collection are designed in such a way that they can be worn to both formal and casual events. Be it the boleros, or the barn Jackets, the general silhouette Construction is very boxy, ensuring that the clothes are not too tightly fit.
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A FINE BALANCE - SPRING'19
“Each morning in a working woman’s life is a carefully practised act, one that often doesn’t account to think of what to wear and dress her part. Khara Kapas Introduces, comfortable long-lasting, work-friendly, Nine-to-five fashion staples, for women who are always on the go, Who strikes a fine balance between personal and professional, Who are unapologetically career-oriented, and the ones who are ready to rise and roar.” A fine balance was an experiment to make formal wear look interesting. Formal wear is generally confided to stereotypes such as body fitted silhouettes solid colours etc. The brand broke the stereotypes by blending ikkats with the formal clothing concepts and making the idea of wearing boxy fit dresses to work, more familiar to the Indian audience. The colour story Ranges from whites, blues, greys t blacks, the prints used are Ikats and stripes.
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DOWN THE MEMORY LANE - BIRTHDAY EDIT '20
Time flies, years pass by and all that’s left behind are few beautiful memories or can I call it classics? Decades passed by and music evolved but Lata ji’s lag jaa gale still brings tears to our eyes. No matter how many times he wears it, papa still makes sure his 20-year-old kurta is crisp and white. That’s how important classics are to us. Constant in this changing world. Hence, we decided to bring to you a collection of our classics. Those beautiful silhouettes you’ve loved in the past five years, beautifully blend- ed along with soft cotton, perfect for springs and summers, chirpy and bright and always comfortable to slip in. Like the changing seasons and new beginnings, we as a brand have evolved and painted each collection in hues of pastels and pinks, mustards and blues, whites and greens and all soulful shades. So here we take you, on a nostalgic journey, down the memory lane, exploring seasons and shades and their metaphorical melancholy. This collection was launched on the 5th birthday of Khara Kapas encompassing an array of its bestsellers. Down the memory lane.
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CHIMES OF FREEDOM - SPRING'19
Have you ever felt a sense of duality? Like the dull shadows that fall on the ground despite the bright beaming sun. Or the pleasant breeze that brings the dried leaves in the notice. Apprehending this duality, we danced to the chimes of freedom. Contrite to part with the warm winter sun; laughing in the comfort of summer shadows. This summer collection of Khara Kapas Chimes of Freedom was an elaborate one with over 52 brilliant pieces. Softened muls splashed with the duality of contrasting prints handcrafted in sombre colours and free-flowing silhouettes were the action points of this collection. A perfect amalgamation of prints, tie-dyes and solids.
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WILDERNESS - 2021
When all felt lopsided, I delved into the wilderness. Responding to me the mountains echoed. We struggle and persist. The mountains we conquer are just milestones among many. How we choose to survive makes us who we are. We set the stone in 2015, the first of our kinds, merely starting out as wild souls following our dreams. We had our fair share of highs and lows, the last year being as unpredictably challenging as it was for everyone. With this collection, we honour our struggles, because without them we would not be who we are today. So, we planned to touch new heights, literally. From delving in the slowness of the Himalayas to sweating through rocky hikes to get the perfect shot, we conquered. The previous collection called "wilderness" was one of the most loved. A range of freeflowing dresses with a pop of colour, new silhouettes introduced with more shibori patterns, etc. Classic fabrics like mul and poplin in different colours and prints served well, making it amongst the bestsellers.
80 | THE KHARA KAPAS TRENDS
THE KHARA KAPAS PALETTE Khara Kapas takes its inspiration from nature, traditions and culture of India, the earthy prints and the daily life experiences. Each season is represented through relaxed silhouettes, layered clothing, and styles that suit the season. The brand captures the visual tones, textures and essence from the festivals of India, different states in India, the landscapes, vintage looks and creates pure cotton and mulmul products. Colours used are mostly light, soothing pastel shades. The colour ranges from greys, whites, yellows, greens, blues with little reds and shades alike. Accents of bold and saturated colours and base colours of ivory, white, browns and greys make the colour palette of the brand. Khara Kapas uses minimal prints. Polkas and splatter are popular choice. Spring-Summer collections usually see sketched floral prints, or solid shapes, whereas Autumn-Winter collections are dominated by more structured Aztec motifs and repeats. All collections are a mix of solid colours, checks and stripes to provide a mix to the consumers. The surfaces are usually hand block printed, screen printed, foil printed, or discharge printed.
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DYES Khara Kapas uses Azo-free, low-impact dyes. A group of dyes that consists of chemicals and synthetic are called azo-colours. With the intense pigmentation, these dyes can dye all types of fibres, synthetic, natural and artificial materials. However, azo-dye is harmful to the environment and human health. With organic industries growing and sustainability coming in, many textile producers and fashion brands have adopted the use of azo-free dyes. Azo-free dyes do not consist of nitrogen-based compounds which liberate amines. These dyes are eco-friendly and eliminate the use of toxic compounds. Azo-free dyes are low impact dyes also referred to as fibre reactive dyes. These groups of synthetic chemical-based dyes are better for the environment than the usual conventional dyes that are available easily. Not only do they complement the sensitive skin but also help Khara Kapas in taking a step forward towards sustainability and protecting the environment. Going one small step further, some textiles are Oeko-Tek or Global Organic Textile Standards (GOTS) certified. These certifications don’t focus solely on the dye but are end-to-end process and final textile safety certifications. -The dyes used in the final fabric must be at least as good as low-impact dyes and are specifically tested for skin safety.
Process: Wash the fabric, The Khara Kapas fabric is RFD so no further boiling or scouring of the fabric is necessary. To avoid precipitation of the dye usage of soft water is recommended Make a dye paste with a tiny amount of cold water and add a substantial amount of hot water so that the dye is completely mixed. Heat 20x water in a vat. When it becomes around 40 C to 50 C add Soda ash and Common salt as per the depth of shade required.
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GREEN PACKAGING Green packaging is the next big thing in fashion, as fashion firms strive to build back from the impact of the COVID-19 pandemic, an increasing number of industry heavyweights are turning their attention to addressing how they pack and protect their products. Khara Kapas’ packaging system consists of recycled paper wraps and cloth bags. The cloth bags used are made in-house with extra fabric which adds to the sustainable tag. Nevertheless, the dispatch bags used are plastic due to the damage threat. Khara Kapas has been looking for alternatives to plastic bags and after extensive research have come up with various solutions- Biodegradable corn starch bags was one of the chosen ones which is right now being tried and tested. The outcome expected is positive and Khara Kapas will soon be one of the many brands to have complete green packaging.
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STRENGTHS 1. Khara Kapas designs remarkable silhouettes, which are complimenting on each body type. 2. They retail through mainstream multicorporate retailers like Aza, Ogaan and Aashni and Co, hence capturing a solid clientele 3. Being a MTO brand, all orders are custom made for all customers. This permits the clients to give their exact measurements, and furthermore select fabric of their choice. 4. The Khara Kapas site gives information about every item exhaustively and is not difficult to explore. 5. The brand permits a one- step exchange policy or a refund in-store credit. 6. The brand is a functioning participator in all significant exhibitions in India, offering a chance to customers in different states to actually explore the items.
OPPORTUNITIES 1. Khara Kapas at present has a reach of more than 3 lakh clients and 102k supporters via social media. 2. The brand has an unexplored market reach by participation in Indian Fashion Weeks. 3. The brand likewise deals with Western sensibilities and has explored the international market. 4. The brand has employed craftsmen who are extremely skilled to bring in a lot more in item assortments. 5. The brand receives several collaboration invitations regularly from interesting individuals and brands 6. The brand has an excellent reach from celebrities to bloggers.
THREATS 1. The core idea of Khara Kapas is not, at this point individual to the brand. There are a few different brands at power with something very similar, chipping away at the same thought and that's only the tip of the iceberg. 2. There are a few brands retailing similar items at lower price points. 3. While the development of the organization in its underlying years was outstanding, it is presently developing at a slower pace. 4. The brand has been doing projects on similar lines since its beginning.
WEAKNESS 1. Khara Kapas currently does not have a physical store. It only has a design studio located at an inconvenient location in Old Gurugram, which is inaccessible by most clients. 2. Khara Kapas is a niche brand, and not affordable to the masses. 3. Since all orders are custom made, the brand does not keep any inventory, thus increasing the time required to dispatch the same. 4. Even though the brand promises sustainable practices, they do not have any certification for the same. 5. Due to the usage of organic dyes, the chances of faulty dyeing, errors, bleeds and runoffs are more.
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Every brand works on analyzing and keeping keen eyes on their competitions. Brands working significantly on similar items, markets, and guiding principle are direct threats to one another. For Khara Kapas, Summer House is a direct threat. it was tracked down that the two brands share a greater number of likenesses than contrasts. Both the brands are sustainable women’s wear brands established in 2015. The size of the companies is similar as well. Both operate mainly through their own online and offline stores and share the same target group. Both brands also recently launched similar projects on upcycling and brand blogs. Khara Kapas is placed slightly higher in brand presence, and the price points are slightly higher as well. Summer House uses fabrics such as cotton, khadi and linen, as Khara Kapas, but have also explored silk and Tencel. They also have a range of home furnishings. They have not yet entered the market of leather goods, bags and footwear. They do not retail through any third-party stores either. But, the overall aesthetic, cuts, silhouettes and details of garments are strikingly similar.
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Customer Relationship Management (CRM) is an approach to manage a company’s interaction with current and potential customers. It uses data analysis about customers’ history with a company to improve business relationships with customers, specifically focusing on customer retention and ultimately driving sales growth. One aspect of the CRM approach is the systems of CRM that compile data from a range of different communication channels, including a company’s website, telephone, email, live chat, marketing materials and more recently, social media. Through the CRM approach and the systems used to facilitate it, businesses learn more about their target audiences and how to best cater to their needs. Benefits of using CRM in our business: 1. It enables the brand to deepen its relationships with customers. 2. It helps mainly in customer acquisition, retention and increased customer satisfaction. Having an easily accessible view of a customer’s interactions to date makes it easier to anticipate issues and deal with complaints. This creates a more positive experience for customers who no longer have to endure the frustrations of being bounced around between departments and channels and having to re-explain their problem each time. 3. It is helpful in finding out information about any of the customers whenever needed for business benefit. On Shopify, the e-commerce website the brand uses for its online store, all the information about all the customers who have shopped through the online store of the brand, is displayed in one place— a simple, customizable dashboard that can tell you a customer’s previous history with you, the status of their orders, any outstanding customer service issues, and more 4. Enhanced contact management: Every call, question, negotiation, and touchpoint from prospects and clients is recorded and accessible to the entire team with a centralized contact management system.
5. Cross-team collaboration: Build on the expertise of individuals — a CRM system enables people from different parts of a business to work together. 6. Heightened productivity: With a CRM, follow-up emails can be au- to-generated and tested for effectiveness, management can easily access the most recent details of a customer order, one can learn the back- ground of a customer without leaving the call. 7. Empowered sales management: Empower sales managers with data to analyze customer relationships, track sales-related activity, assess deal viability, mobilize extra help when needed, and provide teams with re- al-time updates. 8. Accurate sales forecasting: Sales teams are able to learn from the past and forecast the future through historical data, while predictive analytics makes use of insights from big data to anticipate future customer behavior. 9. Reliable reporting: Get an at-a-glance view of its sales pipeline so it’s simple to spot potential issues and nip them in the bud. As well as making data digestible, reports improve team productivity by saving on time that would once have been spent pulling data manually or laboriously creating pivot tables in spreadsheets. 10. Boosted marketing ROI: Effective tracking helps businesses to understand what marketing activities and campaigns are effective with their client base. Campaign tracking provides actionable insights into what type of marketing works for which type of customer, making it easier for marketers to maximize their budgets and deliver greater ROI. 11. Enriched products and services: A good CRM system will gather in- formation from a huge variety of sources across a business and beyond. This gives unprecedented insight into how customers feel and what they are saying about an organization — so businesses can improve what they offer, spot problems early, and identify gaps.
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1. Personally updating all the customers about their order status and expected date of delivery. 2. In case of delays, contacting and explaining to the customers about the reason for delay such as fabric unavailability, rejection in quality check, etc. 3. Making sure the customers who want their delivery sooner than the usual 10-14 days time due to any reason be it function, travel, etc. get their delivery before or on time. 4. As it is a made-to-order brand, customers can get their order(s) customized, meaning that they can get the order made according to their measurements, choose any style from any collection of the brand and get it made in any of the fabrics available with the brand. This ensures increased customer satisfaction. 5.For the customers who move a lot, it is easier for them to change the shipping address at any time before the order is dispatched from the brand’s end.
6. To make sure that the customers have a good aftersales experience, Khara Kapas has a good return & exchange policy. The brand accepts re- turns in cases when the style doesn’t suit the client, it isn’t of the right fitting, the dye bleeds due to some reason in a dyed piece or in case of any problems found in the order received immediately or even after a period of using it. No extra charges are applicable in replacing/re-dye/ alterations for any clients. Returns are accepted after the returned pieces are passed in Quality check and usually store credits are issued for the amount of the returned item which can be used in future by the same customer within a span of three months.
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INVENTORY MANAGEMENT
Effective inventory management is key to running a profitable business. A key function of inventory management is to keep a detailed record of each new or returned product as it enters or leaves a warehouse or point of sale. Real-time inventory levels in real-time whether you’re selling online or offline are of heavy importance. Inventory management uses a variety of data to keep track of the goods as they move through the process, including lot numbers, serial numbers, cost of goods, the number of goods and the dates when they move through the process. The software keeps track of the products being sold through an online web- site in real-time. The inventory which is bring sold through other retail stores, offline and which are returned by the customers have to be updated manually on the software to avoid any confusion in the future.
98 | INVENTORY MANAGEMENT
To make sure that the inventory is up-to-date, someone from the management team with the help of Tanu lists down the available pieces in inventory along with the style name, size and quantity. The list is then matched with the online available inventory and is updated wherever necessary. Also, for the inventory to be up-to-date, the pieces which are sent to the stores have to be listed down and the QC head has to be handed over a list of the pieces that are being sent. Sampling: Sample pieces of all the styles have to be in the store or the inventory rack/shelf at any given time. In case samples have to be sent to any of the stores, they have to be approved by the QC head before they are sent and have to be returned within a period of 1-5 days. Order sheets of all the pieces leaving Khara Kapas for any destination-be it a customer, a partner store, for a promotional shoot, etc. have to be made and given to the QC head for approval.
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ORDER MANAGEMENT
One of the vital responsibilities of the team is to look after all the orders and make sure each order is delivered in or on time. Every morning the first task for the team is to pull out the order sheet in which details of orders from the online store, online and offline 3rd party associations and offline orders from the customers are filled in. After the order sheet is printed, it is handed over to Bhim who further passes the copies of the sheets to the Production team, Cutting Team and Quality Check Dept. Every day the team has to chase the orders, make sure the orders are moving according to the timeline, take actions wherever and whenever necessary. Special attention is given to the orders in which customers have asked for customisation. Regular follow-ups are necessary to make sure the orders are dispatched within a period of 10-14 days from the date of order received. During the process, a lot of cross-department communication is required to ensure the quality, dye, fit and finishing of the garment is up to the mark. The team comes into the picture whenever there is any doubt about any order at any stage.
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Our team was responsible for back-end handling of the brand, be it handling the e-commerce website of Khara Kapas, executing existing marketing & promotional strategies effectively, developing new strategies from time to time and promoting the brand on every feasible platform in every new way possible regularly. The brand mainly uses e-mail marketing, social media marketing, personal customer interactions to promote the brand.
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The Khara Kapas family is small, a lot of roles and responsibilities overlap with one another. Merchandising is the department that mediates the marketing and production departments. In a nutshell, a merchandiser’s responsibility is to execute the orders perfectly as per the costing and pricing. All in all, all the other responsibilities listed under this section- order and inventory management, CRM, maintaining good relations with 3rd party brands and promotions come under the responsibilities of a merchandiser. Following are the main responsibilities of merchandiser: Internal & external communication: Regular communication with the customers/clients, 3rd party brands, retail stores, raw material suppliers and courier partners is of utmost importance. Understanding their needs, negotiating prices, handling the situation wherever needed, taking necessary actions, being alert and aware of all the tasks taking place simultaneously are all covered under communication. Collaborating with buyers, suppliers & 3rd party brands to negotiate prices, quantities and time scales. Deciding and planning which styles will sell the most with which store and location, communicating with the associated partners accordingly and sending the inventory pieces to the planned store is an important part of this responsibility. Sampling: As mentioned before, the team helps Shilpi and communicates with other departments to complete the process of sampling. Accessories & trims: As a part of sampling, the accessories and trims that suit every piece the best have to be decided.
Preparing internal order sheets: The tasks covered under order management are all a part of handling internal order sheets. Advising and assisting production: In case of any question or confusion regarding any order, be it fabric unavailability, trims to be used, contrasting inner panels, dye-shade variance, the production team always reaches out to the management team to understand the order completely and shed off any confusion. Mediating production and quality departments: The merchandiser has to be present in all departments’ activities and make sure all the tasks are being completed according to the timeline. Once the product is ready, it has to reach the QC rack for it to pass the quality check. Only after it is passed, it can be packed, packaged and dispatched. If it is rejected due to reasons like the measurements of the product made vary from those mentioned in the order sheet, dyeing is not up to the standards, trims used in the product are different from the initial sample of the style, QC head conveys the same to the management team and also to the team who has to take action to make corrections on their end. The merchandising team has to keep following up till the last stage. Following shipment till it reaches its end destination: Again, as highlighted in the above paragraph, the merchandising team has to follow up with every order from the first stage till it reaches the customer.
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CONSUMER RESEARCH Various research methods were followed to understand the consumers and the market, The below research helped in deriving a direction to facilitate my design process. Since the target consumers were boundless a questionnaire seemed to be an appropriate mode to understand buyer preferences and patterns. It was conducted as a survey and sent it to the newsletter subscribers in two different sets. The first one being their opinion on sustainability and the second on involving their preferences. The responses were fairly average as most of the subscribers ignored them. However, the responses received were quite insightful and gave a certain weightage to the following research. The questions were all multiple choice and easy which explains the 1 minute and 30 seconds average filling time. This was posted as a student project because of company policies.
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The observations of the consumer research are as follows. 52.2 % of the total respondents were women under the age bar of 25-35. Followed by 21.7% being 35 - 45 and the rest being 45 and above. Most of these women are from urban geographical locations all over the world. As per the responses, 37% of the respondents have an average annual income of 7 to 10 lakh rupees and are from the upper class or higher middle-class communities. There are a certain number of people who earn more than 15 lakhs pa. A large number of respondents agreed that they are acquainted with the term sustainability. A majority also admit that they are aware of the social, environmental and ethical impacts of the fashion industry making the Khara Kapas clientele a socially informed crowd. On asking what makes Khara Kapas special, they picked out comfortable fabrics, minimal, relaxed fit, classic silhouettes and ethical as their choices. The Clientele is also very enthusiastic about who makes their outfits. They are willing to educate themselves and others about conscious fashion and ethical brands. The next set of questions are on the customer preferences and picks for the upcoming spring-summer collection and the key insights are as follows. The favourite pick for the season by a fleeting majority of 52.2% is shibori, followed by checks, polka dots, florals and stripes. The preferred colour palette for SS 21 is a tie of both vibrant and subtle colours. The Khara Kapas fabric pick was undoubtedly mulmul, which is the USP of the brand. The most loved silhouette by 58.7% from the KK range is the wrap dress. Tent dresses, jumpsuits and the Co-ords are the next few adored ones on the list.
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TARGET AUDIENCE A typical target audience for the company are women between the age bracket of 25 and 38. The majority of this audience is Indian, and belong to the upper-middle class. The brand is also popular in the Middle East and Indian communities around the globe. They also customize for baby girls, which makes mothers potential clients as well. A chunk of the footfall consists of women buying Khara Kapas ensembles for vacations, whereas the bags and stoles were popular gifts. Khara Kapas targets a niche group, who have modern sensibilities, and understand the need to invest in a sustainable fashion. Therefore, these clients are recurring and loyal and buy for the brand's core idea and values.
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PROCESS: ORDER RECIEVED When an order is received, it is reviewed and an order sheet is made with the details. The product name, size, order number and customer name go on into the sheet. The team takes care of each & every order with utmost attention before passing it on to production.
TREATMENT The fabric is sourced and is washed and treated with softeners as per the requirement and is made fit for the next set of procedures.
TYING After treating the fabric, It is tied with respective equipment to achieve the required shibori print. The fabric is dampened and tied very tightly. by the handwork team for the next set of procedures.
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DYEING The tied fabric is then immersed in a dye vat containing azo-free dyes to maintain the quality of the fabric. The process is repeated until the required shade is obtained. It is further treated with NID and chemical-free fixers to prevent bleeding.
CUTTING The tied and dyed fabric is washed and dried. It is passed on to the cutting master. The patterns are previously made by the pattern master and are given to the cutting team and the fabric is cut accordingly.
STITCHING The cut pieces are bundled up with the order number tag and is passed on to the stitching team. A tailor is assigned a garment and he stitches it completely.
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WASHNG The finished garment is then washed and dryed again to relieve it of impurities. No garment is dispatched with out the final wash.
HANDWORK The buttons on the garments are hand sewn by the handwork team.
IRONING The finished garment is then carefully ironed and is ready for the final quality check.
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QUALITY CHECK
PACKAGING
DISPATCH
The garment then goes through an intense quality check by the QC inspector. She checks the measurements of each garment and also looks for any dirt marks or irregularities. If found she gets rid of them and the garment is good to go.
The QC approved garment is packed with a lot of care. The garment is gift wrapped in recycled pattern paper and tied with a cotton ribbon. The tags used are all made of recycled paper and is eco friendly.
The gift-wrapped package is now ready to reach the customers. The order number, items and address are verified by the dispatch team. And is then picked up for delivery.
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DESIGN BRIEF
Keeping the brand ethos intact design a range encompassing 10-12 ensembles for the spring-summer collection. Keep in mind the core principles of sustainable fashion and incorporating customer requirements, including swing dresses, tent dresses, co-ord sets, jumpsuits and shift dresses. The designs developed should be associated with personal as well as socially responsible, thus exploring the qualitative idea of being sustainable and conscious.
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CONCEPT NOTE
This collection revolves around the Japanese concept- Shibui. “Shibui”, “shibumi”, and “shibusa” are Japanese words to express an aesthetic sense of simple, subtle, and unobtrusive beauty. Originating in the Muromachi period (1336–1392) as “shibushi,” the term originally referred to a sour or astringent taste, such as that of an unripe persimmon. - Shibui objects appear to be simple overall but include subtle details such as textures, that balance simplicity with complexity. - This balance of simplicity and complexity ensures that one does not tire of a shibui object, but rather constantly finds new meanings and enriched beauties that cause its aesthetic value to grow over the years. - Shibusa walks a fine line between contrasting aesthetic concepts such as elegant and rough or spontaneous and restrained.
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This collection's inspiration is a juxtaposition of two exceptional Japanese works of art . It is the subtle excellence created when Sesshū Tōyō 's stunning landscapes meet the intricate art of ikebana.
140 | MOOD BOARD
I'm a tiny blossom in a ceaseless, fruitless land. A sense of hope, A glimmer of sunlight wiping away decades of darkness.
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The colours are specifically picked from old Japanese paintings. The range generally involves yellows, blues and greens making it an ideal spring-summer assortment.
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CLIENT BOARD Age Group: 25 years and above Gender: Female Location: Urban India Economic Status: Higher Middle-Upper Class Income Level: Rs. 85,000 – 95,000 per month Occupation: Socialites, Editors, Artists, Social Workers, etc. Demographic Profile: Upper/Middle-class youth living in big cities, who participate in social events and are followers of sustainable fashion. Psychological Makeup- Fashion-conscious, Well- Informed, Achievers, Strongly Opinionated. Lifestyle: Daily life includes social events, Press tours, gallery openings etc. Hobbies: Shopping, Reading, Workouts like Yoga and Pilates, Art and Painting. Style Preferred: Comfortable Fashion, Minimal, Soft cotton and light muls which are mostly anti-fit, muted colours in clean cuts of classic outfits Consumer Habits: Shops once a month, prefers extremely good quality products, interested in brand history and ethos. Occasion: Casual wear.
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FABRIC BOARD Mulmul, the Khara Kapas favourite. Mulmul or Muslin as it is known in Europe, is a soft and fine weave of cotton that was first made by Bengali weavers many hundred years ago. It was one of the prized imports from India. Later the manufacturing of mulmul or muslin started in England and Scotland. This lightweight, soft and breathable cotton fabric is great for summer, particularly harsh Indian summers, since it readily absorbs moisture and keeps the wearer cool. Its other benefits are that it can be dyed easily and it only gets softer with every wash Poplin, also known as tabbinet, is a plain-weave cotton fabric with very fine horizontal “ribs,” or yarns, that results in a strong, crisp fabric with a silky, lustrous surface. Poplin is commonly used in men’s and women’s shirts, women’s dresses, and items like sportswear and raincoats. The word “poplin” originates from the French term “papelino,” and is a variation of the word “papelaine,” an obsolete fabric with a similar weave. Cotton poplin fabric is much appreciated all over the world. It feels cool and crisp to the touch, and the organic nature makes it extremely breathable. With its polished look, cotton poplin is a great choice even for formal attire, such as ceremonial dress shirts. Poplin dresses, shirts, blouses, pants have already become staples in men’s and women’s clothing. Cotton does not cause static electricity and is chemical-free. These natural fibers dye very well, giving textile manufacturers a total freedom in creating stunning print and color options. Eco-friendly, cotton fabrics are definitely a green choice for those who care much about their ecological footprint.
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Khadi is a hand-spun and hand-woven fabric from India, Bangladesh and Pakistan mainly made out of cotton. This is an artisanal heritage handloom textile, made entirely in handcrafted processes— from spinning the threads on a charkha (spinning wheel) to weaving on handloom. The cloth is usually woven from cotton and may also include silk, or wool. Khadi is sometimes treated with starch to give it a stiffer texture. Bengal weavers have been practising this craft of weaving very fine count Khadi yarn of hand-spun cotton and silk for centuries. Chambray is a type of natural fabric that is made from either linen or cotton. This type of fabric has been made for hundreds of years, and variants of chambray fabric are called cambric or batiste. It is both fine and dense, and it is similar to denim in many ways. However, a different weaving pattern is used to make chambray, and as a result, this type of fabric is significantly lighter and more breathable than denim. The first usage of the word chambray in English dates to the mid-19th century, and over time, the term "cambric" has fallen out of use, and any fabric that follows the original style developed in Cambrai is called "chambray." In the modern textile industry, however, "chambray" is only used to denote cotton fabrics that are manufactured with the specific weft and weave pattern that is indicative of this type of fabric. Some consumers may choose to use chambray as an alternative to denim.
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The additional processes include different types of shibori. It is a Japanese manual tie-dyeing technique, which produces a number of different patterns on fabric. Polka shibori is made with marbles, The petal print with a specially made resist tool and the check shibori with rectangular plates.
FABRIC EXPLORATIONS | 155
These are a few of the finalised shibori prints from the explorations with different colour combinations. And the final samples included polka, petals and checks. These swatches were reviewed and revisited for the collection.
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The motif chosen for the collection is the ginkgo leaf. In Japanese decorative art, the ginkgo’s distinctive fan-shaped leaf has carried symbolism along with its singular beauty: the ginkgo has been a symbol of longevity (the tree can live for a thousand years) and of a more profound endurance.
160 | TRIMS AND DETAILS
TRIMS AND DETAILS: The trims used in the collection are just basic concealed zippers, hooks, buttons, etc. As per the Khara Kapas women and The Khara Kapas trends, minimal yet elegant details are chosen. Classics like V and Round necks are used with shirt collars etc. The one-shoulder dress is a new addition to the Khara Kapas silhouette board.
162 | LOOK BOARD
The look we are going for is “Cottage Core meets Japan” The dresses paired with white sneakers and a headscarf is going to be one of the groundbreaking trends for summer.
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SAMPLING AND FEEDBACK The sketches and explorations are visited and revisited until everything is according to the design plan. Shilpi oversees everything before anything is approved. She takes the designs forward and instructs the team for the final sampling.
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168 | RANGE PLAN
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© KHARA KAPAS
01
RS 6650/-
BE MINE, SUNSHINE
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178 | LOOKING FOR SUMMER
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© KHARA KAPAS
RS 7120/-
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LOOKING FOR SUMMER
182 | ESCAPADE
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© KHARA KAPAS
RS 6950/-
03 ESCAPADE
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RS 6690/-
© KHARA KAPAS
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DARKLING
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BIRD OF PREY | 195
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RS 7350/-
© KHARA KAPAS
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BIRDS OF PREY
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202 | SHADOW OF UNCERTAINTY
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SHADOW OF UNCERTAINTY
RS 6080/-
© KHARA KAPAS
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SHADOW OF UNCERTAINTY | 207
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© KHARA KAPAS
RS 6600/-
A CLASSIC TALE
A CLASSIC TALE | 213
214 | RIPPLE EFFECT
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RIPPLE EFFECT
RS 8940/-
© KHARA KAPAS
08
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"Under an azure sky and through the morning haze, Summer arrives. Winter's almost gone and we're looking through the cracks to soak in the now"
FREE SPIRIT | 223
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FREE SPIRIT
09
© KHARA KAPAS
RS 6660/-
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SLEEPLESS NIGHTS | 231
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RS 7300/-
© KHARA KAPAS
10
SLEEPLESS NIGHTS
SLEEPLESS NIGHTS | 233
FINAL LINE-UP | 235
FINAL LINE-UP | 237
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CERTIFICATE OF COMPLETION | 247
LEARNING EXPERIENCE | 249
LEARNING EXPERIENCE These four months at Khara Kapas will forever be cherished! It gave me a new sense of direction that would aid me in laying a firm basis for my career. It being my longest experience in an industrial setting has provided me with vital knowledge and skill. I was very very fortunate to be offered this position at Khara Kapas, where my opinions were heard and supported. I was given the freedom to explore and develop. There was always room for new ideas and I was always pushed to provide something fresh. Ms Shilpi and Ms Shreeja constantly guided me throughout the whole process and motivated me to push limits. The brand provided all the resources needed to support my exploration. I was also introduced to the realm of sustainability in addition to the insightful interactions with the brilliant artisans there. Seeing the craft firsthand inspired me to learn more about it and contribute to its improvement. The organisation goes to great lengths to maintain a clean and environmentally friendly production plant. Given the growing need to engage in sustainable practices, I was very fortunate to be a part of an efficient team from the outset of my career.
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