GRADUATION PROJECT 2016-20

GRADUATION PROJECT ‘AGRESTIS’ SUBMITTED IN PARTIAL FULFILLMENT OF THE GRADUATION REQUIREMENT OF BACHELOR OF DESIGN TEXTILE DESIGN STUDENT: LAKSHAY MAHAWAR FACULTY GUIDE: MR. NITEEN RANGDAL SPONSOR: PARADIGM ENTERPRISES PVT. LTD. BATCH 2016-2020 DEPARTMENT OF TEXTILE DESIGN NATIONAL INSTITUTE OF FASHION TECHNOLOGY MUMBAI

National Institute of Fashion Technology Campus: Mumbai Copy right @National Institute of Fashion Technology,Year 2016-2020 All rights reserved: no part of this book may be reproduced, stored in retrieval system or transmitted in any form by means of electronic, mechanical, photo copying, recording or otherwise without prior permission from National Institute Fashion Technology, except by a review reader who wishes to quote brief passage in connection with a paper review/essay written for inclusion in a periodical, newspaper or broadcast.

JURY EVALUATION SHEET The evaluation jury recommends Lakshay Mahawar for award of Graduation from National Institute of Fashion Technology, Mumbai. after evaluating his/her project ‘Agrestis’ and fulfilling the requirements set by institute and jury members.

Mentor’s Signature

Centre Coordinator

Jury Members Name Company/ Organization Signature ………………………………………………………………………………………………………………. ………………………………………………………………………………………………………………. ………………………………………………………………………………………………………………. ………………………………………………………………………………………………………………. ………………………………………………………………………………………………………………. ………………………………………………………………………………………………………………. ……………………………………………………………………………………………………………….

Remarks: ………………………………………………………………………………………………………………. ………………………………………………………………………………………………………………. ……………………………………………………………………………………………………………….

ISO 13485:2016

Paradigm Enterprises Pvt Ltd Date : 30th June 2020

CIN: U74140DL1998PTC092376 ISO 13485:2016

TO WHOM IT MAY CONCERN

Paradigm Enterprises Pvt Ltd CIN: U74140DL1998PTC092376 This is to certify that Mr. Lakshay Mahawar S/O Pankaj Mahawar, a student of National Institute of Fashion : 30th(NIFT) Junehas2020 Technology done his Internship at Paradigm Enterprises Pvt Ltd from 6 th Jan to 30th June 2020.

ISODate 13485:2016 He has worked with a production department where he is handling the inventories related duties such as TO WHOM IT MAY CONCERN purchasing raw material, Insuring the delivery to the buyer, issuance of the required item for production, maintainingthinventory related record & Maintenance the cutting sheets for the production.

Date : 30 June 2020

This is to certify that Mr. Lakshay Mahawar S/O Pankaj Mahawar, a student of National Institute of Fashion Technology (NIFT) has done his Internship at Paradigm Enterprises Pvt Ltd from 6 th Jan to 30th June 2020.

TO WHOM IT MAY CONCERN During the Internship he demonstrated good skills with a self motivated attitude to learn new things. His He has worked with a production department where he is handling the inventories duties such as Performance exceeded expectations and was able to complete the work successfullyrelated on time. purchasing raw material, Insuring the delivery to the buyer, issuance of the required item for production, This is to certify that Mr. Lakshay Mahawar S/O Pankajthe Mahawar, student National Institute of Fashion maintaining inventory related record & Maintenance cutting asheets forofthe production.

Technology (NIFT) has done his Internship at Paradigm Enterprises Pvt Ltd from 6 th Jan to 30th June 2020.

We wish him all the best for his future endeavours.

He has worked with a production department where he is handling the inventories related duties such as During the Internship he Insuring demonstrated good to skills a self motivated toitem learnfor new things. His purchasing raw material, the delivery thewith buyer, issuance of theattitude required production, Performance exceeded expectations and was able to complete the work successfully on time. maintaining inventory related record & Maintenance the cutting sheets for the production.

For Paradigm Enterprises Pvt Ltd During thehim Internship he demonstrated good skills with a self motivated attitude to learn new things. His We wish all the best for his future endeavours.

Performance exceeded expectations and was able to complete the work successfully on time.

We wish him all the best for his future endeavours.

For Paradigm Enterprises Pvt Ltd Director

For Paradigm Enterprises Pvt Ltd

Director

Director Works: Unit-1, Apparel and Garment Making Centre, Paschim Boragaon, Guwahati, Assam-781033 Phone:- 91-120-4201013 Fax: 91-120-2397843

GRADUATION PROJECT 2020

‘AGRESTIS’

PREFACE The document is the outcome of the Graduation Project 2020, NATIONAL INSTITUTE OF FASHION TECHNOLOGY, MUMBAI, TEXTILE DESIGN, Semester- VIII. The objective of the Graduation Project was to familiarize us, the student with the implementation of the knowledge we earned in the campus. Industry project program is an introduction to the industry to give us an appreciation and working knowledge of the industry.

It tended our classroom knowledge with industry application. It commenced from 6th January, 2020.

During the span the idea was to enhance the horizon of knowledge into applications thereby knowing the working scenario of the industry and also understanding the organizational hierarchy of industry.

The main idea was to develop the ideas into final products and add tothe company’s and personal benefit.

ACKNOWLEDGMENT I would like to extend my gratitude to Department of Textile Design at NIFT, Mumbai for giving me an opportunity to be a part of the industry and practically work in the industry. I would like to thank Mr.Vineet Lall, director, Mega Matrix & Paradigm Enterprises for giving me this opportunity to work with his organization. Sincere thanks to my Course-Coordinator and my Faculty Mentor, Dr. Reena Aggarwal and Mr. Niteen Rangdal Bandhu, whose consistent support made me inspired to know more about the industry andwork constantly with a high motivation.

In particular, I extend my gratitude towards: Mr. Rajeev Sharma, Production Head at Paradigm Enterprises, Boragaon, also my industry mentor for providing me with inputs that helped me in research and for briefing me about the objectives of the project and for his constant support & guidance throughout my tenure in the company

TABLE OF CONTENTS • • • • • • • • • • • • • • • • • • •

ABOUT THE COMPANY ABOUT SKILL DEVELOPMENT & TRAINING THE TIHAR JAIL PROJECT THE NORTH EAST PROJECT ABOUT ASSAM APEX WEAVERS & ARTISANS CO-OPERATIVE FEDERATION LTD. (ARTFED) MEGA MATRIX’S VISION BRAND CONCEPTUALIZTION CLIENT PROFILE ONLNE SURVEY COMPILATION BRAND IDENTITY MARKETING STRATEGY PROJECT BRIEF CLUSTER IDENTIFICATION DESIGN PROCESS COLLECTION 1 COLLECTION 2 SYNOPSIS LEARNING OUTCOME BIBLIOGRAPHY

Fig. 1 : Flow chart of how Mega Matrix operates

ABOUT MEGA MATRIX Mega Matrix is an organisation that operates in the fields of: • Skill Development • Capacity Building • Research and Consulting (for industry as well as government) • CSR delivery and Advisory services The company believes in the future and working towards making it a more sustainable one. Their philosophy and their vision for the future is that it will be built on a balanced foundation of traditional values coupled with technological advancements and skills of the future. To that end, they promote an incubation model that works towards creating sustainable businesses with new ideas and technological intervention. Under this model, they promote partnerships and concepts like producer organisations, funding & mentoring sustainable business models by encouraging entrepreneurship among the youth.

ABOUT PARADIGM ENTERPRISES PVT LTD

Paradigm Enterprises, a group company of Mega Matrix promotes sustainable employment through skilling. Their mission is to empower the people of marginalized communities in India through building sustainable livelihoods in the garment manufacturing sector. They want to gain more orders for their highly capable workers whether they are from Tihar Jail or the women of North East.

Their motto is Social Impact through Conscious Fashion. The company offers a range of products proudly manufactured in jail and north-east. The portfolio includes Security Guard Uniforms, Medical Staff Uniforms, Mens Wear (Shirts, Pants & Jeans), Women Wear (Kurtas, Palazzos & Suits) and Home Furnishing Items

Image 1 : Paradigm Enterprises’ Guwahati Unit

FROM THE DIRECTOR I believe in process , perfection and patients. Have had opportunities to start various businesses in different sectors, and gained a cross functional experiences.

At Mega Matrix we develop sustainable models of skill development, which align with the national agenda of skilling , as well as the national growth & employment agenda in some key sectors .

Mega Matrix believes in the future, and we work towards making it sustainable.

As an organisation we represent a philosophy that the future will be built on a balanced foundation of traditional values clubbed with technological advancements and skills of the future.

Image 2 : Image of Mr.Vineet Lall (Director of Mega Matrix)

SKILL DEVELOPMENT & TRAINING Skills and knowledge are the driving forces of economic growth and social development for any country. Countries with higher and better levels of skills adjust more effectively to the challenges and opportunities. As the proportion of working age group of 15-59 years will be increasing steadily, India has the advantage of “demographic dividend”. Harnessing the demographic dividend through appropriate skill development efforts would provide an opportunity to achieve inclusion and productivity within the country and also a reduction in the global skill shortages. Large scale skill development is thus an imminent imperative. Over the last decades, India’s growing population is being increasingly recognized as strength rather than a constraint in the context of economic development.

The Economy of India is the tenth-largest in the world by GDP and the third-largest by purchasing power parity (PPP). India was the 6th largest services exporter in the world in 2013. India’s manufacturing industry has held a constant share of its economic contribution, while the fastest-growing part of the economy has been its services sector which includes construction, telecom, software and information technologies, infrastructure, tourism, education, health care, travel, trade, banking and other components of its

economy.

In India today, 59% of the population is in the working age group of 15 to 50 yrs. The youth dependency ratio is India is 44%. Initiated in the twelfth plan, Skill development continues to be a priority area, reflecting its relevance for the economy. With the goal to synergies opportunities, scope and space for skill development, the programme which was earlier implemented by 20 different ministries has now been consolidated under the newly formed Ministry of skill development and entrepreneurship.

The programme targets youth, training them so that they develop marketable skills. The aim is to have clear and visible outcome livelihood with dignity and pride. The company shares the governments passion for skilling, for us, Skill India is a movement, not just a programme. Major challenge of skill development initiatives is to address the needs of huge population by providing skills in order to make them employable and help them secure decent work.

“Skill development for persons working in the unorganized sector is a key strategy in that direction. This will also inculcate dignity of labour and create greater awareness towards environmental, safety and health concerns. A large number of students are not able to pursue education due to socio-economic constraints.”

AIMS OF SKILL DEVELOPMENT AND TRAINING IN INDIA

The aim of skill development in the country is to support achieving rapid and inclusive growth through: • Enhancing individuals’t employability (wage/ self-employment) and ability to adapt to changing technologies and labour market demands.

• Improving productivity and living standards of the people.

• Strengthening competitiveness of the country.

• Create opportunities for all to acquire skills throughout life, and especially for youth, women and disadvantaged groups.

• Promote commitment by all stakeholders to own skill development initiatives.

• Develop a high-quality skilled workforce/entrepreneur relevant to current and emerging employment market needs.

Image 3 : Image of Ms.Yashita training the people in the village of MP

ABOUT PMKVY

INTRODUCTION Mega Matrix currently has undertaken two projects under the scheme of PMKVY launched by the Government of India at present, they will be explained briefly in the document.

• Tihar Jail Project • North East Project

The Union Cabinet had approved India’s largest Skill Certification Scheme, Pradhan Mantri Kaushal Vikas Yojana (PMKVY), on 20 March, 2015. The Scheme was subsequently launched on 15 July, 2015, on the occasion of World Youth Skills Day by Honorable Prime Minister, Shri Narendra Modi.

PMKVY is implemented by National Skills Development Corporation (NSDC) under the guidance of the Ministry of Skill Development and Entrepreneurship (MSDE). With a vision of a Skilled India, MSDE aims to skill India on a large scale with speed and high standards. PMKVY is the flagship scheme that is driving towards greater realisation of this visiont

1. TIHAR JAIL PROJECT

The Tihar Jail project started from Feburary 2018 where-in the company is involved in skilling the inmates in the jail in the sewing machine operative course . The objective of the project is to create self sustaining skill training, by creating a pool of trainers who can work to achieve results.

Training includes aspects like better organisation of raw materials, product development, technology, and markets/ industry linkages for the existing inmates in the jail .

EARN WHILE YOU LEARN The objective is also to create the concept of Earn while you Learn weherein the inmates have the opportunity to earn while enhancing their skills .

TIHAR JAIL APPAREL BRAND The long term objective is to create the Tihar Jail apparel brand wherein the brand will sell the garments being made by the inmates of the Tihar Jail .

Image 4 : Mandoli Jail Main Entrance.

Image 5 : Inmates of Tihar Jail working under the Skill India program initiative by Govt of India and Mega Matrix.

Tihar Jail Authorities and Mega Matrix created a sustainable model of employment and earnings for inmates in Mandoli (Tihar) Jail.

Ensuring regular engagement of inmates in production of apparel and home textiles , there needs to be a consistent demand.

Mega Matrix generated demand in order to set up the unit with a longterm perspective.

The quality and value of the product is maintained ensuring enhanced earnings only if the branding and value proposition of the product is well marketed..

Image 6 : A poster by Mega Matrix explaining their skilling program in Tihar Jail

2. NORTH EAST PROJECT The company’s initiatives in North East recognizes the challenges of logistics, tribal influence, missing infrastructure, abundance of natural resources with limited means of converting or value adding, and the unavailability of an organized manufacturing sector and are aimed at converting them into opportunities.

Accordingly, Mega Matrix’s skill initiatives in this region focuses on local resources and traditional skills along with developing partnerships and infrastructure for market linkages and self-employment.

The aim of the Project is to create self-sustaining skills training, by creating a pool of trainers who can work to make the best use of the natural resources and natural basic skills. Having a strong emphasis on market linkages – Mega Matrix’s working to bridge the gap between the existing product skills and the skills needed to make products that have a clear demand.

MAKE IN NORTH EAST OPPORTUNITIES & CHALLENGES • The North East region of India comprises of approximately 8% of our countries land bank, and only 3% of the population.

• With abundant natural resources, and limited employment opportunities- there lies a vast potential to ‘Make in the North East’.

• While talking about ‘Make in India’, and providing livelihood to the unemployed youth, an opportunity lies in looking at the North East region of Indiathrough the right set of multifocal zoom lens.

• The lens shows the boundaries far and wide and yet allows to zoom into the detail of the culture, tradition , language.

• The challenges include logistics, tribal influence, missing infrastructure, abundance of natural resources with limited means of converting or value adding, and the unavailability of an organised manufacturing sector.

• Mega Matrix’s initiatives in North East recognizes these challenges and are aimed at converting them into opportunities.

• Our Skill initiatives in this region focuses on local resources and traditional skills along with developing partnerships and infrastructure for market linkages and self employment.

NORTH EAST UNIT The facility in Boragaon , Assam , was awarded to Mega Matrix Pvt. Ltd. on 6th June , 2016 under the NERTPS of the Ministry of Textiles, Government of India.

The first-of-a kind unit is equipped with industry grade labs with the lastest machines and tools . The trainers are industry experts with years of experience .The MMPL Boragaon unit serves as a Resource center and knowledge hub for the 14 centers in the North East region.

The company takes up candidates, trains them across skills and provide placement assistance and tracking .

WHAT THE UNIT OFFERS

Hi-Tech Machinery

Production capacity of 40k pieces per month

Fig 2 - : Paradigm Enterprises’ Boragaon Unit production capacity flowchart

Image 7 : Paradigm Enterprises’ Boragaon Unit

Skilled workforce

Subsidised rates

Direct contact with weavers

ASSAM APEX WEAVERS & ARTISANS CO-OPERATIVE FEDERATION LTD. (ARTFED) Assam Apex Weavers & Artisans Co-operative Federation Ltd. (ARTFED) was formed on 27th July 1977 by reorganizing the Assam Apex Weavers Co-operative Society Ltd. with the aims and objects that the Apex Society shall organize Handloom Weaving and other Cottage Industries in the state on Co-operative basis.The area of operation of this Apex Co-operative Federation is in the entire state of Assam.The Federation has now 16 districts and 988 number of primary level Co-operative as its members. The Co-operative Federation is creating employment opportunities to lakhs of weavers and artisans in Handloom Weaving as well as in Handicrafts activities throughout the year.The Federation is also bearing responsibilities for social development of weavers and Artisans of the State apart from economic development.

The Federation has expanded it’s business to a considerable extent and made reasonable profits during the last few years, ARTFED has established 53 showrooms inside and outside the state and propose to open another 5 showrooms within the financial year. Out of 53 showrooms, 48 showrooms are located inside the states and 5 showrooms are located outside the state. The showrooms at Kolkata, Jaipur, Kanpur, Indore, Delhi (yet to be opened), Lucknow (yet to be opened) and Bangalore (yet to be opened) are owned by ARTFED as it’s Capital assets. ARTFED has already opened 8 showrooms in Guwahati city of which the showroom at Rehabari is constructed at it’s own land as a very sophisticated Air Conditioned showroom of the North-Eastern Region. Another showroom near Borjhar Airport is also under construction at it’s own land and almost completed for opening

Image 8 - : ARTFED’s outlet JAGRAN

ARTFED PRODUCTS Artfed Products BRAWFED deals with variety of Handicraft & Handwoven Household textiles.

Some of the main product lines of BRAWFED are: • • • • • • • •

Cane & Bamboo Products Wood Crafted Products Sital Pati Teracotta Products Bell Metal Products Handmade Bags Jute Crafts Handwoven Curtains, Cushion covers, Duvet covers, Quilts, Shams, Bed Linen, Table Linen, Shower Curtain, Kimmano fabrics, etc. on rare Muga, Eri & Mulberry Silk

Image 9 - : Handicraft & Handloom products in ARTFED outlet JAGRAN

MEGA MATRIX’S VISION

Image 10 - : Mr. Mehfooz training one of the new trainees in the unit.

Image 11 - :Trainee operating the buttonhole machine.

Mega Matrix trains the unskilled youth as per the training modules provided by the Government of India and SMO(Stitiching Machine Operator) being one of the highly valued for the apparel manufacturing units, therefore Mega Matrix mostly opts for the SMO module as it helps the company to find placements for the students in various companies due to its close links with the apparel industry easily. It also provides Paradigm Enterprises to employ the highly skilled SMOs trained by Mega Matrix, hence reducing the efforts of finding SMOs again and again. Due to which Mega Matrix establishes a sustainable mode of placements and employment generation for the students.

The vision of Mega Matrix is to establish a clothing brand for both men and women by establishing a sustainable economy and employment helping the youth get employment and the artisans the fair wages.

PARADIGM’S ROLE IN THIS VISION Paradigm Enterprises, a company that, since the day of its inception has been into the manufacturing of uniforms. Specializing in Guard Uniform, School Uniforms, Medical Uniforms, etc.

Paradigm Enterprises being a sub-section of Mega Matrix is well suited to be placed in the North East Unit to expand their reach further into the North Eastern region with an enormous experience in garment manufacturing plus the easy employability of the local youth due to Mega Matrix’s skilling program, which in return helps in tapping into the local north eastern markets hence gaining profitable grounds due to absence of any other mass production apparel unit, leading to the further growth of the company.

In order to fulfil Mega Matrix’s vision of establishing an in-house handloom apparel brand, Paradigm is placed in the NE region to develop a supply chain of handloom fabrics and to create a market for such products in North East by finding potential clintele.

Image 12 - : Assam Silk Mart one of the silk retailers in Fancy Bazaar

To identify the handloom clusters for the sourcing of high quality fabrics for the production of handloom apparel and build a clothing brand for both men and women, by establishing a sustainable supply chain from the artisan (raw material/ fabric) to the client (finished products) via the production unit (raw material to finished good) “B2B”.

PROJECT BRIEF

•To create a layout/map and a list of the clusters along with the details in a singular format.

•To carry out surveys to collect information about the artisans.

•To develop a brand identity for the apparel products that will be manufactured in the production unit.

•Along with the apparel design, brand identity needs to be established and packaging design for the same needs to be done.

•Costing system to be documented starting from the yarn till the finished products.

•Determine the working capacity of the production by the artisan starting from the yarn to the developed fabric.

•Listing of all the sourcing materials (Starting from yarns, production cost, fabric and finished goods)

The initiation of the brand conceptualization started with the trend research i.e researching and handpicking the upcoming business models for the apparel industries which were in sync with the company’s vision.

Based on the trends and the vision of establishing a sustainable apparel brand a rough storyline and the brand identity was developed.

After which brand attributes, brand personality and its mission were defined

BRAND CONCEPTUALIZATION

TREND ANALYSIS As sustainability starts to move from the edge of the fashion customer’s product consideration and into the mainstream, the next decade will bring significant change in how people perceive and evaluate trend and value.

Continually shifting and inconsistent sentiments around sustainability will persist, bringing both opportunity and risk.

The biggest risk is to assume awareness sits with one type of fashion audience. WGSN data shows a rise in sustainability mentions on social media across mass, conservative and trend innovators.

To navigate risk and capitalise on opportunity, designers and buyers will need to expand product development considerations beyond design development and trading to include communication and customer education.

Figure 3 - : Graph showing the increasing awareness about sustainability in the masses.

MARKET ANALYSIS Status, prestige and the common identifiers that a look or specific brand bring to the communities that wear it will remain a key style driver.

In the past, this has been an area of the market least susceptible to sustainability concerns or even a growing awareness around overconsumption.

In the future, this presents both opportunity and risk. As awareness around sustainability grows and starts to become a mark of status, it will rapidly become an essential product attribute.

Early indicators of this are evident in the labels that trade on status in the premium and luxury market. It can be seen in brands such as Veja, which trade on sustainable product characteristics, plus aesthetics and status.

According to WGSN Instock data, the volume of Veja products offered by online retailers, including Matches and Net-a-Porter, has increased by 3x in the UK and 21x in the US over the past two years (January 2018-2020).

OPPORTUNITY POTENTIAL Sustainability is not just a concept it’s a driving force of changing buying trends, but in India, specifically the men’s section, awareness about sustainability is low.

With such a risk lies the very opportunity of capitalizing the market of sustainable men’s clothing and customer education.

Convert customers from lagging competitors by leading on credible sustainable product identifiers.

RISK Trading on past status identifiers with no sustainable foundation will lose relevance in a fast shifting market

Figure 4 - : Graph showing the demand of Veja’s product (suatainable sneaker brand)

APPROACH Invest in bringing context to product design to build brand affinity and loyalty with consumers.

Responsible fabric choices allow you to build in circular IDs and QR codes educating on fibres as well as the quality of your supply base. Traceability strengthens consumer affinity.

BRANDING

VALUES BEHIND THE BRAND INITIATIVES INVOLVED • Fair wages for the weaver ensured by the help of ARTFED. • Skilling of the youth involved by the parent company Mega Matrix.

• Employement ensured by Paradigm Enterprises.

• Enviornment-Counscious clothing and fabrics.

• Susainable economic model benefiting both the brand and the weavers involved.

• Responsible clothing line.

• Values ethics strongly • Organic fabrics that provide longevity with a storyline.

WHAT MAKES THE BRAND UNIQUE? • ARTFED as a potential partner ensures the customer of the genuineness of our mission of fair wages to the weavers of Assam • Satisfaction of dressing but not at the cost of any weaver or environment.

• Catering to a niche in the menswear line • A completely sustainable .resort wear menswear clothing line

BRAND ATTRIBUTES CULTURE

CUSTOMER

VOICE

FEELING

IMPACT

X-FACTOR

How would our community describe us?

How would we describe our customer?

How should we sound to our customer?

How others should feel after interacting with us?

What tangible impact can we have on others?

What makes us special?

Intellectual

Open-Minded

Sophisticated

Satisfied

Knowledge

Handloom

Eco-Friendly

Considerate

Creative

Inspired

Assuarance

Multipurpose

Simplistic Fresh Approach Passionate Holistic Ethical

Respectful Sociable Quality Oriented Creative Enthusiastic Outgoing Fashionable

Encouraging Value for Money Sharing Versatile Need of the Hour

Relaxed Loyalty Engaged Confident

Quality Humanness Trust

Valued Respected Connected

Cost Efficient

Ethical Interactive Fabrics from Assam Human Touch Resortwear

BRAND’S MISSION To redefine men’s clothing by introducing resort wear in such a way that the handloom sector of Assam can be benefitted both economically and sustainably, partnership with ARTFED ensures the customer of the social welfare of the weavers, and our practices ensures low impact on the nature.

BRAND PERSONALITY The vibe of the brand can be associated with sincerity, kindness, thoughtfulness, family values and elegance, also these are the keywords that defines the very core of the brand’s personality.

CUSTOMER PROFILE

CUSTOMER PROFILE • • • • • •

Ubersexual Awake Considerate Well Educated Financially Stable Fashionable

DEMOGRAPHICS The target demographics for the brand is a 25-40 years old male living in a metro city .

PSYCHOGRAPHICS Brand conscious individual, very particular about their lifestyle and needs they posses certain mind-set necessary from the brands point of view.

Doesn’t mind spending a little bit more for the welfare of a society.

As a brand it gives us a chance to build an interpersonal relationship with our customers.

TARGET MARKET • • • •

Lives in Metropolitan cities 25-40 years of age Loves to travel and explore Supportive of social causes

NICHE MARKET • • • •

Target Market Well Educated Fashionable but sustainable Compassionate about Crafts

IDEAL MARKET • • • •

Niche Market Quality Oriented Sociable Opinion leaders in their communities and adapt to new trends but carefully.

FEEDBACK FROM POTENTIAL CUSTOMERS

SURVEY BRIEF

After defining the brand’s mission, its personality and its ideal customer, a survey was carried out to get an insight of the potential customer’s travelling world, who would likely connect or relate with the brands ideals.

The survey was carried out in a group of 60 people who were either asked to fill the survey through online portal or via telephonic conversation or via personal interaction (specifically their places of work for e.g. airports for the pilots, etc).

CONCLUSION

Since the end consumers were selected solely based on their lifestyle and work needs, therefore we came to the conclusion that the male who is likely to travel a lot for the business purposes is more likely to connect with what we as a brand have to offer i.e. luxury and comfort supported by our ethically sourced fabrics.

The client is more likely to be a pilot, merchant navy officer, etc and people who love to travel in general.

BRAND IDENTITY

KEY HIGHLIGHT

The survey that was carried out was quiet essential to get an insight of the end consumer’s world for which accordingly the brand identity could be designed for customer to connect and reciprocate.

Brand consious, status oriented and most importantly enviorment councous individuals are highly likely to connect with what we have to offer to them, therefore the idea of luxury along with ethics needs to be conveyed to get the clients attention.

During the brainstorming process many names were suggested out of which few were selected and finally ERMIA was selected as the brand name.

ERMIA is just a combination of the words “ ER “ from Eri Silk + “ MIA “ from Samia Cynthia the biological name for the worm that produces this Silk.

SUGGESTED BRAND NAMES • • • • • •

Aheri Ergum Ermia Moeri Rekaar Tesseri

Image 13 - : Images of the logos options designed for the brand ERMIA

LOGO DESIGN During the brainstorming process many names were suggested out of which few were selected and finally ERMIA was selected as the brand name.

ERMIA is just a combination of the words “ ER “ from Eri Silk + “ MIA “ from Samia Cynthia the biological name for the worm that produces this Silk.

HANGTAG DESIGN These hangtags were designed as a part of the branding for the handloom clothing brand .

The size of the tags is 4.2� * 2.1�.

The material is most likely to be made of the recycled paper for abiding by the brands very priciple of being Eco-Friendly.

There are options given for the selection of the hangtag.

Image 14 - : Images of the hangtag options (front)

HANGTAG DESIGN This is the 2nd hangtag that goes along with the 1st hangtag that contains the brand logo and name.

In this Hangtag is more of a authenticity tag and an informaive one because through this hangtag we try to communicate with our customers the information about the fibres that we use and about the weaver who weaved the fabric.

The image is the front of the 2nd Hangtag and the information bit the back of the hangtag.

WASH CARE LABEL

MARKETING STRATEGY

MARKETING CONCEPT To follow the 4Ps of Marketing • Product • Price • Promotion • Place

MARKETING AVENUE Following are the marketing avenues in which Paradigm Enterprises will promote the brand in Assam .

BROADCAST

OUTDOOR

• Social Media Platform • Paid Promotions via online apps

• •

POINT OF PURCHASE • Brick and Mortar stores • Online Platforms

MISCELLANEOUS •

Direct Mail Advertising

Posters Hoardings

PRINT CLASS OF MEDIA

• Journals • Magazines • Newspapers

SPECIALITY MEDIA • Postcards • Calenders

LIST AND PROFILE OF POTENTIAL CLIENTELE Paradigm Enterprises aims to promote the brand within three broad segments of the apparel market and as it is its own homegrown brand therefore Paradigm Enterprises plans to run it through its own brick and mortar stores as well as collaborating with other brands to function on a B2B concept of commerce.

The following flowchart explains it briefly .

POTENTIAL CLIENTELE

STAND ALONE STORES Stand Alone stores : • Domesticated, • Non-branded Stand alone stores of the Indian market .

ONLINE RETAILERS

RETAIL BRANDS

Online retailers : • Online selling retailers like Amazon Ebay , Myntra etc

Retail Brands : • Big Retail brands like V2 , Max , Fabindia, etc.

DESIGN COLLECTION

PROJECT BRIEF AIM: To identify the handloom clusters for the sourcing of high quality fabrics for the production of handloom apparel and build a clothing brand for both men and women, by establishing a sustainable supply chain from the artisan (raw material/ fabric) to the client (finished products) via the production unit (raw material to finished good) “B2B”.

CHALLENGE ------ (conversion) ----->OPPORTUNITY + SKILL SET

PRODUCT CATEGORY : Men’s wear apparel TARGET CLIENT : Men ( 25-40 ) SEASON : S/S 2021 PRICE RANGE : 1500 - 3000

TECHNICAL PROCESS FLOWCHART

Data-wise segregating and organizing of the cluster for the yardage production of fabrics.

Identification of handloom clusters in Assam majorly focusing on developing a new cluster .

Management of cluster by collecting information to calculate maximum output, no. of weavers, etc.

Management of raw materials & implementation of inventory system for production and working on the logistics of the raw material to the weavers

Selection of the listed dealers of Eri Silk and further Procurement of Raw Materials

Establish connection between raw material dealer & the weavers.

Figure 5 - : Flowchart of the technical process that were followed in order to develop as supply chain for the fabric production

DESIGN PROCESS FLOWCHART Trend Analysis

Sourcing raw materials and following the concept of sustainability.

Collection based for the brand to be developed by Paradigm Enterprises.

Raw Material distribution acc.

to the identified clusters and

their capacity and abilities.

Selection

of Trends

Identifying the challenges and converting them into opportunities.

Strategizing the distribution of yardage production to the cluster as per their strengths and abilities

Initial Explorations

Collection based on the personal experience in Assam and strategzing the production accordingly.

Research, Moodboards, Color Palette, etc Figure 6 - : Flowchart of the design process that were followed in order to develop the collection.

Final Garments

Image 16 - : Weavers’ Service Centre Main Branch, Guwahati

#1

TECHNICAL PROCESS

CLUSTER IDENTIFICATION

The company setup in Assam is less than a year old but the decision to venture into sustainable handloom clothing therefore, before starting the production of the clothing line it was necessary to organize a supply chain that would help feed the production line with fabrics, which required direct sourcing of Eri Silk from the dealer till the management of the weaving cluster and the strategic raw material feeding for a seamless output.

For this Weavers’ Service Centre, Guwahati was contacted inorder to get the cluster details based on the requirements of mass manufacturing and supporting the marginalized group of artisans who were facing difficultes to keep up the weaving. WSC helped in getting the contacts of weavers based in Sualkuchi, Nalbari and Rampur No. 3. Out of these cluster Sualkuchi and Nalbari had the required capacity for the yardage production for mass manufacturing and Rampur No. 3 had an entire village where weaving was a household job and mostly done by women, giving us the opportunity to help support the craft and also for developing exclusive yardages.

CLUSTER LAYOUT The map illustrates the clusters and their locations along with the routes and paths to be followed in order to reach the respective cluster.

Since the production unit is located in Boragaon therefore it was essential to plan out the distribution of production for the fabrics based on the aspect of easy accessibility of transport and cost effective logistics.

As we can observe from the map that Nalbari and Sualkuchi are along the same route in addition to which having a better transport connectivity and effective logistics in this route it was logical to distribute the fabrics required for mass production along this route.

The exclusive fabrics required in limited stocks were distributed in the Rampur No. 3 cluster also because of poor transport connectivity.

Image17 - : Map layout marking the cluster location and the routes to be followed from Boragaon

DATA COLLECTION & MANAGEMENT

#2

For the production distribution to the weavers it was necessary to collect vital information such as no. of weavers in a cluster, maximum output by a single weaver in a single day and a month, maximum possible width on the loom, maximum capacity of a loom, etc.

For collecting such information a survey form was compiled based on which the various conclusions were derived for making major decisions, such as whether which cluster was more efficient in making a given amount of fabrics on a given deadline or based on the equipments which fabrics was suitable in which cluster, etc.

During the internship period almost 7 clusters were covered in these given locations out which 5 were determined suitable for the production in addition to which 16-17 weavers per cluster at an avereage were interviewed. The format for the survey forms are on the next page.

Paradigm Enterprises PVT. LTD. C-74, Sec-10, Noida-201301, Uttar - Pradesh (India) Phone No. 0120-4201013

Artisan Creation Form

Production Details

Email :- hr@megamatrix.in

Cluster name

Survey Conducted by :-

Note :- It is mandatory to fill the column in front of arrow (→)

Looms

Company Name:-

Min. Capacity of Max. capacity looms of looms

Production in 1 Day

Monthly Fabric width Production

Min. Capacity of Max. capacity looms of looms

Production in 1 Day

Monthly Fabric width Production

Min. Capacity of Max. capacity looms of looms

Production in 1 Day

Monthly Fabric width Production

Billing Address:Address

City

State

PIN Code

Country

Contact Communication:-

Looms

→

Contact Person

→

Office Landline No. Mobile No.

→

Cluster name

Code

Phone

Code

Phone

Code

Phone

Email

Director/Owner/Partner Detail →

Name of Director/Prop./Partner

→

Office Landline No. Mobile No.

→

Cluster name

Phone

Looms

Email

Tax Informations:→

Gst Number / Provisional ID

→

PAN Number

→

Payment Terms →

Cluster name

Image19 - : Survey form for the cluster details.

Image18 - : Survey form for the personal details of the weaver.

Delivery Address If other than Company Address

Looms

Min. Capacity of Max. capacity looms of looms

Production in 1 Day

Monthly Fabric width Production

CONCLUSIONS • Nalbari and Sualkuchi were much suited for huge production quantities as they had a well connected network of weavers that were managed by various Master weavers or owners who were employing weavers from the nearby villages as a means of employment and also for saving the craft.

• Rampur No. 3 had no such network, the weaving was not a full time job as it was carried out by female members of the family as an additional income therefore they lacked various effort reducing equipments.

• Max. width possible in Nalbari was 54 inches and 44 inches in Sualkuchi and 40 in Rampur No. 3.

• Max. capacity of 100 -150 meters of warp yarns on the drum was possible in Nalbari and 70-80 metres in Sualkuchi whereas 40-50 metres in Rampur No. 3.

• Both Nalbari and Sualkuch had looms with 120 hooks jacquard handloom and 4-shaft looms but unfortuntely for Rampur No. 3 the weavers were not educated enough therefore were efficient with traditional 2-shaft loom only.

• But Rampur No. 3 had its exclusivity in terms of natural dyeing that made it more appealing and beneficial for the production of limited stock items.

Image 20 - : Pulin Kalita at his store for Eri and Muga yarns and cocoons

PROCUREMENT OF RAW MATERIALS

#3

Marked from the conclusions driven from the surveys conducted the suitable distribution pattern was sketched out. For furthering the production procurement of raw material i.e. the yarns were required. For which National Handloom Develepoment Corporation, Guwahati was contacted.

NHDC helped compile a list of suitable vendors who could provide Eri Silk. On the left page is the image of Pulin Kalita, 33, who deals in the farming and the spinning of Eri and Muga silk worms and silk yarns respectively.

Like Pulin various other vendors were contacted for providing a variety of yarns, as Pulin only had hand spun yarns, in this process Orient Processors were contacted a yarn spinning mill in Lokhra, Guwahati, for the industrial grade yarns.

Image 21 - : ITP Facility where CKBKSS and other units operate their fabric production.

CLUSTER DETAILS

CLUSTER NO. 1 : NALBARI The cluster is approximately at a distance of 97 kms from Boragaon.The cluster is converted into a Integrated Textile Park by BRAWFED where the weavers from the nearby villages are trained and employed at the same place by the unit owners.

Out of the 26 units, (with approximately 400-500 weavers and 100-120 master weavers), we came across 4-5 units who were ready to partner with us in our venture. Finally the deal was closed with Mrs. Rijju Chaudhary, owner of Chamata Kendriya Boa Kota Samabaya Samiti LTD. (CKBKSS), Unit No. 4 in the Integrated Textile Park.

CKBKSS has an advance unit for manufacturing fabrics along with traditional handlooms, and a team of 3 master weavers, 23 weavers and 6 helpers.

#1

CKBKSS has automated hank to bobbin winding machines to reduce the effort of winding and huge bobbin frames with a capacity og 160 bobbins in a single frame hence reducing the cost and time consumed. With a total capacity of 23 handlooms (4, 2-shaft looms, 15, 120 hook Jacquard looms and 4, 4-shaft looms).

Image 22 - : Hank to bobbin yarn winding machine at the CKBKSS unit in ITP

BRIEF OVERVIEW

Image 23 - : Handlooms in the CKBKSS init in ITP

Image 24 - : Warpping drum and the denting machine in the CKBKSS init in ITP

Image 25 - : Entrance gate of Sualkuchi

CLUSTER DETAILS

CLUSTER NO. 2 : SUALKUCHI The cluster is approximately at a distance of 36 kms from Boragaon and 73 kms from Nalbari. The cluster has 13752 active commercial hand-looms, of which 54.75% are performed by the woman weavers, who are basically hired from the outside of Sualkuchi in addition to which 73.78% of the households of the town are being engaged with commercial weaving of hand-loom.

We were introduced to Mr. Mukut Kalita, a master weaver working closely with Weavers’ Service Centre, having a humble background and approximately 17 weavers working under him and around 11 handlooms with jacquard mechanisms in addition to which he also had 2 handlooms with 4-shafts. The deal was closed after discussing the output capacity, prices, etc.

#2

Image 26 : Close-up of a 4 Shaft loom at Mr. Mukut Kalita’s Unit

Image 26 : Handloom with 120 hooks Jacquard fitting at Mr. Mukut Kalita’s Unit

BRIEF OVERVIEW

Image 28 : Bablu in his weaving unit located above his house.

The difference between this cluster and the Nalbari cluster is the lack of automation to reduce human efforts, but in return this cluster holds true to its tradition because the processes like bobbin winding, etc are carried out by hands.

The images show the closeup of looms, the bobbin winding process and their workspace.

Image 27 : Mr. Sunil winding the yarn on bobbin using a Nota at Mr. Mukut Kalita’s Unit

Image 29 : A Gwala out in the open with the cows in Rampur No. 3

CLUSTER DETAILS

CLUSTER NO. 3 : RAMPUR NO. 3 The cluster of Rampur No. 3 is approximately 34 kms from Boragaon. The cluster is completely different as compared to Nalbari and Sualkuchi as the weavers in Rampur are mostly women who consider weaving a household activity and never had any intentions of commercializing it. Weaving over here is considered as a heirloom craft which is passed down from a mother to her daughter from generation to generation.

Weaving of Gamosa is quite popular as a part of gifting tradition to their guests, and the only reason why the craft still lives on. The cluster offers age old natural dyeing techniques and weaving along with the spinning of yarns. The raw techniques are still untouched by the automation and this is what makes it completely different and exotic, when compared to the weaving of Nalbari and Sualkuchi.

Here we met Mrs. Latika Kalita, a housewife, mother of two who was ready to take on the project of making exclusive and limited edition fabrics for the company. She was asked to manage the further distribution of fabrics in the village to provide an additional income to her neighbours, friends and family. By this a sustainable supply chain was established in the village and providing an age old tration to re-live and commercialize.

#3

Image 30 : Hanks of naturally dyed Eri yarn at Mrs. Latika’s home.

BRIEF OVERVIEW

Image 31 : Mrs. Latika measuring the weight of the yarn after dyeing them.

Image 33 : Various tools such as reed, warp beam and heald needle used in for setting up the warp yarns on the loom.

Image 32 : Mrs. Latika and Mrs. Indu discussing on how to carry out the denting process

Image 35 : Mr Chandan Kalita preparing the colour for dyeing

Image 34 : Mrs. Pramodini holding the silk worm , Kuhin leaves and the Eri cocoons.

PROCESSES INVOLED FOR WEAVING THE FABRIC

#1

Image 36 : Silkworms feeding on the Kuhin Leaves

FARMING OF POLU (SPINNING)

It is a very long process which takes around 45 days in total. The growth of the Polu (silkworm) itself takes 30 days during which it is continuously eating the Kumulia/ Kuhin Paat (castor leaves) from the trees in the villages.

Image 37 : Mrs.Pramodini holding out a Polu or silkworm.

Once the final size is attained the Polu (worms) start to spin their Eri (cocoons). This takes another 15 days. Eri silk, also called Ahimsa silk or peace silk is a non-violent silk which does not require to kill the Pokhila (moth) to extract the fiber

The Pokhila (moth) leaves the Eri (cocoon) after spinning and flies off. These Eri (cocoons) are further collected and prepared for further processes in order to extract fibers for spinning.

Image 38 :The Pokhila or moth (Samia Cynthia) after the silkworm matures

Image 39 : Mrs. Pramodini and her sister in law boiling the coccons in soda water to remove the sericin

Image 40 : Eri Peetha or flattened slik cocoons stuck on walls for drying

Image 41 : The yarn being spun on the Tokura or spindle by the process of Tokura Kattana.

#2

Image 42 : Close-up of a pern while the yarn is spun on it.

ART OF TOKURA KATTANA (SPINNING)

The process of Tokura Kattana (spinning) is a very skillful process as it involves a lot of processing of the Eri (cocoon) till it finally is suitable for spinning into the yarn. Firstly the Eri (cocoons) are boiled in a vessel with added Khaar (soda) in water, to remove sericin, this takes around 30 - 45 minutes.

The boiled Eri (cocoons) are then washed.

These cocoons are then dried and placed in cold water where it is very skillfullly flattened into sheets by the process of Theska Eri and these sheets are called Peetha which are then stuck on walls under the sun for drying.

These Peetha (flattened cocoon sheets) are then fluffed manually by hands and spun onto a Tokura (spinning spindle) to produce the yarns. The total process takes upto 1-2 days of time depending upon the quantity the time might vary.

Image 43 : Mr. Chandan collecting Teak leaves for the dye preparation.

#3

Image 45 : Mrs. Latika waiting for the process of mordanting by Alum on yarns to be completed

CRAFT OF RONG KORUYA (DYEING)

The residents use locally available plants which could be collected from the village itself. The raw materials include onion peels, myrobalam, barks from jack fruit tree, lac, etc The shades they get varies with the season, the soil, the amount used, the water and the mordant, so they get different results everytime the dye is prepared.

Image 44 : The dye is being extracted from the Teak leaves by boiling the leaves.

RECIPE FOR DYEING Mordant: Alum 8% WOF Dye: 5kg Teak leaves for 1 kilo of fibre (Dyeing with Tea leaves is identical to that of Teak leaves)

Image 46 : Mrs. Latika and Mr. Chandan separating the leaves from the colors by the help of a fine musline cloth.

Image 47 : Different yarn shades as a produce from the dye prepared.

• Scour the fibre as you prefer • Mordant the fibre for 1 hour in water with a temperature of 70°C - 80°C (note: please consider that this temperature was used for protein based fibres, in case you are dyeing with cellulose based fibre, you might want to increase the temperature) • Wash the fibre thoroughly • Cut the leaves roughly and add to the vessel then make the teak juice: boil the leaves with approximately 30-50 liters of water for 2.5 hours. The more you boil, the stronger your dye will be. (note: don’t be surprised, it is A LOT of leaves. Add it slowly, so the leaves can already shrink in size) • After boiling, sift the juice and leaves through a muslin cloth, keep the leaves aside.

• For dyeing, heat the juice to 70°C – 80°C and leave the fibre for 2 hours, stirring every now and then.

• Wash the fibre thoroughly and hang to dry.

MYROBALAN (Terminalia chebula) Myrobalan can be used for both, mordant and dye as it contains a lot of tannin. Besides this, it is especially used in Ayurvedic medicine as well as everyday life because it has many healing properties: it helps digestion, headaches, is a natural antioxidant and rejuvenates the tissues.

Mordant: not required, as it will be automatically mordanted in the dyeing process Dye: 2 kg of myrobalan per kilo fibre

Image 48 : Seeds of myrobalam after boiling and extraction of the color

• Scour the fibre as you prefer • Wash the fibre thoroughly • Crush the myrobalan pods by using a stone etc. (Note: be patient, this will take some time) • Make the myrobalan juice: boil the seeds with approximately 30-50 liter of water for 3.5 hours. The more you boil, the stronger your dye will be.

• After boiling, sift the juice and pods through a muslin cloth, keep the pods aside.

• For dyeing, heat the juice to 70°C – 80°C and leave the fibre for 2 hours, stirring every now and then.

• Wash the fibre thoroughly and hang to dry.

On using this recipe we got a very strong yellow. You might want to decrease the myrobalan used to 500g for 1 kg which should still be sufficient for a nice, paler yellow. This will also give you less work of crushing the pods.

Image 49 : Eri cocoon and a piece of cloth dyed in myrobalam

LAC Compared to the other two dyes, lac does not come from a plant, but from a small insect called Kerria lacca which produce a sticky paste around branches of trees. It can be compared to cochinelle, also small insects which produce a similar shade of color.

Lac can be found in Assam as well as the neighbouring state of Meghalaya Mordant: Alum 8% WOF Dye: 500-600g of lac for 1 kilo of fibre

Image 50 : Extracted lac after the dye extraction

Image 51 : Eri cocoon and piece of cloth dyed in lac.

• Scour the fibre as you prefer • Mordant the fibre for 1 hour in water with a temperature of 70°C 80°C (note: please consider that this temperature was used for protein based fibres, in case you are dyeing with cellulose based fibre, you might want to increase the temperature a little bit.)

• Wash the fibre thoroughly • Place the lac in a thin (!) muslin cloth • Make the lac juice: boil the lac with approximately 30-50 liter of water for 2.5 hours. The more you boil, the stronger your dye will be • After boiling, remove the cloth and the lac from the bath.

• For dyeing, heat the juice to 70°C – 80°C and leave the fibre for 2 hours, stirring every now and then.

• Wash the fibre thoroughly and hang to dry.

#4

Image 52 : Kanha boiling the starch water

Image 53 : Cooled starch water ready to be applied on the warp yarns

Image 54 : Nikita dipping and squeezing out the starch water from the yarns.

PREPARATION OF DIG (WARP)

Before the actual weaving begins there are a lot of steps that are followed. One such step is Maandh Chadhaana (starching) of the Dig (warp yarns), whch is further dried

under the sun for providing additional strength to the warp yarns. The dried dig (warp yarns) are then put on the Sereki (Wheel for placing the hanks) and then

spun onto Ugha (bobbin) and Puan (pern) with the help of Jator (charkha).

Image 55 : After the yarns are dried under the sun these yarns are spun onto the bobbins for warpping ith the help of a Charkaha

Image 56 : Image of a Nota (two bamboo rods on which the hank is spread for sorthing the yarns before winding) and an Ugha (bobbin)

Image 57 & 58 : Image Prahlad Dada sorting the yarns and winding it onto a bobbin.

In Sualkuchi the winding of bobbin is slightly different as compared to that of Rampur, instead of a Jator (Charkha) the hank is spread on a Nota (a frame made out of two bamboo sticks) and then the process of Suta Lua Phem (yarns are sorted) is carried out so that while winding the yarn on a Ugha (bobbin) there ist less breakage.

#5

Image 59 : Image of Surbhi, Nikita’s sister in law reeling out yarns for warping

PROCESS OF DIG BANDHAN (WARPING) The process of Dig Bandhana or warping varies from cluster to cluster as in Rampur and Sualkuch it can be seen that the warping process is completely manual as they warp in open areas which depends upon the length of the dig or warp and manually create the Jaal (fell of the cloth) by the skillfull movement of their hands.

Image 60 : Surbhi making loops with her hands (fell of the cloth) and putting it over the warping pole.

Image 61 : Surbhi reeling out the warp yarns and creating loop over the other pole, the length of the warp is equal to the distance between the poles which is equal to the yardage length.

Image 62 : After the warping is completed Nikita and Surbhi pull out the poles and start wrapping the yarns around them.

Image 63. Surbhi being helped by Nikita to wind the warp yarns around the poles.

PROCESS OF DIG BANDHAN (WARPING) When the warping process is completed, the poles are unearthed and are used to wind up the warp yarns in order to carry out the process of Rah Bindhna (passing of warp yarns through the reed).

PROCESS OF DIG BANDHAN (WARPING) The process of Dig Bandhana or warping is completely different as compared to the process followed in sualkuchi and Rampur, beacause the fast production of fabric is not possible in the handloom sector unless the use of automated machines are used.

The yarns from the hanks are spun onto the bobbin using the spinning machine to reduce the time consumed and obtain higher outputs.

With the help of the huge bobbin frames and warp drums greater quantity of yarns can be warped around hence enabling the weaver to warp greater quantities without interupting the flow again and again.

Image 64 . Alakesh and Tinku spreading the hanks on the machine for bobbin winding in CKBKSS in ITP, Nalbari.

Image 65 . Mrs. Revati and her daughter winding the warp yarns after sorting them onto the warp drum at CKBKSS unit in ITP, Nalbari.

#6

JACQUARD CARD PUNCHING

The process of manual card punching is the one that is followed in Nalbari and Sualkuchi cluster that we had been to. Witnessing the process in person is much more enticing as compared to that is visible in the images.

The artisan has a metal frame marking 20*6 hooks totaling upto 120 hooks. Firstly a design draft on the graph paper is developed and accordingly the hooks are numbered after which the cards are placed in the metal frame. With the help of a hammer and a hollow rod the holes are punched out according to the numbering on the graph sheet for preparation of the design.

Image 66 . Arun Dada Punching Jacquard Cards in his room in Sualkuchi.

Image 67 . Firstly, a graph is prepared and the coored boxes numbered, then the cards are placed in a metal frame and according to the numbering the holes are marked onto the cards

Image 68 . Arun Dada showing one of the puched cards.

Image 69 . Surbhi passing warp yarns through the dents with the help of a pointed stick as a replacement of a heald needle.

Image 70 . Surbhi marking the measurement of the fabric width onto the reed before starting the denting process.

#7

RAH LUA PHEM - (DENTING)

Depending on the width of the fabric required the weavers measure the number of dents that might be used on the Rah or (reed) using a Bamboo Chhadi or (stick) and then number of threads are calculated.

The yarns are then passed through the dent one by one by using a Phinni or (hook) so that Rah Lua Phem or (denting) can be done.

Image 71 . Surbhi, Nikita and Mrs. Latika helping each other out in the denting process.

#8

NARAS NOTNA - (PROCESS OF WINDING THE WARP BEAM)

Setting up the warp beam is one of the most difficult as well as essential process in all the other process that are a part od setting up of the loom. The process involves combing, sorting and winding of he warp yarns, his stage has to be pin and proper as the entire weaving process depends on this one stage because if the yarns are tangled at any point it might lead to breakage of yarn during weaving therefore it is essential to carefully sort and comb the yarns while winding up the yarns on the warp beam.

Image 72 . After the denting is copleted then the warp yarns are ties to the warp beam which will later feed warp yarns on the loom.

Image 73 . Nikita tieing the yarns onto the warp beam with the help of a stick.

Image 74 & 75 . Nikita combing the yarns to remove any tangling and slowly winding he warp beam as the yarns are combed.

Image 76 . Nikita sorting the yarns where the knots accur due to excess tangling.

Image 77 & 78. Nikita, Mrs. Latika and Gundli Baideu sorting the yarns as it is a time consuming process.

#9

BAU BANDHA - (MAKING OF HEALD)

In Sualkuchi and Nalbari the Bau or heald is bought but in Rampur the weavers follow the traditional method of tying the heald one by one using a cotton suta or thread, again it is a laborious process for the heald is made for each and every warp yarn there is. For each alternate warp yarn a heald is firstly tied and fitted in the 1st Bau Khola or heald shaft and so on for the 2nd heald shaft. After which the weaving can finally be started.

Image 79. Surbhi sitting on her loom and peparing the heald shaft by creating loops (heald eye) through which the warp yarns pass.

Image 80,81 & 83 .The warp yarns are selected one by one and then with the help of a cotton suta each aleternating yarn is selected and tied onto a hollow rod.The cotton suta that is used to seperate the warp yarns are actually the heald eyes which are then tied onto the heald shaft using a very simple yet confusing knotting technique called bau bandhana.

#10

SEEPHANI - (WEAVING)

The fly shuttle loom which is used in Assam is a bigger loom set up outside or in a workshop with a wooden frame and a plank on which the weaver sits. Often bamboo sticks are used for support or as thinner sticks for warp techniques.The loom is wide and fabric of up to 52� can be woven on it.

Image 84 . Maku - Shuutle and scissors.

Image 85, 86, 87 & 88 . Close-up of Mrs. Pramodini weaving and the method followed.

DESIGN COLLECTION

TREND ANALYSIS S/S 21 (WOMEN)

Collection 1 Rustic Dreams

The collection completely focuses on the lifestyle of the people living in the rural areas of Assam, Their occupations such as agriculture, pisiculture, sericulture, weaving, etc has been highlighted in his collection.

Tea is the one of the most prominent plants which is farmed in Assam, and this is the sole reason why most of the collection is naturally dyed in tea.

Weaving also covers the major portion of occupation graph in Assam, in order to highlight this segment, therefore the motifs that are developed share direct resembelance to the tools used in weaving.

Rustic Dreams Keywords Nature Earthy Tonal Textural Tactile

Key Colours Off White Brown Beige

Key Materials Eri Silk Giccha Silk Eri Noile Cotton

Moodboard

Color Palette

Pantone 480

Pantone 410

Pantone 467

Pantone 7530

TREND FORECAST S/S 21 : TEXTILES

Fabric Swatches This is an image from my Learning Diary, the fabric swatches that are presented are collected keeping in mind the forecast that explains about the sustainable fabrics and the elevated basic look.

These swatches are either in the color of yarn’s natural color or they are naturally dyed in either henna, tea, teak leaves, onion peel, hibiscus, etc.

Explorations

Explorations In order to develop a collection of fabrics it is necessary to develop handworks in order to visualize what might the collection look like.Therefore stripes, checks and melange effects were developed before the actual sampling using watercolors, ink etc.

Explorations

Explorations

Inspiration Pictures

Explorations

In order to develop motifs direct references were taken from tea leaves, spinning wheel, top view of a tea garden, etc and graphs were developed.

Dyed Yarn Swatches This is an image from my Learning Diary, the yarn swatches are self dyed swatches in tea using different M:L R ratio in order to get the desired result, even though natural dyeing is not completely perfect therefore there are slight imperfections in the shades and no two batches are the same. The leaf in the picture is that of Teak tree to provide a yellowish tint in the dyeing process.

Explorations

Weaves Reed Count No. of Shafts Ends/Inch Picks/Inch Materials Warp Patterns Weft Patterns Loom Used Colors in Weft Colors in Warp Thread/ Dent

Plain Weave/ Extra Weft 52 2 36 50 Cotton 40’s ,Eri Silk Continuous Continuous Fly Shuttle Loom Brown- Tea, Dark BrownTeak Leaves Brown- Tea, Dark BrownTeak Leaves 2

Explorations

Weaves Reed Count No. of Shafts Ends/Inch Picks/Inch Materials Warp Patterns Weft Patterns Loom Used Colors in Weft Colors in Warp Thread/ Dent

Plain Weave/ Extra Weft 52 2 36 50 Cotton 40’s ,Eri Silk Continuous Continuous Fly Shuttle Loom Brown- Tea, Dark BrownTeak Leaves Brown- Tea, Dark BrownTeak Leaves 2

Explorations

Weaves Reed Count No. of Shafts Ends/Inch Picks/Inch Materials Warp Patterns Weft Patterns Loom Used Colors in Weft Colors in Warp Thread/ Dent

Plain Weave/ Extra Weft 52 2 36 50 Cotton 40’s ,Eri Silk Continuous Continuous Fly Shuttle Loom Brown- Tea, Dark BrownTeak Leaves Brown- Tea, Dark BrownTeak Leaves 2

Explorations

Weaves Reed Count No. of Shafts Ends/Inch Picks/Inch Materials Warp Patterns Weft Patterns Loom Used Colors in Weft Colors in Warp Thread/ Dent

Plain Weave/ Extra Weft 52 2 36 50 Cotton 40’s ,Eri Silk Continuous Continuous Fly Shuttle Loom Brown- Tea, Natural Eri Color White 2

Explorations

Weaves Reed Count No. of Shafts Ends/Inch Picks/Inch Materials Warp Patterns Weft Patterns Loom Used Colors in Weft Colors in Warp Thread/ Dent

Plain Weave/ Extra Weft 52 2 36 50 Cotton 40’s ,Eri Silk, Noile 2/60’s Continuous Continuous Fly Shuttle Loom Brown- Tea, White 2

Explorations

Explorations

SILHOUETTE ANALYSIS

Silhouette Board

FINAL CONCEPT

Motifs In order to develop motifs direct references were taken from tea leaves, spinning wheel, top view of a tea garden, etc and graphs were developed.

Weaves Reed Count No. of Shafts Ends/Inch Picks/Inch Materials Warp Patterns Weft Patterns Loom Used Colors in Weft Colors in Warp Thread/ Dent

Plain Weave/ Extra Weft 52 2 36 50 Cotton 40’s ,Eri Silk, Continuous Continuous Fly Shuttle Loom Brown- Tea, White Brown- Tea, White 2

Weaves Reed Count No. of Shafts Ends/Inch Picks/Inch Materials Warp Patterns Weft Patterns Loom Used Colors in Weft Colors in Warp Thread/ Dent

Plain Weave/ Extra Weft 52 2 36 50 Cotton 40’s ,Eri Silk, Continuous Continuous Fly Shuttle Loom Brown- Tea, White Brown- Tea, White 2

Weaves Reed Count No. of Shafts Ends/Inch Picks/Inch Materials Warp Patterns Weft Patterns Loom Used Colors in Weft Colors in Warp Thread/ Dent

Plain Weave/ Extra Weft 52 2 36 50 Cotton 40’s ,Eri Silk, Continuous Continuous Fly Shuttle Loom Brown- Tea, White White 2

Weaves Reed Count No. of Shafts Ends/Inch Picks/Inch Materials Warp Patterns Weft Patterns Loom Used Colors in Weft Colors in Warp Thread/ Dent

Plain Weave/ Extra Weft 52 2 36 50 Cotton 40’s ,Eri Silk, Continuous Continuous Fly Shuttle Loom Brown- Tea, White White 2

FABRIC COST SHEET

Description set

Collection 1

Description

Plain Fabric - (Brown) Cost

Fibre Type

Base

Rate/Kg

Consumption/Mt

Cotton 40s Eri Hand-spun

Warp Weft

385 3050

0.11 0.1375

42 419

Total/Mt

0.248

462

Dyeing

1500

0.1375

Weaving Dyeing Raw Material

Rate / Mt 200 206 462

Meters produced 3 3 3

195

3

Eri HS, Cotton 40s

Overheads

Description set

Total Cost/Mt

206 Total Cost

600 618 1,386 585

Collection 1

Description

Plain Fabric - (Check) Cost

Fibre Type

Base

Rate/Kg

Cotton 40s Eri Hand-spun Eri Hand-spun

Warp Weft Weft

385 3050 3050 Total/Mt

Consumption/Mt 0.11 0.1375 0.03 0.278

Dyeing

1500

0.1375

Weaving Dyeing Raw Material

Rate / Mt 200 206 553

Meters produced 11 11 11

195

11

Overheads

Eri HS, Cotton 40s

Total Cost/Mt 42 419 92 553 206

1

Total Cost

2,200 2,266 6,083 2,145

Description set

Collection 1

Description

Plain Fabric - (Buta Stripe) Cost

Fibre Type

Base

Rate/Kg

Cotton 40s Eri Hand-spun Eri Hand-spun

Warp Weft Weft

385 3050 3050 Total/Mt

Consumption/Mt 0.11 0.1375 0.05 0.298

Dyeing

1500

0.1375

Weaving Dyeing Raw Material

Rate / Mt 250 206 553

Meters produced 5 5 5

195

5

Eri HS, Cotton 40s

Overheads

Description set

Total Cost/Mt 42 419 153 614 206 Total Cost

1,250 1,030 2,765 975

Collection 1

Description

Plain Fabric - (Stripe) Cost

Fibre Type

Base

Rate/Kg

Consumption/Mt

Cotton 40s Eri Hand-spun

Warp Weft

385 3050

0.11 0.1375

Total/Mt

0.248

Dyeing

1500

0.1375

Weaving Dyeing Raw Material

Rate / Mt 200 206 462

Meters produced 7 7 7

Overheads

Eri HS, Cotton 40s

195

Total Cost/Mt 42 419 462 206

1

7

Total Cost

1,400 1,444 3,232 1,365

Description set

Collection 1

Description

Plain Fabric - (Melange) Cost

Fibre Type

Base

Rate/Kg

Consumption/Mt

Cotton 40s Eri Hand-spun

Warp Weft

385 3050

0.11 0.1375

Total/Mt

0.248

Dyeing

1500

0.1375

Weaving Dyeing Raw Material

Rate / Mt 200 206 462

Meters produced 5 5 5

Eri HS, Cotton 40s

Overheads

Description set

195

Total Cost/Mt 42 419 462 206 Total Cost

1,000 1,031 2,309

5

975

Collection 1

Description

Plain Fabric - (Buta) Cost

Fibre Type

Base

Rate/Kg

Cotton 40s Eri Hand-spun Eri Hand-spun

Warp Weft Weft

385 3050 3050 Total/Mt

Consumption/Mt 0.11 0.1375 0.05 0.298

Dyeing

1500

0.1375

Weaving Dyeing Raw Material

Rate / Mt 250 206 614

Meters produced 5 5 5

Overheads

Eri HS, Cotton 40s

195

Total Cost/Mt 42 419 153 614 206

1

5

Total Cost

1,250 1,031 3,071 975

Description set

Collection 1

Description

Plain Fabric - (White) Cost

Fibre Type

Base

Rate/Kg

Cotton 40s Eri Hand-spun Eri Mill-spun

Warp Weft Weft

385 3050 2000 Total

Consumption/Mt 0.11 0.1375 0.11 0.358

Dyeing

1500

Weaving

Rate / Mt 200

Meters produced 5

681

5

Raw Material

Eri HS, Eri MS, Cotton 40s

Total Cost/Mt 42 419 220 682 -

Overheads

Total Cost

1,000 3,405 975

1

GARMENT SPEC SHEET

GARMENT SPECIFICATION SHEET CONTACT PERSON:

Mr. Rajeev Sharma 9540155594

PHONE: COUNTRY OF ORIGIN: STYLE NO: SEASON + Yr: DESCRIPTION:

DESIGNER: Lakshay Mahawar PATTERN MAKER: Ganesh Master Taslima Keleng GRADER: NOTIONS

ERFD01 S/S 21

OTHER

FABRIC TYPE: FIBRE CONTENT:

WIDTH:

LENGTH:

CARE LABELLING INSTRUCTIONS:

COLOURS:

Eri / Cotton

60/40

40”

1 mt

Dry Clean only

Eri / Cotton

60/40

40”

3.5 mts

Dry Clean only

SIZE RANGE:

LABELS:

LABEL POSITION:

S/M/L/XL

Brand, Size, Wash Care

Nape, Left Waist

CODE / DENIER:

MACHINE USE:

M0050 / 120 M0076 / 120

Lock-Stitch Lock-Stitch

SEWING SPECIFICATIONS THREAD TYPE:

NEEDLE SIZE SEAMS

Mock French French Edge Turned & Stitched

10-12 WIDTH

TYPE

1/4 3/8

Armhole Side Seams

1/4

Hemline

MACHINE

STITCH LENGTH

Lock-Stitch

2-2.5

DIRECTION

FINISH

M M H

WIDTH

FEET

GARMENT SPECIFICATION SHEET CONTACT PERSON:

Mr. Rajeev Sharma 9540155594

PHONE: COUNTRY OF ORIGIN: STYLE NO: SEASON + Yr: DESCRIPTION:

DESIGNER: Lakshay Mahawar PATTERN MAKER: Ganesh Master Taslima Keleng GRADER: NOTIONS

ERSD01 S/S 21

OTHER

FABRIC TYPE: FIBRE CONTENT:

WIDTH:

LENGTH:

CARE LABELLING INSTRUCTIONS:

COLOURS:

Eri / Cotton

60/40

40”

0.5 mt

Dry Clean only

Eri / Cotton

60/40

40”

3 mts

Dry Clean only

SIZE RANGE:

LABELS:

LABEL POSITION:

S/M/L/XL

Brand, Size, Wash Care

Mid Back, Left Waist

CODE / DENIER:

MACHINE USE:

M0050 / 120 M0076 / 120

Lock-Stitch Lock-Stitch

SEWING SPECIFICATIONS THREAD TYPE:

NEEDLE SIZE

10-12

SEAMS

WIDTH

TYPE

French Edge Turned & Stitched

3/8

Side Seams

1/4

Hemline

MACHINE

STITCH LENGTH

Lock-Stitch

2-2.5

DIRECTION

FINISH

M H

WIDTH

FEET

GARMENT SPECIFICATION SHEET CONTACT PERSON:

Mr. Rajeev Sharma 9540155594

PHONE: COUNTRY OF ORIGIN: STYLE NO: SEASON + Yr: DESCRIPTION:

DESIGNER: Lakshay Mahawar PATTERN MAKER: Ganesh Master Taslima Keleng GRADER: NOTIONS

ERFD02 S/S 21

OTHER

FABRIC TYPE: FIBRE CONTENT:

WIDTH:

LENGTH:

CARE LABELLING INSTRUCTIONS:

COLOURS:

Eri / Cotton

60/40

40”

2.5 mt

Dry Clean only

Eri / Cotton

60/40

40”

1 mts

Dry Clean only

SIZE RANGE:

LABELS:

LABEL POSITION:

S/M/L/XL

Brand, Size, Wash Care

Mid Back, Left Waist

CODE / DENIER:

MACHINE USE:

M0050 / 120 M0076 / 120

Lock-Stitch Lock-Stitch

SEWING SPECIFICATIONS THREAD TYPE:

NEEDLE SIZE

12-14

SEAMS

WIDTH

TYPE

French Edge Turned & Stitched

3/8

Side Seams

1/4

Hemline

MACHINE

STITCH LENGTH

Lock-Stitch

2-2.5

DIRECTION

FINISH

M H

WIDTH

FEET

GARMENT SPECIFICATION SHEET CONTACT PERSON:

Mr. Rajeev Sharma 9540155594

PHONE: COUNTRY OF ORIGIN: STYLE NO: SEASON + Yr: DESCRIPTION:

DESIGNER: Lakshay Mahawar PATTERN MAKER: Ganesh Master Taslima Keleng GRADER: NOTIONS

ERSD02 S/S 21

OTHER

FABRIC TYPE: FIBRE CONTENT:

WIDTH:

LENGTH:

CARE LABELLING INSTRUCTIONS:

COLOURS:

Eri / Cotton

60/40

40”

1.5 mt

Dry Clean only

Eri / Cotton

60/40

40”

2 mts

Dry Clean only

SIZE RANGE:

LABELS:

LABEL POSITION:

S/M/L/XL

Brand, Size, Wash Care

Nape, Left Waist

CODE / DENIER:

MACHINE USE:

M0050 / 120 M0076 / 120

Lock-Stitch Lock-Stitch

SEWING SPECIFICATIONS THREAD TYPE:

NEEDLE SIZE SEAMS

Mock French French Edge Turned & Stitched

10-12 WIDTH

TYPE

1/4 3/8

Armhole Side Seams

1/4

Hemline

MACHINE

STITCH LENGTH

Lock-Stitch

2-2.5

DIRECTION

FINISH

M M H

WIDTH

FEET

GARMENT SPECIFICATION SHEET CONTACT PERSON:

Mr. Rajeev Sharma 9540155594

PHONE: COUNTRY OF ORIGIN: STYLE NO: SEASON + Yr: DESCRIPTION:

DESIGNER: Lakshay Mahawar PATTERN MAKER: Ganesh Master Taslima Keleng GRADER: NOTIONS

ERT01 S/S 21

OTHER

FABRIC TYPE: FIBRE CONTENT:

WIDTH:

LENGTH:

CARE LABELLING INSTRUCTIONS:

COLOURS:

Eri / Cotton

60/40

40”

2 mt

Dry Clean only

Eri / Cotton

60/40

40”

0.25 mts

Dry Clean only

SIZE RANGE:

LABELS:

LABEL POSITION:

S/M/L/XL

Brand, Size, Wash Care

Nape, Left Waist

CODE / DENIER:

MACHINE USE:

M0050 / 120 M0076 / 120

Lock-Stitch Lock-Stitch

SEWING SPECIFICATIONS THREAD TYPE:

NEEDLE SIZE SEAMS

Mock French French Edge Turned & Stitched

10-12 WIDTH

TYPE

1/4 3/8

Armhole Side Seams

1/4

Hemline

MACHINE

STITCH LENGTH

Lock-Stitch

2-2.5

DIRECTION

FINISH

M M H

WIDTH

FEET

GARMENT SPECIFICATION SHEET CONTACT PERSON:

Mr. Rajeev Sharma 9540155594

PHONE: COUNTRY OF ORIGIN: STYLE NO: SEASON + Yr: DESCRIPTION:

DESIGNER: Lakshay Mahawar PATTERN MAKER: Ganesh Master Taslima Keleng GRADER: NOTIONS

ERT02 S/S 21

OTHER

FABRIC TYPE: FIBRE CONTENT:

WIDTH:

LENGTH:

CARE LABELLING INSTRUCTIONS:

COLOURS:

Eri / Cotton

60/40

40”

0.5 mt

Dry Clean only

Eri / Cotton

60/40

40”

1 mts

Dry Clean only

SIZE RANGE:

LABELS:

LABEL POSITION:

S/M/L/XL

Brand, Size, Wash Care

Mid Back, Left Waist

CODE / DENIER:

MACHINE USE:

M0050 / 120 M0076 / 120

Lock-Stitch Lock-Stitch

SEWING SPECIFICATIONS THREAD TYPE:

NEEDLE SIZE

10-12

SEAMS

WIDTH

TYPE

French Edge Turned & Stitched

3/8

Side Seams

1/4

Hemline

MACHINE

STITCH LENGTH

Lock-Stitch

2-2.5

DIRECTION

FINISH

M H

WIDTH

FEET

GARMENT SPECIFICATION SHEET CONTACT PERSON:

Mr. Rajeev Sharma 9540155594

PHONE: COUNTRY OF ORIGIN: STYLE NO: SEASON + Yr: DESCRIPTION:

DESIGNER: Lakshay Mahawar PATTERN MAKER: Ganesh Master Taslima Keleng GRADER: NOTIONS

ERSK01 S/S 21

OTHER

FABRIC TYPE: FIBRE CONTENT:

WIDTH:

LENGTH:

CARE LABELLING INSTRUCTIONS:

COLOURS:

Eri / Cotton

60/40

40”

1 mt

Dry Clean only

Eri / Cotton

60/40

40”

3 mts

Dry Clean only

SIZE RANGE:

LABELS:

LABEL POSITION:

S/M/L/XL

Brand, Size, Wash Care

Center Waist, Left Waist

CODE / DENIER:

MACHINE USE:

M0050 / 120 M0076 / 120

Lock-Stitch Lock-Stitch

SEWING SPECIFICATIONS THREAD TYPE:

NEEDLE SIZE

10-12

SEAMS

WIDTH

TYPE

French Edge Turned & Stitched

3/8

Side Seams

1/4

Hemline

MACHINE

STITCH LENGTH

Lock-Stitch

2-2.5

DIRECTION

FINISH

M H

WIDTH

FEET

GARMENT SPECIFICATION SHEET CONTACT PERSON:

Mr. Rajeev Sharma 9540155594

PHONE: COUNTRY OF ORIGIN: STYLE NO: SEASON + Yr: DESCRIPTION:

DESIGNER: Lakshay Mahawar PATTERN MAKER: Ganesh Master Taslima Keleng GRADER: NOTIONS

ERTR01 S/S 21

OTHER

FABRIC TYPE: FIBRE CONTENT:

Eri / Cotton

WIDTH:

60/40

LENGTH:

40”

CARE LABELLING INSTRUCTIONS:

COLOURS:

Dry Clean only

0.5 mt

SIZE RANGE:

LABELS:

LABEL POSITION:

S/M/L/XL

Brand, Size, Wash Care

Center Waist, Left Waist

CODE / DENIER:

MACHINE USE:

M0050 / 120

Lock-Stitch

SEWING SPECIFICATIONS THREAD TYPE:

NEEDLE SIZE

12-14

SEAMS

WIDTH

TYPE

Lapped Edge Turned & Stitched

3/8

Side Seams

1/4

Hemline

MACHINE

STITCH LENGTH

Lock-Stitch

2-2.5

DIRECTION

FINISH

M H

WIDTH

FEET

SIZE CHART

TREND ANALYSIS S/S 21 (MEN)

Collection 2 Rustic Dreams The collection focuses on the long forgotten way of leading one’s life. According to the zen principles one should refrain from harming the nature and accept its beauty the way it is be it perfect or imperfect.

Zen Garden is one such aspect of the Zen way of living, these gardens were intended to imitate essence of nature, not its appearance, and to serve as an aid to meditation about the true meaning of existence. Hence the collection that is derived from the Zen ideals of living life is a mere imitation of the nature’s essence which is tried to be potrayed as it is.

The Zen Temple Keywords Natural Focused Relaxed Textural Tactile

Key Colours Off White Beige

Key Materials Eri Silk Giccha Silk Cotton

Moodboard

Color Palette

TREND FORECAST S/S 21 : TEXTILES

Inspiration Pictures

Explorations

In order to develop motifs direct references were taken from tea leaves, spinning wheel, top view of a tea garden, etc and graphs were developed.

Explorations

Explorations

FABRIC SWATCHES

Weaves Reed Count No. of Shafts Ends/Inch Picks/Inch Warp Yarn Weft Yarn Thread/ Dent Loom Used Colors in Weft Colors in Warp

Plain Weave/ Extra Weft 52 2 36 50 Cotton 40’s Eri 100s/ 2 MS 2,4 Fly Shuttle Loom Natural Eri Colour White

Weaves Reed Count No. of Shafts Ends/Inch Picks/Inch Warp Yarn Weft Yarn Thread/ Dent Loom Used Colors in Weft Colors in Warp

Plain Weave/ Extra Weft 52 2 36 50 Cotton 40’s Eri 60s/ 2 MS 2,4 Fly Shuttle Loom Natural Eri Colour White

Weaves Reed Count No. of Shafts Ends/Inch Picks/Inch Warp Yarn Weft Yarn Thread/ Dent Loom Used Colors in Weft Colors in Warp

Plain Weave/ Extra Weft 52 2 36 50 Cotton 40’s Eri 30s HS 2,4 Fly Shuttle Loom Natural Eri Colour White

Weaves Reed Count No. of Shafts Ends/Inch Picks/Inch Warp Yarn Weft Yarn Thread/ Dent Loom Used Colors in Weft Colors in Warp

Plain Weave/ Extra Weft 52 2 36 50 Cotton 40’s Eri 60s HS 2,4 Fly Shuttle Loom Natural Eri Colour White

Weaves Reed Count No. of Shafts Ends/Inch Picks/Inch Warp Yarn Weft Yarn Thread/ Dent Loom Used Colors in Weft Colors in Warp

Plain Weave/ Extra Weft 52 2 36 50 Cotton 40’s Giccha 30s HS 2,4 Fly Shuttle Loom Natural Giccha Colour White

Weaves Reed Count No. of Shafts Ends/Inch Picks/Inch Warp Yarn Weft Yarn Thread/ Dent Loom Used Colors in Weft Colors in Warp

Plain Weave/ Extra Weft 52 2 36 50 Cotton 40’s Giccha 60s HS 2,4 Fly Shuttle Loom Natural Giccha Colour Natural Giccha Colour

SILHOUETTE ANALYSIS

Silhouette Board

FINAL CONCEPT

2“

2 cm

2 cm

Weaves Reed Count No. of Shafts Ends/Inch Picks/Inch Warp Yarn Weft Yarn Thread/ Dent Loom Used Colors in Weft Colors in Warp

Twill Weave 44 4 32 38 Cotton 40’s Eri 100s/ 2 MS 2,4 Fly Shuttle Loom Natural Eri Colour White

Weaves Reed Count No. of Shafts Ends/Inch Picks/Inch Warp Yarn Weft Yarn Thread/ Dent Loom Used Colors in Weft Colors in Warp

Plain Weave 40 2 28 32 Cotton 40’s Eri 60s/ 2 MS 2,4 Fly Shuttle Loom Natural Eri Colour White

Weaves Reed Count No. of Shafts Ends/Inch Picks/Inch Warp Yarn Weft Yarn Thread/ Dent Loom Used Colors in Weft Colors in Warp

Rib Weave 40 4 28 32 Cotton 40’s Eri 30s HS 2,4 Fly Shuttle Loom Natural Giccha Colour White

Weaves Reed Count No. of Shafts Ends/Inch Picks/Inch Warp Yarn Weft Yarn Thread/ Dent Loom Used Colors in Weft Colors in Warp

Extra Weft 44 2 32 38 Cotton 40’s Eri 60s HS 2,4 Fly Shuttle Loom Natural Eri Colour White

Weaves Reed Count No. of Shafts Ends/Inch Picks/Inch Warp Yarn Weft Yarn Thread/ Dent Loom Used Colors in Weft Colors in Warp

Extra Weft 44 2 32 36 Cotton 40’s Eri 30s HS 2,4 Fly Shuttle Loom Natural Giccha Colour White

Weaves Reed Count No. of Shafts Ends/Inch Picks/Inch Warp Yarn Weft Yarn Thread/ Dent Loom Used Colors in Weft Colors in Warp

Jacquard 44 2 32 36 Cotton 40’s Eri 60s HS 2,4 Fly Shuttle Loom, Jacquard Natural Giccha Colour Natural Giccha Colour

Weaves Reed Count No. of Shafts Ends/Inch Picks/Inch Warp Yarn Weft Yarn Thread/ Dent Loom Used Colors in Weft Colors in Warp

Plain Weave 52 2 36 50 Cotton 40’s Eri 100s/ 2 MS 2,4 Fly Shuttle Loom Natural Eri Colour White

FABRIC COST SHEET

Description set

Collection 2

Description

Plain Fabric - Plain Weave Cost

Fibre Type

Base

Rate/Kg

Consumption/Mt

Cotton (Organic) 2/60s Eri Hand-spun

Warp Weft

958 2750

0.11 0.1375

Total/Mt

0.248

Loom Setup

Cost/ Hr

Hrs Worked

Bobbin Winding Warp Drum Winding Drafting - Denting Overheads

50 65 85

24 16 30

Total Cost/Mt 105 378 484

Total 1,200 1,040 2,550 400 5,190

Total

Dyeing

Loom Setup Weaving Dyeing Raw Material Overheads

Rate / Mt

Eri HS, Cotton 40s

173 150 484 195

1

Meters produced 5 5

Total Cost

5

865 750 2,418

5

975

Description set

Collection 2

Description

Plain Fabric - Twill Weave Cost

Fibre Type

Base

Rate/Kg

Consumption/Mt

Cotton (Organic) 2/60s Eri Hand-spun

Warp Weft

958 2750

0.11 0.1375

Total/Mt

0.248

Loom Setup

Cost/ Hr

Hrs Worked

Bobbin Winding Warp Drum Winding Drafting - Denting Overheads

50 65 85

24 16 30

Total Cost/Mt 105 378 484

Total 1,200 1,040 2,550 400 5,190

Total

Dyeing

Loom Setup Weaving Dyeing Raw Material Overheads

Rate / Mt

Eri HS, Cotton 40s

173 200 484 195

1

Meters produced 4 4

Total Cost

4

692 800 1,934

4

780

Description set

Collection 2

Description

Plain Fabric - Rib Weave Cost

Fibre Type

Base

Rate/Kg

Consumption/Mt

Cotton (Organic) 2/60s Eri Hand-spun

Warp Weft

958 2750

0.11 0.1375

Total/Mt

0.248

Loom Setup

Cost/ Hr

Hrs Worked

Bobbin Winding Warp Drum Winding Drafting - Denting Overheads

50 65 85

24 16 30

Total Cost/Mt 105 378 484

Total 1,200 1,040 2,550 400 5,190

Total

Dyeing

Loom Setup Weaving Dyeing Raw Material Overheads

Rate / Mt

Eri HS, Cotton 40s

173 200 484 195

1

Meters produced 4 4

Total Cost

4

692 800 1,934

4

780

Description set

Collection 2

Description

Plain Fabric - Extra Weft Cost

Fibre Type

Base

Rate/Kg

Consumption/Mt

Cotton (Organic) 2/60s Eri Hand-spun

Warp Weft

958 2750

0.11 0.1375

Total/Mt

0.248

Loom Setup

Cost/ Hr

Hrs Worked

Bobbin Winding Warp Drum Winding Drafting - Denting Overheads

50 65 85

24 16 30

Total Cost/Mt 105 378 484

Total 1,200 1,040 2,550 400 5,190

Total

Dyeing

Loom Setup Weaving Dyeing Raw Material Overheads

Rate / Mt

Eri HS, Cotton 40s

173 250 484 195

1

Meters produced 6 6

Total Cost

6

1,038 1,500 2,901

6

1,170

Description set

Collection 2

Description

Plain Fabric - Extra Weft Cost

Fibre Type

Base

Rate/Kg

Consumption/Mt

Cotton (Organic) 2/60s Eri Hand-spun

Warp Weft

958 2750

0.11 0.1375

Total/Mt

0.248

Loom Setup

Cost/ Hr

Hrs Worked

Bobbin Winding Warp Drum Winding Drafting - Denting Overheads

50 65 85

24 16 30

Total Cost/Mt 105 378 484

Total 1,200 1,040 2,550 400 5,190

Total

Dyeing

Loom Setup Weaving Dyeing Raw Material Overheads

Rate / Mt

Eri HS, Cotton 40s

173 250 484 195

1

Meters produced 6 6

Total Cost

6

1,038 1,500 2,901

6

1,170

Description set

Collection 2

Description

Plain Fabric - Jacquard Cost

Fibre Type

Base

Rate/Kg

Consumption/Mt

Cotton (Organic) 2/60s Cotton (Organic) 2/60s

Warp Warp

958 958

0.11 0.1375

Total/Mt

0.248

Loom Setup

Cost/ Hr

Hrs Worked

Bobbin Winding Warp Drum Winding Drafting - Denting Overheads

50 65 85

24 16 30

Total Cost/Mt 105 132 237

Total 1,200 1,040 2,550 400 5,190

Total

Card Punching

Loom Setup Weaving Card Punching Raw Material Overheads

600 Rate / Mt

Eri HS, Cotton 40s

173 250 120 237

Meters produced 5 5 5 5

195

5

1

Total Cost

865 1,250 600 1,186 975

Description set

Collection 2

Description

Plain Fabric - Plain Cotton Cost

Fibre Type

Base

Rate/Kg

Consumption/Mt

Cotton (Organic) 2/60s Cotton (Organic) 2/60s

Warp Warp

958 958

0.11 0.1375

Total/Mt

0.248

Loom Setup

Cost/ Hr

Hrs Worked

Bobbin Winding Warp Drum Winding Drafting - Denting Overheads

50 65 85

24 16 30

Total Cost/Mt 105 132 237

Total 1,200 1,040 2,550 400 5,190

Total

Dyeing

Loom Setup Weaving Dyeing Raw Material Overheads

Rate / Mt

Eri HS, Cotton 40s

173 250

Meters produced 4 4

237

4

692 1,000 948

195

4

780

1

Total Cost

GARMENT SPEC SHEET

GARMENT SPECIFICATION SHEET CONTACT PERSON:

Mr. Rajeev Sharma 9540155594

PHONE: COUNTRY OF ORIGIN: STYLE NO: SEASON + Yr: DESCRIPTION:

DESIGNER: Lakshay Mahawar PATTERN MAKER: Ganesh Master Taslima Keleng GRADER: NOTIONS

MERS01 S/S 21

OTHER

FABRIC TYPE: FIBRE CONTENT:

Organic Cotton

WIDTH:

100

LENGTH:

38”

CARE LABELLING INSTRUCTIONS:

COLOURS:

Dry Clean only

2.25 mt

SIZE RANGE:

LABELS:

LABEL POSITION:

S/M/L/XL

Brand, Size, Wash Care

Nape, Left Waist

CODE / DENIER:

MACHINE USE:

M0076 / 120

Lock-Stitch

SEWING SPECIFICATIONS THREAD TYPE:

NEEDLE SIZE

10-12

SEAMS

WIDTH

TYPE

Lapped Edge Turned & Stitched

3/8

Side Seams

1/4

Hemline

MACHINE

STITCH LENGTH

Lock-Stitch

2-2.5

DIRECTION

FINISH

M H

WIDTH

FEET

GARMENT SPECIFICATION SHEET CONTACT PERSON:

Mr. Rajeev Sharma 9540155594

PHONE: COUNTRY OF ORIGIN: STYLE NO: SEASON + Yr: DESCRIPTION:

DESIGNER: Lakshay Mahawar PATTERN MAKER: Ganesh Master Taslima Keleng GRADER: NOTIONS

MERS02 S/S 21

OTHER

FABRIC TYPE: FIBRE CONTENT:

Eri / Cotton

WIDTH:

60/40

LENGTH:

38”

CARE LABELLING INSTRUCTIONS:

COLOURS:

Dry Clean only

2.25 mt

SIZE RANGE:

LABELS:

LABEL POSITION:

S/M/L/XL

Brand, Size, Wash Care

Nape, Left Waist

CODE / DENIER:

MACHINE USE:

M0076 / 120

Lock-Stitch

SEWING SPECIFICATIONS THREAD TYPE:

NEEDLE SIZE

10-12

SEAMS

WIDTH

TYPE

French Edge Turned & Stitched

3/8

Side Seams

1/4

Hemline

MACHINE

STITCH LENGTH

Lock-Stitch

2-2.5

DIRECTION

FINISH

M H

WIDTH

FEET

GARMENT SPECIFICATION SHEET CONTACT PERSON:

Mr. Rajeev Sharma 9540155594

PHONE: COUNTRY OF ORIGIN: STYLE NO: SEASON + Yr: DESCRIPTION:

DESIGNER: Lakshay Mahawar PATTERN MAKER: Ganesh Master Taslima Keleng GRADER: NOTIONS

MERSH01 S/S 21

OTHER

FABRIC TYPE: FIBRE CONTENT:

WIDTH:

Giccha / Cotton 60/40

LENGTH:

38”

CARE LABELLING INSTRUCTIONS:

COLOURS:

Dry Clean only

2.25 mt

SIZE RANGE:

LABELS:

LABEL POSITION:

S/M/L/XL

Brand, Size, Wash Care

Center Waist, Left Waist

CODE / DENIER:

MACHINE USE:

M0050 / 120

Lock-Stitch

SEWING SPECIFICATIONS THREAD TYPE:

NEEDLE SIZE

10-12

SEAMS

WIDTH

TYPE

Flat and Fell Edge Turned & Stitched

3/8

Side Seams

1/4

Hemline

MACHINE

STITCH LENGTH

Lock-Stitch

2-2.5

DIRECTION

FINISH

M H

WIDTH

FEET

GARMENT SPECIFICATION SHEET CONTACT PERSON:

Mr. Rajeev Sharma 9540155594

PHONE: COUNTRY OF ORIGIN: STYLE NO: SEASON + Yr: DESCRIPTION:

DESIGNER: Lakshay Mahawar PATTERN MAKER: Ganesh Master Taslima Keleng GRADER: NOTIONS

MERSH02 S/S 21

OTHER

FABRIC TYPE: FIBRE CONTENT:

Eri / Cotton

WIDTH:

60/40

LENGTH:

38”

CARE LABELLING INSTRUCTIONS:

COLOURS:

Dry Clean only

2.25 mt

SIZE RANGE:

LABELS:

LABEL POSITION:

S/M/L/XL

Brand, Size, Wash Care

Center Waist, Left Waist

CODE / DENIER:

MACHINE USE:

M0050 / 120

Lock-Stitch

SEWING SPECIFICATIONS THREAD TYPE:

NEEDLE SIZE

10-12

SEAMS

WIDTH

TYPE

Flat and Fell Edge Turned & Stitched

3/8

Side Seams

1/4

Hemline

MACHINE

STITCH LENGTH

Lock-Stitch

2-2.5

DIRECTION

FINISH

M H

WIDTH

FEET

GARMENT SPECIFICATION SHEET CONTACT PERSON:

Mr. Rajeev Sharma 9540155594

PHONE: COUNTRY OF ORIGIN: STYLE NO: SEASON + Yr: DESCRIPTION:

DESIGNER: Lakshay Mahawar PATTERN MAKER: Ganesh Master Taslima Keleng GRADER: NOTIONS

MERT01 S/S 21

OTHER

FABRIC TYPE: FIBRE CONTENT:

Eri / Cotton

WIDTH:

60/40

LENGTH:

38”

CARE LABELLING INSTRUCTIONS:

COLOURS:

Dry Clean only

3 mt

SIZE RANGE:

LABELS:

LABEL POSITION:

S/M/L/XL

Brand, Size, Wash Care

Center Waist, Left Waist

CODE / DENIER:

MACHINE USE:

M0076 / 120

Lock-Stitch

SEWING SPECIFICATIONS THREAD TYPE:

NEEDLE SIZE

10-12

SEAMS

WIDTH

TYPE

French Edge Turned & Stitched

3/8

Side Seams

1/4

Hemline

MACHINE

STITCH LENGTH

Lock-Stitch

2-2.5

DIRECTION

FINISH

M H

WIDTH

FEET

GARMENT SPECIFICATION SHEET CONTACT PERSON:

Mr. Rajeev Sharma 9540155594

PHONE: COUNTRY OF ORIGIN: STYLE NO: SEASON + Yr: DESCRIPTION:

DESIGNER: Lakshay Mahawar PATTERN MAKER: Ganesh Master Taslima Keleng GRADER: NOTIONS

MERT02 S/S 21

OTHER

FABRIC TYPE: FIBRE CONTENT:

Eri / Cotton

WIDTH:

60/40

LENGTH:

38”

CARE LABELLING INSTRUCTIONS:

COLOURS:

Dry Clean only

3.5 mt

SIZE RANGE:

LABELS:

LABEL POSITION:

S/M/L/XL

Brand, Size, Wash Care

Centre Waist, Left Waist

CODE / DENIER:

MACHINE USE:

M0076 / 120

Lock-Stitch

SEWING SPECIFICATIONS THREAD TYPE:

NEEDLE SIZE

10-12

SEAMS

WIDTH

TYPE

Flat and Fell Edge Turned & Stitched

3/8

Side Seams

1/4

Hemline

MACHINE

STITCH LENGTH

Lock-Stitch

2-2.5

DIRECTION

FINISH

M H

WIDTH

FEET

GARMENT SPECIFICATION SHEET CONTACT PERSON:

Mr. Rajeev Sharma 9540155594

PHONE: COUNTRY OF ORIGIN: STYLE NO: SEASON + Yr: DESCRIPTION:

DESIGNER: Lakshay Mahawar PATTERN MAKER: Ganesh Master Taslima Keleng GRADER: NOTIONS

MERJ01 S/S 21

OTHER

FABRIC TYPE: FIBRE CONTENT:

Eri / Cotton

WIDTH:

60/40

LENGTH:

40”

CARE LABELLING INSTRUCTIONS:

COLOURS:

Dry Clean only

3.5 mt

SIZE RANGE:

LABELS:

LABEL POSITION:

S/M/L/XL

Brand, Size, Wash Care

Nape, Left Waist

CODE / DENIER:

MACHINE USE:

M0050 / 120

Lock-Stitch

SEWING SPECIFICATIONS THREAD TYPE:

NEEDLE SIZE

10-12

SEAMS

WIDTH

TYPE

Flat and Fell Edge Turned & Stitched

3/8

Side Seams

1/4

Hemline

MACHINE

STITCH LENGTH

Lock-Stitch

2-2.5

DIRECTION

FINISH

M H

WIDTH

FEET

GARMENT SPECIFICATION SHEET CONTACT PERSON:

Mr. Rajeev Sharma 9540155594

PHONE: COUNTRY OF ORIGIN: STYLE NO: SEASON + Yr: DESCRIPTION:

DESIGNER: Lakshay Mahawar PATTERN MAKER: Ganesh Master Taslima Keleng GRADER: NOTIONS

MERJ02 S/S 21

OTHER

FABRIC TYPE: FIBRE CONTENT:

Eri / Cotton

WIDTH:

60/40

LENGTH:

38”

CARE LABELLING INSTRUCTIONS:

COLOURS:

Dry Clean only

3.25 mt

SIZE RANGE:

LABELS:

LABEL POSITION:

S/M/L/XL

Brand, Size, Wash Care

Mid Back, Left Waist

CODE / DENIER:

MACHINE USE:

M0076 / 120

Lock-Stitch

SEWING SPECIFICATIONS THREAD TYPE:

NEEDLE SIZE

10-12

SEAMS

WIDTH

TYPE

French Edge Turned & Stitched

3/8

Side Seams

1/4

Hemline

MACHINE

STITCH LENGTH

Lock-Stitch

2-2.5

DIRECTION

FINISH

M H

WIDTH

FEET

SIZE CHART

PHOTOSHOOT

ZEN MEN

02 ZEN

MEN

EN ME

03

ZEN

04 MEN

SYNOPSIS The Industry based Graduation project is included in the curriculum to inculcate in us practical experience and orientation towards the functioning of textile industry. We can contribute to the organization in the areas of design, supervision, sampling and manufacturing.

The focus of the project was to have an appropriate learning of industry and to gain exposure.

Under the company’s mentor guidance and brief given by him, I assisted them in various on-going projects, branding for a menswear brand, setting up a supply chain starting from the very yarns till the fabric production and logistics for the same till the final finished garment.

I began with visiting the handloom clusters so as to understand the brand identity and its variation in products, techniques, pricing and strategy.

Further my research was on various international brands and market survey to know the competition and products in trend.

Then selection of theme from WGSN and product development was executed Research on various textile brands was the most important phase since during the process endless ideas were generated each of them inspired from different working strategy of companies across the globe. I have collected all the relevant information regarding the industry, machinery, technology, latest trends and developed my designs thereby completing my project successfully.

LEARNING OUTCOME The Graduation project undertaken in NIFT, Mumbai curriculum was a splendid experience on industry know-how.This was a well managed internship and it gave an idea about the industry and its organizational setup. Also, this project made my design more practical on the production perspective. Ideas are more feasible in terms of larger production and are more inclined towards technology. I have learnt how to manipulate my designs according to the resources available.

I was also able to learn how to work in an adverse environment where in you have to take care of organization hierarchy also and work under patience. This project expanded my horizon of home textiles in terms of various existing clients or buyers, their working style and the costing of a product. Since I have taken up there projects so I could experience what fabrics, sizes and colors are being made. Even sourcing of trims and accessories for the assorted cushion and for the fabric ensemble helped me out in knowing the price of materials that are being used and also the quantity of one particular kind of material which can be used in a design.

The collection helped me out in understanding various components of menswear and womenswear and their standard sizes and the maket gap. It also helped in understanding of fabrics as in where and what fabric has to be used for required effect in the product.This project taught me how to work even with local artisans and get the samples done by experimenting with the techniques and at the same time keeping in mind the designing limitations of the machines.The process of making specification sheet helped me out in understanding the technical details of the product, their diagrams, their fabric details and maintaining a record of your work.

It was a complete learning on how to begin with a design and finally complete it perfectly.

BIBLIOGRAPHY 1. http://pmkvyofficial.org/ 2. http://www.upsdm.gov.in/ 3. http://texmin.nic.in/schemes/north-east-textile-promotion-scheme 4. http://modelamaskills.com/ 5. http://tihartj.nic.in/tj.asp 6. https://www.google.co.in/search?q=indian+women&source=lnms&tbm=isch&sa=X-&ved=0ahUKEwjH3s69oe7aAhXEQ48KHa4tCgUQ_ AUICigB 7. https://www.google.co.in/search?q=PITEREST&oq=PITEREST&aqs=chrome..69i57j0l5.2338j1j4&sourceid=chrome&ie=UTF-8 8. https://www.google.co.in/search?q=ILLUSTRATIONS&source=lnms&tbm=isch&sa=X-&ved=0ahUKEwis566nou7aAhUmTI8KHegtBYwQ_ AUICigB 9. https://docs.google.com/forms/u/0/d/1nMXUcF3r5OsySCgRCQc7KaGLx6YQXUH2IZyUMMza1xI/edit?usp=forms_home&ths=true 10. https://www.google.co.in/search?q=kurtas&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjJtLPpqO7aAhXDLI8KHdKhBw8Q_ AUICigB 11. https://www.google.co.in/search?q=brands+india&source=lnms&tbm=isch&sa=X-&ved=0ahUKEwiJwMOtqe7aAhVBMo8KHUhzCD4Q_ AUICygC 12. https://thenounproject.com/ 13. https://www.wgsn.com/en/ 14. https://www.google.co.in/search?tbm=isch&sa=1&ei=BYLtWvLIMYuAvwS6uLuIDwq=EARTHY+LINES&oq=EARTHY+LINES&gs_l=img.3...

636672.639332.0.639609.13.12.0.1.1.0.202.1546.0j9j1.10.0....0...1c.1.64.img..2.8.1155.0..0j35i39k1j0i67k1.0.elHfwIOHhGI 15. https://www.google.co.in/search?tbm=isch&sa=1&ei=hoTtWszNMIrbvAT4_ZjACw&q=WAVY+LINES&oq= VY+LINES&gs_=img.3..0l2j0i67k1l4j0l2j0i67k1l2.166446.167834.0.168481.6.6.0.0.0.0.212.1093.0j4j2.6.0....0...1c.1.64.img..0.6.1091...35i39k1j0i7i30k1.0.ne9pb8B_OQs