GRADUATION PROJECT
SUTA : A Collection of Stoles and Apparel Sponsor: Weaver’s Studio, Kolkata Volume: 1 of 2
STUDENT : NEHA RAO
PROGRAMME : BACHELOR OF DESIGN
GUIDE : AARTI SRIVASTAVA
2015 TEXTILE AND APPAREL DESIGN FACULTY (TEXTILE DESIGN)
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Neha Rao | Textile Design | B.Des
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National Institute of Design | Graduation Project | 2015
The evaluation jury recommends NEHA RAO for the BACHELOR OF DESIGN of National Institute of Design IN TEXTILE AND APPAREL DESIGN (TEXTILE DESIGN) Herewith, for the project titled “ SUTA - Threads, Ties and Transformations ” on fulfilling the further requirements by
Chairman
Members :
* Subsequent remarks fulfilling the requirements :
Registrar (Academics)
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Neha Rao | Textile Design | B.Des
Copyright Š2014-2015 Student document publication meant for private circulation only. All rights reserved. Graduation Bachelor of Design, Textile Design, 2014-15 National institute of Design, Ahmedabad, India. No part of this document will be reproduced or transmitted in any form or by any means including photo copying, xerography, photography and videography recording without written permission from the publisher, Neha Rao and National Institute of Design. All illustrations and photographs in this document are Copyright Š2014-2015 by respective people/organizations. Edited and designed byName: Neha Rao Email: neha_rao5@yahoo.com Processed at National Institute of Design (NID) Paldi, Ahmedabad - 380007 Gujurat, India. www.nid.edu Printed digitally in Ahmedabad, India. September, 2015
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National Institute of Design | Graduation Project | 2015
ORIGINALITY STATEMENT I hereby declare that this submission is my own work and it contains no full or substantial copy of previously published material, or it does not even contain substantial proportions of material which have been accepted for the award of any other degree or diploma of any other educational institution, except where due acknowledgement is made in this degree project. Moreover I also declare that none of the concepts are borrowed or copied without due acknowledgement. I further declare that the intellectual content of this degree project is the product of my own work, except to the extent that assistance from others in the project’s design and conception or in style, presentation and linguistic expression is acknowledged. This degree project (or part of it) was not and will not be submitted as assessed work in any other academic course. Student Name in Full: Neha Sreedhar Rao Signature: Date:
COPYRIGHT STATEMENT I hereby grant the National Institute of Design the right to archive and to make available my degree project/thesis/dissertation in whole or in part in the Institute’s Knowledge Management Centre in all forms of media, now or hereafter known, subject to the provisions of the Copyright Act. I have either used no substantial portions of copyright material in my document or I have obtained permission to use copyright material. Student Name in Full: Neha Sreedhar Rao
Signature: Date:
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Neha Rao | Textile Design | B.Des
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National Institute of Design | Graduation Project | 2015
01 ACKNOWLEDGEMENT
I would like to thank a number of people who have been primarily instrumental in making my project a success. First of all, I would like to thank the National Institute of Design for enriching my four years with the required education, skill, knowledge and understanding, which has helped me and guided me in every step during my six and a half months project. I would like to thank my mentor Ms. Darshah Shah, proprietor of Weaver’s Studio, without whom it would not have been possible to attempt and successfully complete a variety of projects. At the National Institute of Design, my project guide Mrs. Aarti Srivastava, Coordinator of Textile Design was a constant support. I would like to thank her for her timely guidance and encouragement. This list has to include Ms. Monika Savla and Ms. Ushma Savla, who bore with me for the project tenure and always took out time for me whenever required. Mrs. Sreedutta Roy Sarkar’s inputs were very valuable during the project.
Naresh Chandra Dey and Liza Mondol also constantly helped me whenever it came to production. Without their understanding of designs processes and prompt actions, the production would not have been so effective. Special thanks to Dolan Talukder who sincerely did all the machine embroidery and helped me complete my project. Shabudin Bhai, Bonanadi Das, Poritish Da, Shoma Nag, Laxman, Shaukat Ali and weaver’s Amit Saha, Athul Da, Biswajit Sarkar, Sarojit Sarkar need a special mention for the constant help. Its an imperative to mention Ishita Rastogi, along with everyone in Weaver’s Studio who made me feel comfortable with their support, love and warmth. My designs would have never materialized had it not been for the hard working weavers and dyers at Rangeen.
Special thanks to Gourab Ganguli and Vasu Agarwal for taking out time to photograph my collection. Patricia Zadeng for being the perfect model and enduring through long shoot and also for all the love and support. Thanks to Kalp Sanghvi for helping me with the shoot. A big thank you to Dhariya Tandel, Swapnil Desai, Isha Mangalmurti, Gaurav Wakankar, Akshay Yadav, Saumya Kishore, Shalaka Kadu for their support and help during my documentation. Finally, thanks to my loving parents, extended family and all my friends for being with me whenever I needed them. THANK YOU!
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Neha Rao | Textile Design | B.Des
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National Institute of Design | Graduation Project | 2015
02 SYNOPSIS :
The Four year graduation programme at NID ends with the graduation project where the student gets to work in the industry on a live project. This project is the first step of the student in the industry right after the academics. I applied to Weaver’s Studio, Kolkata by sending them a email, asking for an opportunity to work in their organisation for my Graduation Project. Weaver’s Studio is one of the well know studio’s in the textile industry. They mainly deal with apparel products which are produced with hand made textile techniques. Developing surfaces using different techniques has always fascinated me and that is the reason I chose Weaver’s Studio. As this company has so many inhouse techniques, this was a great opportunity to learn about them at an industrial level. This experience taught me to understanding the bridge between design and production. Developing a range of textiles using traditional techniques in a way which is independent of the established grammar, language and layouts, enhancing and exploring transparency and opacity, texture, interaction of colours etc to give it a modern,contemporary aesthetic. The research process was a very important and integral part of the project. I studied the home company thoroughly. The design aesthetics, production unit, clients, philosophy, previous collections, market, product range etc . I also did a qualitative research of the trends and forecast to understand the ongoing and upcoming trends. At weavers, I had the opportunity to work on three projects. Brief of the first project was to come up with a collection of woven stoles for the Japanese market. The brief of the second project was to make a collection of garments and coordinates on the concept ‘waste to wealth’ using the available textile techniques at Rangeen. The third project was a live project with a metal sculptor Narayan Sinha, where I had to come up with one of a kind surfaces for lampshades which would be sold at an exclusive exhibition held by the artist himself.
Based on the research, I came up with story directions which applied to the company’s aesthetics and the clients. These story directions were taken forward. Different mood boards were created for different collections. Designs were selected and taken forward for sampling and further for production. This experience of working in Weaver’s Studio helped me to understand the work culture. The importance of a design process and its execution till the final stage has been an enriching experience. It has helped me to understand the technical aspect of production and the shortcomings when it comes to making of a particular design. It has enriched my understanding of working on a real live project under constraints and to meet the deadlines. In all it was a life time experience filled with ups and downs, nervousness, excitement and a lot of memories to take forward
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Neha Rao | Textile Design | B.Des
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National Institute of Design | Graduation Project | 2015
ACKNOWLEDGEMENT ................................................7
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SYNOPSIS ...........................................................................9
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ABOUT NID ......................................................................12
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SPONSOR............................................................................14
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PROJECT BRIEF.................................................................23
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PROJECT METHODOLOGY...........................................24
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CONTENT
RESEARCH AND ANALYSIS..........................................26
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ORIMONO - PROJECT I.................................................39
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PARAT - PROJECT II........................................................97
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BATI - PROJECT III................................... ....................171
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CONCLUSION ................................................................207
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IMAGE REFERENCE ....................................................208
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BIBLIOGRAPHY..............................................................213
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Neha Rao | Textile Design | B.Des
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National Institute of Design, Paldi Campus, Ahmedabad
National Institute of Design | Graduation Project | 2015
03 ABOUT NID
ABOUT NATIONAL INSTITUTE OF DESIGN National Institute of Design (NID), is an internationally acclaimed educational and research institute for Industrial, Communication, Textile and IT integrated Design. It is an autonomous institute under the Ministry of Commerce and Industry, Government of India and is recognized by the department of scientific and industrial research.NID’s trans disciplinary environment consist of 17 diverse design domains, which helps increasing innovative and holistic ecosystem for design learning
GRADUATION PROJECT National Institute of Design, requires every student to go through industrial training for a period of 4 to 6 months. The graduation project encourages the student to apply their academic learning to practice, evaluate and reflect the creative journey followed. The final year project could be carried out at any public sector organization, private sector or managed firm or an NGO. This is the final academic project for the students. In a sponsored project, sponsor determines the initial design brief and expectations / scope of the brief for the project, it may be done in consultation with the students. Students could also initiate a self-sponsored project depending on the nature of the project. Every project needs to begin with research / project plan. The project then needs to be carried out with systematic inquiry and design methodology.
A proper structure and method is required, for the student to make informed design decisions. This journey that the student undertakes in the industries is documented by the students and presented to a jury comprising of faculty members. The student’s performance is evaluated by the jury.
This opportunity helps the students to apply his/her understanding to practices in the process of creating new forms of services, system, products, processes. To analyses and refine his/her ideas on the basis of criticism by the client. To analyses the creative processes she/ he has followed.
The project, should reflect creativity and innovation, should lead to new knowledge and should align with broader objectives of the institute.
The graduation project reflects the student’s competence to excel in their chosen profession. The students realize the need and demand of the industry and this helps them to make informed decisions about which career path they would like to follow after graduation.
If the project is up to the mark, the students are awarded NID’s professional education program degree. This degree helps the younger designers to demonstrate their expertise as independent practitioners of design. This graduation project carried out by the students is the mirror of their learning and growth at NID.
Students can begin their degree projects within the timetables of the final semester – 8th semester for GDPD and 5th semester in case of PGDPD.
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Neha Rao | Textile Design | B.Des
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Rangeen factory, Kolkata
National Institute of Design | Graduation Project | 2015
04 SPONSOR
WEAVER’S STUDIO : Parent company The Weavers Studio, Kolkata was set up in 1993, showcasing traditional Indian textiles to audiences worldwide, through exhibitions and sales catering to both the export and the domestic market, by Ms. Darshan Shah, a textile enthusiast and a management graduate from I.I.M Ahmedabad.
PHILOSOPHY : “Use as many hands as possible” is the mission statement of Weavers Studio, and this statement holds true even 22 years after the studio had been set up. In 1993, Darshan Shah started weavers studio with the aim of providing a platform to local craftsmen, to promote, guide and assist them in showcasing their products in the international market through development of contemporary textiles using traditional techniques. Weaver’s Studio has a average turn over of Rs 7.5 crore. Weavers studio has established its position in the international market by setting up hand-block printing, hand loom, hand embroidery units, value addition and tailoring units in the vicinity of Kolkata, employing 120 plus craftsmen directly at Rangeen and a overall staff of 250 people as a whole including (Weaver’s Studio, Rangeen, Veda, Center of the arts and resource center) Products are also out sourced based on project requirements from the near by villages. Weaver’s Studi also has a library and textile archive, also serves as an educational centre on Bengal handlooms.The retail store in south Kolkata, which Khadi, jamdani and simple, minimalistic, natural-dyed and woven scarves are the USP of Weavers Studio’s export arm Veda Commercial.
Ms. Darshan Shah
Retail outlet
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Neha Rao | Textile Design | B.Des
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Rangeen factory
National Institute of Design | Graduation Project | 2015
COMPANY’S SUBDIVISION:
PARENT COMPANY
Established by Ms. Darshan Shah in 1993
PROFIT
PRODUCTION UNIT Established in 1995
Rangeen I was started as a small block printing facility in 1995, by Weaver’s studio, with 5 block printing tables. Over the years the infrastructure and facilities have expanded to 38 block printing tables, 3 batik tables and 4 screen printing tables. Rangeen II the weaving unit was set up in 2002 with 28 traditional handlooms using natural yarns.c It was capable of weaving high quality hand spun, hand reeled, hand woven contemporary textiles using techniques such as jamdani, warp printing, inlay, mixed mediums, rollers, double cloth and more. At present, there are 15 working looms. Rangeen boasts of a design repertoire consisting of more than 1000 plus screens, 2500 textile and fashion reference books, magazines and journals on textiles, fashion, 850 old and rare textiles from India and abroad. Master craftsmen who specialize in dyeing, block making, block print, screen printing, tie and dye are capable of printing and value adding approximately 750 meters of cloth per day using various dyes like pigements, acid, discharge, natural and AZO free colours.
NON PROFIT
MERCHANDISING UNIT Established in 1993
Veda Commercial Pvt Ltd, the export arm of ‘Weaver’s Studio’, was started in December 1993 with the mission statement ‘ Taking India’s rich textile heritage, culture, technique and the arts to the world’ and has given fresh impetus to hand spun, hand woven ‘Khadi’ , jamdani, natural dyeing, hand block printing, kantha, chikankari, applique and shibori.
PLATFORM TO EXCHANGE IDEAS Established in 2007
Weaver’s Studio Center of the Arts is a non profit organisation. It was inaugurated in 2007, with a mission statement ‘GARNERING TALENT, NURTURING CREATIVITY’ to promote all performing and non performing arts. The centre is a multipurpose space for exhibition, seminars, performances and creativity in all forms. Alot of famous personalities from different walks of life are invited to exhibit and share their work.
SOCIAL UPLIFTMENT Established in 2007
‘Weaver’s Studio Resource Center’ works with the mission statement ‘because everybody deserves their happy ever after’ and has adopted a cluster of 9 villages initiating development work that includes providing basic amenities like clean water, sanitation, health care, education facilties and vocational training to the women and children in the area.
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Neha Rao | Textile Design | B.Des
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National Institute of Design | Graduation Project | 2015
COMPANY HIERARCHY: DARSHAN SHAH Owner of Weaver’s Studio
MONIKA SALVA
Head of design and production unit at Rangeen
USHMA SALVA
Head of design and retail unit at Weaver’s Studio
SREEDUTTA.S
Head of the graphic design unit at Rangeen
ASMITA . R
Head of Center of the art’s
EMPLOYEE
EMPLOYEE
DESIGNERS
DESIGNERS
RADHIKA. S
Head of the merchandise at Veda commercial
DESIGNERS INTERNS INTERNS
EMPLOYEE
EMPLOYEE INTERNS
EMPLOYEE
PRODUCTION SUPERVISOR
MASTER CRAFTSMAN
Digital prints are outsourced
PRODUCTION SUPERVISOR
Head of the weaving / printing / dying unit
MASTER CRAFTSMAN
Head of the weaving / printing / dying unit
ARTISANS ARTISANS
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Neha Rao | Textile Design | B.Des
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Weaver’s Studio’s product range
National Institute of Design | Graduation Project | 2015
TEXTILE TECHNIQUES :
PRODUCT RANGE :
• Printing - 1) Hand block printing 2) Screen printing 3) Surface texture - roll, stencil, spray
Product Range include • Yardage / Fabrics • Patch scrolls • Panels • Stoles and scarves for the export market • Duppattas • Sarees • Salwar kurtas • Men’s kurta’s • Ladies jackets • Shawls for the domestic market.
• Hand Embroidery 1) Katta etc 2) Applique 3) Zari • Dyeing - 1) Dip Dyeing 2) Batik 3) Shibori 4) Clamp • Weaving • Felting • Tailoring • Hand painting • Zardosi
WORK PROCESS AT WEAVER’S STUDIO :
WEAVER’S STUDIO COMPETITORS :
WEAVER’S STUDIO’S BUYERS :
The woven stoles and scarves are mostly produced by weaver’s co-operation of Phulia, custom made according to requirements.
Weaver’s Studio has a retail showroom in Kolkata and apart from their own products they also stock creations from other designer labels such as • Neeru Kumar • Shades of India • Meraki Project • Akaaro • Amrich • Resha • Rehwa • Pero
Rangeen mostly caters to orders from clients and production for the Japanese market. This association with the Japanese market has been for 20 years and has worked for brands like • 45 rpm • Tulla • Love stock • Masayo Esaki • Kimie Okata.etc.
Textiles are sourced from all over India, which are then either stitched into garments or are exported as it is or are sold in the domestic market. The labour intensive nature of work commands high price for the textiles in the domestic market and are competitively priced in the international market. No strict colour forecast are followed. The colour palette is kept flexible according to the buyer’s preferences. Company is using azo - free dye, acid, direct and vegetable colours. The company takes orders for the whole sale market and also caters to high end clientele. They also participate in various textile exhibition and fairs and have a widespread client base.
and many more. Mostly of the woven fabric are sourced from handloom weavers from Bhagalpur in Bihar and Murshidabad and Phulia in West Bengal.
and many more along with buyers from domestic market like : • Sherin BeckTer • Mamata Reddy • Kathrin Weber •Tia Pakhi, etc
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Neha Rao | Textile Design | B.Des
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National Institute of Design | Graduation Project | 2015
05 PROJECT BRIEF
INITIAL PROJECT BRIEF :
REVISED PROJECT BRIEF :
The original project brief was as follows Developing a range of textiles using traditional techniques in a way which is independent of the established grammar, language and layouts, enhancing and exploring transparency and opacity, texture, interaction of colours etc to give it a modern, contemporary aesthetic.
The six and a half months long project at Weaver’s studio was focused primarily towards contemporary and commercially viable woven textiles, exploring various yarns, weaving techniques, textures, concepts and look based on specific market studies, colour, trends, season preferences, etc. The revised brief helped to focus on the exact technique and number of pieces to be made in the required collection.
The end deliverable could be in the form of stoles, scarves and saris, as the focus was mostly on creating simple yet striking and contemporary surfaces. This would be achieved by using the number of techniques Weavers studio had to offer. Prior to the commencement of the project, a certain content frame of the needs was developed. The initial project brief underwent various changes as the project progressed.
The collective work generated during the tenure was further subdivided into three project, which are as follows-
1) A collection of stoles for Autumn Winter 2015-2016 for Japanese Market.
2) A collection of linen and khadi garments, stoles and bottoms, with the use of appliquĂŠ and machine embroidery, under the concept of waste to wealth.
3) A collection of lampshade fabric for a exhibition by artist Narayan Sinha. 23
07 PROJECT METHODOLOGY RESEARCH AND ANALYSIS
PROJECT I - ORIMONO
PROJECT III - BATI
• Weaver”s Studio, Kolkata established in 1993. • Has profit as well as non profit organizations under it. • Supports hand made textile techniques • In - house production unit • Caters to international as well as domestic market • Product Range - Yardage / Fabrics, Patch scrolls, Panels, Stoles and scarves, sarees, jackets, garments • Study of previous collections
• Brief - To make a collection of stoles for the Japanese market for the season A/W 2015 - 2016 • Market Research • Mood board - ‘Broken Geometry’ • Colour - Shades of grey, brown, reds, blue • Paper Explorations • Yarn Rhythm • Exploration and development of motifs, patterns and textures. • Design direction 1) Use of different kind of yarn, 2)Variation of forms, scale and layout in Jamdani motif 3) Creating stripes/ rhythms/ textures as background 4) Introduction a new technique - painting of the warp /Extra weft • Sampling on the loom
• Brief - To create unique surfaces on fabric for a range of lampshade to be exhibited by a sculptor Narayana Sinha • Mood Board - ‘Vintage and Classic’ • Sampling - Exploration and development of motif, patterns and textures on fabric with the help of block printing, dying and embroidery technique. • Patchwork - these samples were then also used to combine with the help of patchwork to create a whole surface • Yardage for lampshades
FEBRUARY
MARCH
APRIL
INITIAL PHASE CONCEPTUALIZING
EXPLORATION CONCEPTUALIZING
- Understanding the company profile and working
- Working of the project I - Orimono
PRODUCTION EXPLORATION
PRODUCTION
- Working of the project III - Bati
PROJECT II - PARAT
EXPLORATION AND SAMPLING
PRODUCTION
• Brief - To create a concept on waste to wealth • Exploration with material using the available textile technique at Weaver’s Studio •Final Brief - to create a collection of garments along with co-ordinates to support the collection. • Market • Study of pervious collection • Mood board - ‘Unevenly Neutral’ • Motif Exploration • Silhouette exploration • Sampling
• Final refining of the design. • This stage focuses on translation of ideas from paper to the material. During this a lot of development and design decisions had to be taken. • Exploration and Sampling took place at Rangeen,Kolkata, the production unit.
• Commencement of the final production in terms of the product. • The production took place at Rangeen, Kolkata. • Production overlapped between the first and the second project in the month of june and July.
MAY
JUNE
JULY
AUGUST
DOCUMENTATION •The entire process would be documented and recorded step by step. • The purpose of documentation was to reflect and understand the design process in detail. • Documentation was carried out at NID, Paldi campus.
SEPTEMBER
EXPLORATION
CONCEPTUALIZING
EXPLORATION
PRODUCTION DOCUMENTATION
- Working of the project II - Parat
- Documentation
CLASSIFICATION OF JAMDANI DESIGN:
1)
2)
3)
Individual floral motifs are floral springs scattered over the surface are called BUTIDAR.
Floral sprays arranged diagonally are known as TERCHI.
Regular network are known as JHALOR or JAAL
Over the years Jamdani weavers have memorized the motifs and patterns as verbal instruction known as BULI. Today traditional designs have acquired indigenous names drawn from images of everyday life and interpreted in stylized geometric motifs. The motifs reflect the weaver’s own perception of the world around him, as the names may differ from one weaver to another. High value jamdani are embellished with a touch of gold and with tiny delicate surface motifs knows as chalchita, sheborka, gotphool,motorchita etc.
08 RESEARCH AND ANALYSIS RESEARCH ON JAMDANI INTRODUCTION: Jamdani, a Persian word, which is Jam which means flower, dani which means vase. Jamdani or figured muslin is one of the most highly prized traditional products of Indian textile. The tradition of Jamdani weaving originated in Bengali . It is one of the most time and labour-intensive forms of hand loom weaving. This technique requires high skill level to weave the extremely delicate fabric. Jamdani is a hand loom woven fabric made of cotton, which was historically referred as muslin.
diverse method of ornamentation and embellishment are employed to give a varied look to the garment. In Jamdani, the shaft is lifted up and the supplementary weft is inserted between the space, according to the design and the required weft is also inserted along with it. This step is repeated with the change in the lifting order and the supplementary weft is used according to the design.
HISTORY
QUALITY AND COST
CHARACTERISTIC’S OF JAMDANI
In the 4th B.C, Jamdani was a popular weaving technique. The best pieces of Jamdani were woven by the weaver’s of Mushidabad. During this period due to the patronage by the royalty the craft had reached it’s zenith. During 1813, huge import of cheap foreign cloth from Manchester as well as the import of foreign thread and yarns affected the art of jamdani adversely. The quality and quantity of the product went down. One more reason the art almost died during this period was due to the series of attacks from dacoits of the area. After independence, around 1956 the Indian government had established the ‘ All Indian Handloom Board ‘ for the improvement and advancement of Indian Art of Weaving efforts have been made ever since.
Muslin weavers judged the quality of cotton by its ability to shrink during bleaching and becoming stronger. The value of muslin was determined by it’s length, warp and relative weight. The greater the length and lower the weight, the better the fabric. Previously ends per inch for a fine muslin cloth was 70 and less and now ends per inch is around 40 or less. Production is very labour intensive and it can take two weavers from six to ten weeks to weave a fabric with heavy ornamentation and a week or two to weave a fabric with minimum ornamentation There is a huge shift in the quality of jamdani weaving, for example where 150’s and even greater counts were used, to now were the quality has dropped to 60’s, 40’s, 20’s to even 16’s. Jamdani was originally woven in cotton but now a days its woven in variety of materials like cotton, wool, silk, zari etc. Orginally Jamdani was woven in whites, greys, off whites and other lighter shades. Now a days bright colours are also widely used to satisfy the demands of the consumer. Jamdani has always been a product for the cream of the society, it’s approximate cost range from Rs 600 to Rs 1,00,000 and above, depending on the design, pattern and intricacy. Jamdani has always been a luxury products catering to the uber rich class of the society.
• The weft colour matches the colour with the warp • It involves adding supplementary cotton weft, often matching in colour and weight of the foundation wefts. • Pure jamdani weave requires the same warp and weft thread ratio. •Jamdani technique uses pick by pick which is in the ratio 1: 1 • Scale of the specific motif is uniform throughout the surface. • Yarn used in this technique is of a uniform colour • The form of the motif are mostly floral. Featuring flowers, leaves and flowing creepers , animals, birds, fishes and other depictions from daily life. • One of the distinctive feature of Jamdani has always been its characteristically unique border. • There are no floats in Jamdani weaving •The extra weft has no texture as such, in many cases it’s embossed or raised. as compared to the background. • The outstanding feature of Jamdani is the remarkable range of designs executed with extreme delicacy and dexterity.
WEAVING TECHNIQUE Jamdani uses plain weave with extra weft. Plain Weave produces the simplest form of interlacing in alternate order giving maximum support. Hence this weave is used to a great extend than any other weave,
Source : Watson
RESEARCH ON SCARVES INTRODUCTION Scarf is an accessories, which provides the frame work of daily dress. Basic scarves are versatile and adaptable to every occasion and purpose. It can be safely called as a functional piece of cloth. They are coloured to blend with the other elements of the wardrobe, shaped to move the way the body moves, and scaled to comfort and proportions.
THE HISTORY OF THE SCARF
Source : www.pinterest.com
In the past, the scarf had functioned as a garment unto itself, worn by the ancients with dazzling simplicity. Only in this century has the western woman fully seized the scarf ’s genius. As corsets and Victorian morals fell away, the scarf became a flag of movement. It accompanied women into convertibles and into the office, where it was a badge of common purpose in wartime. By now, the scarf has acquired as many faces as femininity. Like blue jeans, it is worn by each person in a different way.
SHAPES AND SIZE
Source : www.pinterest.com
Scarves can be given different shapes oblong, rectangle or square. Each shape had a different emotional axis attached to it. The oblong shape has been associated with ethereal, intellectual, and romantic tendencies since the ecclesiastical stole. Hindu yogi’s maintain that a scarf at the neck helps free the fifth chakra of communication, accounting, perhaps for the way aesthetics and poets have clung to it. The square is historically more earthbound, an emblem of home, hearth, and contained femininity. The romantics believe that the square shawl stoked emotion by framing the heart. The large square: 48” plus - are used as shawl, pareo, sarong, halter, etc. The pocket square: (16X18”) - are used as pocket square or handkerchief. The oblong: (14X54”) - are used as cravat, muffler, jabot, sash, stole, turban The classic Square (36”) are used as kerchief or neckerchief. Hence, shape is a clear indication of how scarf will work.
FABRIC The primal pleasure of a scarf comes from the fabric with which it is made. It’s “hand” (feel), texture, colour, and way of reflecting light all combines to create a sensory language, a code based on the fabric’s fibre. A scarf is imbibed with a women’s fragrance like an intimate calling card. Prehistoric weavers tufted wool to mimic fur. Fabric has always been a second skin that subliminally describes character. The use of contrasting fabrics - for examples, an iridescent scarf against dull black-heightens the effect of both fabric.
REVERSIBLE Well-made topcoats and black-tie play host to the reversible muffler-the masculine classic accessory long appreciated by women for its sensuality and versatility. It suggests discretion and a soft, private underside. That won’t be revealed to just anyone. Like the bicoloured stoles of the clergy, from which it may have been derived, the reversible muffler celebrates fabric in a way that indulges the sense but is some- how sober- the definition of high style. All scarves benefit by being made with unmatched fabric. The extra cost pays off in service and value- one garment leading a double life.
‘A sweet disorder in the dree kindles in clothes a wantonness’ Robert Herrick. ‘A scarf is the most versatile accessory. It can be worn as a belt, a necklace, to tie back hair on a bad hair day-even as a skirt - Donna Karan’.
PATTERN Rhythm and a refreshing lack of reason have been pattern’s gifts to mankind. Pattern is an emotional morse code. It can be woven into a scarf (as with plaids and ikats), printed onto the surface in symmetrical repetition called “repeats,” or spread in painterly free-form. Silk screens-stencils through which dye is squeezed one colour at a time – produce the precision colour of luxury silk head scarves. Pattern and colour are the decorative wild cards of scarves.
Source : www.pinterest.com
EDGE FINISHING DETAILS The way the scarf is edged helps define its character. A clean edge is neat, if hand rolled, luxurious. At Hermes, a staff of sixty seamstresses called roulotteuses (rollers) specialize in tracking rolled edges down with neat stitches. Fringe celebrates movement and can be sporty on a wool muffler or festive in silk, changing mood with materials. A border of pearls, raffia, new age crystals or antique beads etc each striking its own attitude. Self-fringe, an edge of unwoven threads that looks as if the loom stopped weaving, is casual in wool, dressier in silk kaffeta. Pattern, too, can function like a frame, setting “repeat” prints in a border of colour. Tassels are also every popular in today’s time. In stitching, fagoting, a stitched open seam, often used in linen, is an elegant legacy of Madeleine Vionnet, who used it to pioneer seemingly seamless shape in fashion. The rolled silk scarf can be stitched either entirely by hand or by machine with corners hand stitched.
Source : www.pinterest.com
Neha Rao | Textile Design | B.Des
JAPANESE MARKET
CHAIKI MAKI
JURGEN LEHL
Japanese market has a huge demand of stoles and scarves. Scarves and Stoles are considered to be an important part of the wardrobe and its a statement piece.
INTRODUCTION A range of stoles had to be developed for the Japanese Market for the autumn winter season 2015- 2016. This collection aimed at creating a range of stoles for the Japanese women. As stole is a product that is in immediate contact with the body, texture plays an important role. Hence on of the direction for this project would be to exploring the tactile quality with weaving as a technique.
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COLOUR Prior to starting the project a basic study was done on the earlier production for Japan and the designs that were popular in the market. The major preferences regarding colours were neutrals as well as natural hues like deep madder, grey, shades of indigo, chocolate brown etc. Also the Japanese buyers have various specifications that apply to such imports. Notable amongst them are the use of completely natural or azofree dyes. Colour fastness is also a important issue, and prior to shipping, a series of quality control checks are conducted.
JAPANESE DESIGNERS Past collections of few designers were briefly studied to understand the tried and tested textures, colours, weavers, structures, dimensions, etc • Jurgen Lehl • Chikaki Maki • Tamaki Niime • Yohji Yamamoto • Issey Miyake • Kenzo Tak etc . 30
• Jurgen lehl set up the brand in 1972. • Jurgen Lehl brand flaunts its ecological credentials with a series of jackets, blouses and pants for women and men with flowing, ethnic- inspired silhouettes and an earth-conscious palette of browns, beiges, creams and muted reds and greens •The basic ideas for the brand were to use renewable, natural or recycled materials, to use hand-spun yarn or handlooms for the textiles, to use natural dyes or the inherent colors of the materials themselves, and to ensure that all the products were biodegradable or would create no environmental problems when disposed of. •Design language includes use of texture and muted and tasteful colours, woven. •Jackets and pants from the Jurgen Lehl brand tend to hover around Rs 300000 to Rs 4,00000. •He has been working with the same weavers in India for 35 years.
• Chiaki Maki, is a graduate of Rhode Island School of Design, USA set up maki textile studio in 1990 • Brand believes in creating hand-woven textiles. • Explore to look out for hand made materials and yarn and sample out in their studio in Akiruno, Tokyo • Brand seeks inspiration for textures from the rich nature like mountains, rivers, forests, flowers etc • Design language of the brand is muted colours, where the weave is the core design aspect. • Finsihing is in the form of tassels made from the warp itself. • The samples are taken to the workshops in India and handwoven by our old weavers.
National Institute of Design | Graduation Project | 2015
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YOHJI YAMAMOTO
ISSEY MIYAKE
KENZO TAKADA
Use of colour and weave, stripe and rhythm
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• Kenzo Takada is a Japanese-French fashion designer established in 1970. • He is the founder of Kenzo, a worldwide brand of perfumes, skincare products and clothes • The brand has a variety of material to offer like wool, silk , cotton etc •Kenzo’s sense of heritage and multiculturalism is integral to its position as one of the most influential labels of the latter-day fashion landscape. • Kenzo’s philosphy is freedom, freedom is shape and volume, in movement, paper and shapes. • KCollections have taken in everything from American pop culture and traditionally wrapped Chinese workwear to East Asian batik, Japanese weaving and European peasants’ smocks. • They include techniques like weaving, printing and dying. •Prices Range is between Rs 65000 to Rs 90000
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•Issey Miyake is a Japanese fashion designer. He is known for his technology-driven clothing designs, exhibitions and fragrances •He founded the Miyake Design Studio, a high-end producer of women’s fashion in 1970 in Tokyo. • He experimented with new methods of pleating that would allow both flexibility of movement for the wearer as well as ease of care and production. In which the garments are cut and sewn first, then sandwiched between layers of paper and fed into a heat press, where they are pleated. The fabric’s ‘memory’ holds the pleats and when the garments are liberated from their paper cocoon, they are ready-to wear • The stoles have a certain texture property which is the main design language. Colours are in the darker shade. While the pattern are minimalist. His trademark use of pliss יfabric • Price range would be between Rs 20000 to Rs 400000
•Yōji Yamamoto is an award winning and influential Japanese fashion designer based in Tokyo and Paris • His commercially successful main line, Yohji Yamamoto (women/men) and Y’s, are especially popular in Tokyo. • The fabrics are produced in Japan • traditional Japanese methods of dying fabrics, such as the Shibori and Kyo-Yuzen methods, as well as embroidery and knitting. • Yamamoto does not alter the fabric once he receives it. In addition, he hardly ever uses prints, which are popular among Western designers. The simple, streamlined quality of his designs is the secret of their chic. And contrary to what may be expected, the unraveled hems that appear here and there do not mar their appearance or allude to poverty, but rather appear as a unique finish • Checks, stripes and Rhythms along with minimum patterns in 31 dark shades is this design language.
Neha Rao | Textile Design | B.Des
DOMESTIC MARKET
MAKU TEXTILES
RAHUL MISHRA
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Jamdani is equally valued it has and it always will symbolize aristocracy. The demand for quality Jamdani Sarees have increased exponentially over the years. Weaving is a dying art and the government is initiating numerous projects for the upliftment of these communities but hardly anything trickles down to the people for which it is meant. Jamdani has also have had an impact in the international market. A number of Indian fashion designers have experimented with jamdani. From being an intricate and meticulously made weave, it has undergone a metamorphosis, giving it a more contemporary look. Experimenting with jamdani in it’s traditional form but in a cutting-edge outfits is the trend observed. Jamdani was traditional done in the form of sarees but now you can see it in overcoats, crop tops, jumpsuits, dresses, anarkali’s etc. Designers who have contemporaried Jamdani: • Rahul Mishra • Maku Textiles • Pero • Gaurang 32
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• Maku textiles was established by Shantanu Das and Chirag Gandhi in 2011 in Kolkata • A designer brand that originated from the slow fiber movement which encourages the use of hand woven cloth. • Product Range includes : Stoles, garments and sarees. • The main colour story of this brand is blue and white. • Jamdani is a technique used extensively by this brand. • The motifs are traditional in aesthetics but the products are contemporary. • The production is done in the villages of Phulia in Kolkata. • They have a huge clientèle from Japan as well.
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• Rahul Mishra, established his brand in the year in 2006 • He came up with this Jamdani collection called ‘Kiss’ (Keep It Simple and Sport), different elements from East and West of India in his Spring-Summer 2014 collection on day two of Wills India Fashion Week. • Use of traditional motif on contemporary silhouette • Influenced by ancient jamdani work of West Bengal, these garments done by workers from Kalna, a small town near Kolkata • The colour palette was dominated by corals, oranges, indigo, cobalt blues and classic blacks. •The fluidness of the garments was achieved by the use of silk organzas.
National Institute of Design | Graduation Project | 2015
PERO
Founded on June 13, 2009 The label is launched by Aneeth Arora on 2009 in Delhi • Péro products :womenswear, menswear, kidswear, scarves ;péro accessories. •Péro recreates and adapts local styles for the modern consumer who loves the aesthetic, but also the ease, comfort and pleasure, provided by the simple shapes. The textiles are handmade in various parts of india, and each collection incorporates at least five traditional techniques from the country, for example- block prints from Rajasthan; Jamdani from West Bengal; woven textiles from Maheshwar; Khadi from Calcutta. Each piece is hand crafted and passed through the hands of atleast 5 to 12 crafts people. •The result is a collection of amazing pieces with incredible hand feel & stunning details. • Colours are muted and motif ’s are traditional
One of the main lessons learnt from research of the craft and design development programme was the way in which variety was sustained and nurtured in the context of traditions, both at the level of weavers and the market.
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STUDY OF JAMDANI AT WEAVER’S STUDIO INTRODUCTION Japan is the largest export market for Weaver’s Studio Rangeen, the production unit of Weaver’s studio had employed skilled weavers mostly from Phulia and Shantipur, two notable weaving villages of West Bengal. These weavers are highly skilled in Jamdani weaving, an extra weft technique where the extra weft is passed manually to form intricate patterns. They are well versed with techniques like the spilt shuttle weaving, double cloth and other advance weaving structures. Production of stoles and scarves is mostly out sourced to Phuliya and Bangaladesh for the domestic market.
EXISTING DESIGNS AT WEAVER’S STUDIO Sheer Stole with loose pick and fine chinese filament silk with various colours were prominent in their collections. The colour forecast was not strictly followed since the client specifies the shades after selecting the sample design. Popular Sizes : 190 x 60 cms, 180 cm x 50 cm, 170 cm x 40 cm, 250 cm x 90 cms.
CLIENTELE Weaver’s Studio is associated with Japanese designer’s who would buy for their boutiques as well as buyer of brands like • Love for loom • Jurgen Lehl • 45 rpm, Tulla • Love stock • La affair • Life wire, are amongst the few. 34
Stole Produced by Weaver’s studio
National Institute of Design | Graduation Project | 2015
AESTHETICS USED AT WEAVER’S STUDIO FOR THE JAPANESE MARKET: INTRODUCTION During the initial period Weaver’s studio wanted a very specific look for the stole, specific scale, colours and the selvage was given. Stoles had to be simple but eye catching. Play of texture and form was allowed but keeping in mind minimalist. Since it was essentially for the Japanese market, the collection had to follow a specific aesthetic, which meant that there were some prerequisites to be followed while designing the collection.
• SCALE
For border - not more than 1.5 inches For motifs/ butti - not more than 1 cm For selvage - not more than 0.5 cm - 0.7 cm, sizes could vary on both sides
• COLOUR
Weaver’s Studio doesn’t follow a specific forecast, but uses a classic palette of shades of blue, brown, red, black etc
• SURFACE :
The surfaces could have a textural quality to them.
Stole Produced by Weaver’s studio
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National Institute of Design | Graduation Project | 2015
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Neha Rao | Textile Design | B.Des
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National Institute of Design | Graduation Project | 2015
09 ORIMONO PROJECT - I
“The repetitions of patterns give us rest. The marvels of designs stir the imagination.”- Oscar Wilde “A scarve becomes something different upon each different wearer. I see scarves.. as tools for the wearer’s creativity”.- Issey Miyake.
PROJECT BRIEF ‘ORIMONO’ in Japanese means ‘woven’. It is a collection of stoles and fabrics for autumn winter 2015-2016 for Japanese market using Jamdani as the technique along with textures to enhance the surface quality, keeping in mind the Japanese aesthetics. As this collection aims for autumn winter the colours are on the lines of neutrals like browns, greys, blues etc. The look of this collection is very contemporary, the motifs are geometry with the play of scale and space along with the experimentation of texture, pattern and colours.
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MOOD BOARD : BROKEN GEOMETRY SEASON : Autumn/ winter 2015-16
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SOURCE : Pinterest , WGSM
National Institute of Design | Graduation Project | 2015
MOOD BOARD
BROKEN GEOMETRY
COLOUR PALETTE
SEASON : AUTUMN/WINTER - 2015-2016
While working on the concept, the colour palette expanded, addition of colours that sell were added.
KEYWORDS : • Unevenness • Textured • Contemporary • Muted • Composition • Contrast
A mood board was choose to match the forecast and the upcoming theme in the market . Mood board - Broken Geometry Theme involved working with geometry and patterning it with a sense of asymmetry and unevenness. 41
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INITIAL CONCEPTUALIZING Drawing from the mood board and idealization with a play of motifs and pattern on paper.
Exploration 1
• Play irregular placement of squares with future subdivision of form along with line with uneven use of colour .
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Exploration 2
• Play of irregular placement of circles with another form inside creating negative space with uneven used of colour.
Exploration 3
Exploration 4
• Play of regular arrangement of circles with irregular lines.
• Play of different weights of line and variation in colour vertically and horizontally.
Exploration 5
• Play of different weights of lines horizontally and vertically.
National Institute of Design | Graduation Project | 2015
Exploration 6
• Play of a regular all over pattern with impression as the technique
Exploration 7
• Play of irregular arrangements of line to create an interesting composition
Exploration 8
Exploration 9
Exploration 10
• Play of different weights of line with irregular spacing between them to create an overall surface.
• Play of regular checks with irregular line of contrasting colours.
• Colour blocking with forms and imposing with forms with extra weft
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INITAL EXPLORATION Ideation of different layout Exploration 1
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• Vertical Layout
Exploration 2
• Vertical Layout
Exploration 3
• Asymmetrical Layout
Exploration 4
• Asymmetrical Layout
Exploration 5
• Asymmetrical Layout
National Institute of Design | Graduation Project | 2015
Exploration 6 :
Exploration 7
Exploration 8
• All over surface
• All over surface
• Vertical Layout
Exploration 9 :
• Vertical Layout
Exploration 10 :
• Asymmetrical Layout
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VARIATION IN COMPOSITION
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National Institute of Design | Graduation Project | 2015
FORM TRANSFORMATION EXPLORATION
RHYTHMS Yarn wrap were made to understand the colour interaction .
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Exploration 1
Exploration 2
Exploration 3
Exploration 4 47
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KEY DIRECTIONS FOLLOWED FOR THIS PROJECT :
1) VARIATION IN YARN
In Jamdani, • The material in the weft and warp are usually the same. • The colour of the yarn in the warp and weft is usually of the same colour • The yarn used in this technique are of an uniform colour • It involves adding supplementary cotton weft, often matching in colour and weight of the foundation wefts attempts were made to explore possibilities in surfaces.
2) VARIATION OF FORMS, SCALE AND LAYOUT IN JAMDANI MOTIF
In Jamdani, • The form of the motif are mostly florals, featuring flowers, leaves and flowing creepers , animals, birds, fishes and other depictions from daily life. • The outstanding feature of Jamdani is the remarkable range of designs executed with extreme delicacy and dexterity. • One of the distinctive feature of Jamdani has always been its characteristically unique border. • Scale of the specific motif are uniform throughout the surface. • Layout of of the design are mainly classified under : 1) Individual floral motifs are floral springs scattered over the surface are called BUTIDAR 2) Floral sprays arranged diagonally are known as TERCHI. 3) Regular network are known as JHALOR or JAAL attempts were made to explore possibilities in form, scale and layout of the extra weft motif.
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3) CREATING STRIPES/ RHYTHMS/ TEXTURES AS BACKGROUND
4) INTRODUCING A NEW TECHNIQUE PAINTING OF THE WARP/ EXTRA WEFT
In Jamdani, • The material in the weft and warp are usually the same hence making the background is a single colour. • It involves adding supplementary cotton weft, often matching in colour and weight of the foundation wefts
In Jamdani, • There are no floats in Jamdani weaving •The extra weft has no texture as such, in many cases it’s embossed or raised. as compared to the background.
attempts were made to explore possibilities in the background.
attempts were made to explore possibilities by addition of a new technique .
National Institute of Design | Graduation Project | 2015
SAMPLES Sample Number : 1
DIRECTION : 1) VARIATION IN YARN
MATERIAL :
ACTUAL SIZE
Where each strip of colour is not more than 0.5 cm
1. Warp count : White , cotton mill - 100’s, double ply 2. Weft count : White, cotton mill - 100’s, Chocolate brown - 2/80’s, Beige cotton mill - 100’s 3. Selvage - Grey (0.5cm) both sides
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Sample Number : 2
DIRECTION : 1) VARIATION IN YARN
MATERIAL : 1. Warp count : White , cotton mill - 100’s, double ply 2. Weft count : Tussar silk, Unevenly dyed yarn in white and indigo khadi - count 33’s) 3. Selvage - Grey (0.5cm) both sides
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ACTUAL SIZE
Where the gap between two khadi weft is around 0.3cm
National Institute of Design | Graduation Project | 2015
Sample Number : 3
DIRECTION : 1) VARIATION IN YARN
MATERIAL : 1. Warp count : White , cotton mill - 100’s, double ply 2. Weft count : Dark Blue , Khadi unevenly dyed white and blue - 33’s 3. Selvage - Grey (0.5cm)on the left and chocolate brown - (0.8cm) at the right
ACTUAL SIZE
Where the gap between two khadi weft is irregular and less than 0.5 cm between them
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Sample Number : 5
DIRECTION : 1) VARIATION IN YARN
MATERIAL : 1. Warp count : White , cotton mill - 100’s, double ply 2. Weft count : Black silk 20- 22 denier, Khadi mustard yellow - 33’s, Cotton grey - 100’s 3. Selvage - Grey (0.5cm)on the left and chocolate brown - (0.8cm) at the right
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ACTUAL SIZE
Each colour is around 0.2cm
National Institute of Design | Graduation Project | 2015
Sample Number : 6
DIRECTION : 1) VARIATION IN YARN
MATERIAL : 1. Warp count : black , cotton mill - 100’s, double ply 2. Weft count : black and red 2/80’s 3. Selvage - light blue (0.5cm)on the left and red- (0.3cm) at the right
ACTUAL SIZE
Distance between two knots is upto 0.7cms
EXTRA WEFT TECHNIQUE : Where the knots form lines at irregular intervals.
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Sample Number : 6
DIRECTION : 1) VARIATION IN YARN
MATERIAL : 1. Warp count : White , cotton mill - 100’s, double ply 2. Weft count : Brown silk 20-22 deniers , Navy blue cotton mill - 2/80’s, Khadi Blue light - 2/80’s, white cotton 100’s 3. Selvage - Grey (0.5cm)on the right and chocolate brown - (0.8cm) at the left
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ACTUAL SIZE : Where each strip of colour is not more than 0.3 cm
National Institute of Design | Graduation Project | 2015
Sample Number : 7
DIRECTION : 2) VARIATION OF FORMS, SCALE AND LAYOUT IN JAMDANI MOTIF 3) CREATING STRIPES/RHYTHMS/ TEXTURES AS BACKGROUND
MATERIAL : 1. Warp count : White , cotton mill - 100’s, double ply, double ply 2. Weft count : Black, cotton mill - 100’s , White , cotton mill - 100’s Jamdani : Khadi unevenly dyed in white and indigo, count - 33 3. Selvage - Grey (0.5cm)on the right and chocolate brown -0.8cm at the left
ACTUAL SIZE : Motif : 1 cm (height)
0.5 cm (width)
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Sample Number : 8
DIRECTION : 2) VARIATION OF FORMS, SCALE AND LAYOUT IN JAMDANI MOTIF
MATERIAL :
ACTUAL SIZE :
1. Warp count : White, cotton mill - 100’s, double ply 2. Weft count : White, cotton mill - 100’s 3. Selvage - Blue (0.5cm)on the left and grey (0.5 cm) on the right 4. Jamdani - Dark grey ( cotton - 100’s), light grey Each side 1.5 cms
Each side is : 1.5 cms 56
National Institute of Design | Graduation Project | 2015
Sample Number : 9
DIRECTION : 2) VARIATION OF FORMS, SCALE AND LAYOUT IN JAMDANI MOTIF
ACTUAL SIZE :
MATERIAL : 1. Warp count : White, mill cotton - 100’s, double ply 2. Weft count : White (mill cotton - 100’s) , off white khadi - 100’s 3. Selvage - grey (0.5cm)on the left and red (0.5 cm) on the right 4. Jamdani - Brown - (Spun Silk - 80’s), Black - (mill cotton - 100’s). light blue - ( mill cotton - 100’s), indigo blue ( mill cotton - 100’s), grey - ( spun silk - 80’s) Length - 3.5 cm
Width - 1.5 cm
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Neha Rao | Textile Design | B.Des
Sample Number : 10
DIRECTION : 1) VARIATION IN YARN 2) VARIATION OF FORMS, SCALE AND LAYOUT IN JAMDANI MOTIF
MATERIAL :
ACTUAL SIZE :
1. Warp count : White, cotton mill - 100’s, double ply 2. Weft count : Steel Grey - spun silk - 210’s/2 dark blueish grey - 100’s mill cotton 3. Selvage - red (0.5cm)on the left and grey(0.5 cm) on the right 4. Jamdani - Light Blue - khadi - 33’s , Brown - 80/2’s wool Width - 1 cm
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Length - 2 cm
National Institute of Design | Graduation Project | 2015
Sample Number : 11
DIRECTION : 2) VARIATION OF FORMS, SCALE AND LAYOUT IN JAMDANI MOTIF
ACTUAL SIZE : MATERIAL : 3.5
1. Warp count : White, cotton mill - 100’s, double ply 2. Weft count : Off White - (Khadi - 150’s) 3. Selvage - blue (0.5cm)on the left and brown (0.5 cm) on the right 4. Jamdani - Brown - (Cotton mill - 100’s), Dull beige - (twisted wool) ,
cm
0.5 cm Smaller triangles 59
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Sample Number : 12
DIRECTION : 1) VARIATION IN YARN 2) VARIATION OF FORMS, SCALE AND LAYOUT IN JAMDANI MOTIF
MATERIAL : 1. Warp count : White, cotton mill - 100’s, double ply 2. Weft count : Dark grey , cotton mill - 100’s 3. Selvage - grey (0.5cm)on the left and red (0.5 cm) on the right 4. Jamdani - Unevenly dyed (Khadi - 33’s) - White and blue, blue and dark blue
ACTUAL SIZE Continuous pattern where the square is just 1.5cm
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National Institute of Design | Graduation Project | 2015
Sample Number : 13
DIRECTION : 1) VARIATION IN YARN 2) VARIATION OF FORMS, SCALE AND LAYOUT IN JAMDANI MOTIF
MATERIAL : 1. Warp count : White, cotton mill - 100’s, double ply 2. Weft count : White and Blue tie - dye , cotton mill - 100’s 3. Selvage - grey (0.5cm)on the left and Blue (0.5 cm) on the right 4. Jamdani - Black (cotton - 100’s ) , Brown ( wool - 80/2 ‘s)
ACTUAL SIZE
1 cm - diameter
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Sample Number : 14
ACTUAL SIZE Width of the motif
0.5 cm
DIRECTION : 1) VARIATION IN YARN 2) VARIATION OF FORMS, SCALE AND LAYOUT IN JAMDANI MOTIF 3) CREATING STRIPES/RHYTHMS/ TEXTURES AS BACKGROUND
0.7 cm
MATERIAL :
0.9 cm
1. Warp count : White, cotton mill - 100’s, double ply 2. Weft count : Dark Blue - 33’s Khadi, Light Blue - 33’s Khadi , Grey - 100’s mill cotton, Crelean blue - spun silk - 210/2’s 3. Selvage - Red (0.5cm)on the left and grey (0.5 cm) on the right 4. Jamdani - Black - Cotton 100’s
1.2 cm
1.5 cm 62
National Institute of Design | Graduation Project | 2015
Sample Number : 15
ACTUAL SIZE Width of the motif
0.5 cm
DIRECTION : 1) VARIATION IN YARN 2) VARIATION OF FORMS, SCALE AND LAYOUT IN JAMDANI MOTIF 3) CREATING STRIPES/RHYTHMS/ TEXTURES AS BACKGROUND
0.7 cm
MATERIAL :
0.9 cm
1. Warp count : White, cotton mill - 100’s, double ply 2. Weft count : beige - 80/2’s cotton, cement - 100/2’s cotton, brown - 100’s mill cotton, grey - khadi 33’s, black - 100’s cotton 3. Selvage - grey (0.5cm)on the left and black (0.5 cm) on the right 4. Jamdani - White - cotton - 100’s
1.2 cm
1.5 cm 63
Neha Rao | Textile Design | B.Des
Sample Number : 16
ACTUAL SIZE Single repeat
DIRECTION : 1) VARIATION IN YARN 2) VARIATION OF FORMS, SCALE AND LAYOUT IN JAMDANI MOTIF
Length - 7 cm
MATERIAL : 1. Warp count : White, cotton mill - 100’s, double ply 2. Weft count : Steel Grey - spun silk - 210’s/2 , dark blueish grey - 100’s mill cotton 3. Selvage - Blue (0.5cm)on the left and grey(0.5 cm) on the right 4. Jamdani - white - cotton 100/2’s
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Width - 2 cms
National Institute of Design | Graduation Project | 2015
Sample Number : 17
DIRECTION : 1) VARIATION IN YARN 2) VARIATION OF FORMS, SCALE AND LAYOUT IN JAMDANI MOTIF
ACTUAL SIZE MATERIAL : 1. Warp count : White, cotton mill - 100’s, double ply 2. Weft count : off White, Khadi - 100’s 3. Selvage - grey (0.5cm) - 100/2’s - mill cotton on the left and black (0.5 cm) on the right 4. Jamdani - light brown - 100’s cotton , brick brown - 80/2’s wool ( loose twist ) , dark brown 80/2’s (loose twist)
1)
Width : 0.4 cm (3 picks) Length : 2 cm
Width : 0.5 cm (4 picks)
2)
Length : 2 cm 65
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Sample Number : 18
DIRECTION : 1) VARIATION IN YARN 4) INTRODUCING A NEW TECHNIQUE - PAINTING OF THE WARP
MATERIAL : 1. Warp count : White, cotton mill - 100’s, double ply 2. Weft count : White, cotton mill - 100’s 3. Selvage - Black (0.5cm) - 100/2’s - mill cotton on the left and grey (0.5 cm) on the right 4. Dye : Painted the warp with reactive dye - dark blue 5. Jamdani - Cerulean blue - 100’s mill cotton, royal blue - 100’s mill cotton, dark blue - 210’s spun silk
ACTUAL SIZE
Scale Each side 1 cm Strokes ~ 4 cms
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National Institute of Design | Graduation Project | 2015
Sample Number : 19
ACTUAL SIZE Height : 3 cm Small Triangle - 0.5 cm Squares - 0.7 cm
DIRECTION :
MATERIAL :
Width : 3 cm
1) VARIATION IN YARN 4) INTRODUCING A NEW TECHNIQUE - PAINTING OF THE WARP
1. Warp count : White, cotton mill - 100’s, double ply 2. Weft count : Off white Khadi - 100’s 3. Selvage - brown (0.5cm) - 100/2’s on the left and blue (0.5 cm) - 100/2’s on the right 4. Dye : Painted the warp with reactive dye - dark blue 4. Jamdani - off white - 210’s spun silk, grey - 210’s spun silk, black - 100’s mill cotton Square Each side 1 cm Strokes ~ 3 cm - 4 cm
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Sample Number : 20
DIRECTION :
ACTUAL SIZE :
1) VARIATION IN YARN 4) INTRODUCING A NEW TECHNIQUE - PAINTING OF THE WARP 0.5 cm
MATERIAL : 1. Warp count : White, cotton mill - 100’s, double ply 2. Weft count : White, cotton mill - 100’s 3. Selvage - Grey (0.5cm)on the left and black (0.5 cm) on the right 4. Jamdani - Chocolate brown - ( cotton -100/2’s) , black - (Spun Silk - 210/2’s ) , blue - Spun silk - 210/2’s) 5. Jamdani Ply - Chocolate brown - 6, black - 6, blue - 6 6. Dye applied on the warp before weaving - Pigment dye
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Square Each side 1 cm Strokes ~ 4 - 4.5 cm
National Institute of Design | Graduation Project | 2015
Sample Number : 21
DIRECTION : 1) VARIATION IN YARN 4) INTRODUCING A NEW TECHNIQUE - PAINTING OF THE WARP
ACTUAL SIZE MATERIAL : 1. Warp count : White, cotton mill - 100’s, double ply 2. Weft count : White, cotton mill - 100’s 3. Selvage - blue (0.5cm)on the left and brown (0.5 cm) on the right 4. Jamdani - White- (Khadi - 33’s) , Blue - (Spun Silk -210/2’s), Black - (cotton - 100’s) 5. Jamdani Ply - White - 6, blue - 7, black - 6 6. Dye applied on the warp before weaving - Pigment dye
Shape : Length ~ 0.3 cm Width ~2.5cm - 3 cm Stroke: Length ~ 3 cms Width ~ 1 cm 69
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Sample Number : 22
ACTUAL SIZE :
DIRECTION : 1) VARIATION IN YARN 2) VARIATION OF FORMS, SCALE AND LAYOUT IN JAMDANI MOTIF
MATERIAL : 1. Warp count : White, (mill cotton - 100’s) 2. Weft count : Dark Grey (mill cotton - 100’s) 3. Selvage - grey (0.5cm) on the left and blue (0.5 cm) on the right 4. Jamdani - brown (100’s cotton), camel (120/2’s wool), orange (khadi’s - 33’s)
Length ~ 12 cms Width ~ 1 cms 70
National Institute of Design | Graduation Project | 2015
Sample Number : 23
DIRECTION : 1) VARIATION IN YARN 2) VARIATION OF FORMS, SCALE AND LAYOUT IN JAMDANI MOTIF 3) CREATING STRIPES/RHYTHMS/ TEXTURES AS BACKGROUND
ACTUAL SIZE :
WIDTH
MATERIAL : 1. Warp count : White, cotton mill - 100’s 2. Weft count : Black (mill cotton - 100’s), Light blue (mill cotton - 100’s) 3. Selvage - grey (0.5cm) on the left and blue (0.5 cm) on the right 4. Jamdani - White (High twist 100/2’s ) , Blue ( mill cotton - 100’s)
1.5 cms
1 cm
0.8 cm
0.5 cm
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Sample Number : 24
DIRECTION : 1) VARIATION IN YARN 2) VARIATION OF FORMS, SCALE AND LAYOUT IN JAMDANI MOTIF 4) INTRODUCING A NEW TECHNIQUE - EXTRA WEFT
MATERIAL :
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2 cms
2 cms
1. Warp count : White, cotton mill - 100’s, double ply 2. Weft count : White (mill cotton - 100’s), grey (Khadi - 33’s), Brown (mill cotton - 100’s) 3. Selvage - Blue (0.5cm) on the left and grey (0.5 cm) on the right 4. Textured Jamdani - grey (Khadi- 33’s ) , Brown ( mill cotton - 100’s)
ACTUAL SIZE :
1 cm
2 cms
National Institute of Design | Graduation Project | 2015
Sample Number : 25
ACTUAL SIZE 0.5 cm X 0.5 cms
DIRECTION : 1) VARIATION IN YARN 2) VARIATION OF FORMS, SCALE AND LAYOUT IN JAMDANI MOTIF 4) INTRODUCING A NEW TECHNIQUE - EXTRA WEFT
MATERIAL : 1. Warp count : White, cotton mill - 100’s, double ply 2. Weft count : White, cotton mill - 100’s 3. Selvage - Red (0.5cm)on the left and grey (0.5 cm) on the right 4. Jamdani - Chocolate brown - (100/2’s) , dull purple grey - (khadi - 33’s), indigo - (spun silk 210/2’s) 5. Normal Jamdani Ply - Chocolate brown - 6, purple grey - 4, indigo- 5 6. Textured Jamdani Ply - Chocolate brown - 8, purple grey - 6, indigo- 10
2 cms X 1.5 cms
2 cms X 2 cms (Textured)
1 cm X 2.5 cms
Distance between two motifs vertically and horizontally is 1 cm
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Artisans at work in Rangeen
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EDGE FINISHING Edge finishing is one of the important detail in a product. The previous edge finishing made by the company where focusing around the length of the tassel and the joinery. Hence a new approach of experimenting with the form of the tassel was taken up on, as well as elements like beads, buttons were explored for possibilities.
Experimenting with the thickness of the loop
Exploring with the form of the tassel
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FINAL COLLECTION
LAYOUT OF THE STOLE :
FINAL DESIGN 01
1) INITIAL SAMPLE TRIED ON THE LOOM DIRECTION
1) USE OF DIFFERENT KINDS OF YARN
MATERIAL
1. Warp count : White, cotton mill - 100’s 2. Weft count : white , high twist cotton - 210/2’s , Navy blue spun silk - 210/2’s 3. Selvage - Grey (0.5cm) on the left and chocolate brown (0.8cm) at the right. WEFT SEQUENCE Uneven rhythm of loose pick with white, use of navy blue yarn between 2 to 6 times on the loom. One Repeat : 1) 1 cm - white loose pick 2) 2 times -navy blue 3) 0.5 cm - white loose pick 4) 2 times -navy blue loose pick 5) 1 cm - white loose tight pick 6) 2 times - navy blue tight pick 7) 0.4 cm -white tight pick 8) 2 times - navy blue tight pick 9) 0.5 cm - white loose pick 10) 2 times - navy blue 11) 0.8 cm - white tight and then loose pick 12) 4 times - navy blue tight pick 13) 0.4 - white loose pick 14) 2 times - loose pick navy blue
DIMENSION
Length : 200 cms , Width : 70 cms
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EDGE FINISHING OF THE STOLE
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FINAL DESIGN 02
LAYOUT OF THE STOLE
2) INITIAL SAMPLE OF THE LOOM DIRECTION 2) VARIATION OF FORMS, SCALE AND LAYOUT IN JAMDANI MOTIF MATERIAL 1. Warp count : Black , cotton mill - 100’s 2. Weft count : Black, cotton mill - 100’s Jamdani in grey unevenly dyed khadi - 33’s 3. Selvage - Red, cotton mill (0.5cm ) on the left, Red along with 0.1cm of dull pink on the right ( 0.1 pink + 0.4 red = 0.5 cm ) LAYOUT OF THE STOLE Two borders on the right hand size and one border to the left hand side Right border ~ 2.5 cm Left border ~ 1.2 cm DIMENSION Length : 200 cms , Width : 70 cms
ACTUAL SIZE
1.2 cm Height of one line
Each motif is about 0.5 cm or less. 78
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FINAL DESIGN 03
LAYOUT OF THE STOLE :
1) INITIAL SAMPLE TRIED ON THE LOOM DIRECTION
1) USE OF DIFFERENT KINDS OF YARN MATERIAL 1. Warp count : cotton mill - 100’s 2. Weft count : light Blue 100’s , mid blue- 100’s, deep blue 2/80’s , indigo - 33’s 3. Selvage - beige (0.5cm)on the left and blue - (0.5cm) at the right WEFT SEQUENCE 1) 8 picks of indigo (a) 2) 6 picks of deep blue (b) 3) 4 picks of mid blue (c) 4) 2 picks of light blue (d) 5) 4 picks of mid blue (c) 6 picks of deep blue (b) 8 picks of indigo (a) DIMENSION OF THE STOLE : Length : 200 cms Width : 70 cms
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EDGE FINISHING OF THE STOLE
a.
b.
c.
d.
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FINAL DESIGN 04
LAYOUT OF THE STOLE :
1) INITIAL SAMPLE TRIED ON THE LOOM DIRECTION 2) VARIATION OF FORMS, SCALE AND LAYOUT IN JAMDANI MOTIF MATERIAL 1. Warp count : Black , cotton mill - 100’s 2. Weft count : Black, cotton mill - 100’s Jamdani in grey unevenly dyed khadi - 33’s 3. Selvage - Red, cotton mill (0.5cm ) on the left, Red along with 0.1cm of dull pink on the right ( 0.1 pink + 0.4 red = 0.5 cm ) LAYOUT OF THE STOLE Two borders on the right hand size and one border to the left hand side Right border ~ 5 cm Left border ~ 3 cm DIMENSION Length : 200 cms , Width : 70 cms
ACTUAL SIZE 82
5 cm Each motif : Length : 2cm, Width : 1cm
EDGE FINISHING OF THE STOLE
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FINAL DESIGN 05
LAYOUT OF THE STOLE
1) INITIAL SAMPLE TRIED ON THE LOOM DIRECTION 1) USE OF DIFFERENT KINDS OF YARN 2) VARIATION OF FORMS, SCALE AND LAYOUT IN JAMDANI MOTIF 3) CREATING STRIPES/RHYTHMS/ TEXTURES AS BACKGROUND MATERIAL 1. Warp count : Black , cotton mill - 100’s 2. Weft count : Black, cotton mill - 100’s Jamdani in grey unevenly dyed khadi - 33’s 3. Selvage - Red, cotton mill (0.5cm ) on the left, Red along with 0.1cm of dull pink on the right ( 0.1 pink + 0.4 red = 0.5 cm ) LAYOUT OF THE STOLE Two borders on the right hand size and one border to the left hand side Right border ~ 1.2 cm (irregular repeat) Left border ~ 1.2 cm (regular repeat) DIMENSION Length : 200 cms , Width : 70 cms
Body : Irregular use of Khadi along with cotton (100’s ) to give texture.
Side motif : With in 1.2 cm ( half an inch)
ACTUAL SIZE
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FINAL DESIGN 06
LAYOUT OF THE STOLE
1) INITIAL SAMPLE TRIED ON THE LOOM DIRECTION 2) VARIATION OF FORMS, SCALE AND LAYOUT IN JAMDANI MOTIF MATERIAL 1. Warp count : Black , cotton mill - 100’s 2. Weft count : Black, cotton mill - 100’s Jamdani in blue, light brown and brown - cotton mill (100’s) 3. Selvage - Blue, cotton mill 100’s (0.5cm ) on the left, light brown, cotton mill 100’s on the right. LAYOUT OF THE STOLE Two borders on the right hand size and one border to the left hand side Right border ~ 1.2 cm (irregular repeat) Left border ~ 1.2 cm (regular repeat)
Width 2 cm
DIMENSION Length : 200 cms , Width : 70 cms
Variation in orientation and colour Size : 1 cm 86
ACTUAL SIZE
Height 1/2 inch
EDGE FINISHING OF THE STOLE
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FINAL DESIGN 07
LAYOUT OF THE STOLE
1) INITIAL SAMPLE TRIED ON THE LOOM DIRECTION 1) USE OF DIFFERENT KINDS OF YARN 2) VARIATION OF FORMS, SCALE AND LAYOUT IN JAMDANI MOTIF MATERIAL 1. Warp count : White , cotton mill - 100’s 2. Weft count : White, cotton mill - 100’s 3. Jamdani in Khadi Unevenly dyed in deep blue and middle blue ( count - 33), White - cotton mill (100’s) 4. Selvage - Grey (0.5cm ) LAYOUT OF THE STOLE Two borders on the right hand size and one border to the left hand side Right border ~ 3 cm Left border ~ 1.5 cm DIMENSION Length : 200 cms , Width : 70 cms
4.5 cm
Gap between motifs 1 cm
motif size - 0.5 cm
ACTUAL SIZE 88
EDGE FINISHING OF THE STOLE
3 cm
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YARDAGE SIZE: A width of 120 cm which is the maximum width on the loom and length could be up to 6 meters . USE : Yardage can be used for any product from lifestyle accessory to apparel. Yardage produced at Rangeen are either sold as the whole fabric on order bases or then forwarded to the retail unit to make products like garments or lifestyle. QUALITY : The designs selected for the yardage have to be more durable in nature as compared to the stole. REPEAT : As the width of surface is large, it gives the freedom to have any size of a repeat.
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10 PARAT
PROJECT - III
PROJECT BRIEF ‘PARAT’ in hindi means layer. A collection of unique and high end range of garments for the domestic market for spring/summer 2016 using appliqué and machine embroidery as techniques to enhance the surface. This range includes 13 upper body garments, 3 lower body garments and 3 stoles. This collection aimed towards the women who would be 35 years and above with a fuller body type.
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WASTE TO WEALTH As Ragneen is a full fledged organisation, were multiple textile techniques like block printing, screen printing, weaving, sewing, embroidery are used to make a final product. During this process. A lot of waste is generated. To keep the cycle sustainable, and designers come up with the concept of ‘waste to wealth’.
REUSE/ RECYCLE METHOD USED IN WEAVER’S STUDIO Weaver’s usually mix and match fabric to create a garment. For example, border of an old sari’s would be tastefully used to define the neck or sleeve. Waste fabric is reused to make toys, bags and jewellery.
Previous designs at Weaver’s studio
Design by Aparupa Ghosh
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Design by Achala Athreya
Design by Aparupa Ghosh
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CONCEPT A new floor was assigned for the tailoring unit at Rangeen. That became the starting point for this project. Experimentation with the left over fabric started, aim was to achieve interesting surfaces and texture. As Rangeen has a lot of variety of fabric that they use for making a garment like tussar, cotton, silk, wool etc of different thickness and count. This gave a wide scope for experimentation and fabric combination. At the initial stage no colour palette was followed, it was intuitive. The yarns used on top of the samples varied in thickness and colour, sometimes threads were used of a contracting colour to enhance or sometimes they could be of a muted colour or the same colour as the fabric to create a neutral look. Trying out layering, patchwork, attaching as well as trying out variations with the machine to achieve interesting surfaces. The key direction from the mood board became experimenting with faded edges. One thing that had to be kept in mind while experimenting was that, the surface needs to be cost effective.
Sample number 2 : Silk fabric stitched together with the help of polyester thread
Sample number 1 : Shaded silk fabric was cut into pieces and layered on top of linen fabric with the help of polyester thread
Sample number 3 : Cotton fabric layer on top of the same cotton fabric with the help of polyester thread
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Sample number 4 : Cotton fabric layer on top of the same cotton fabric with the help of polyester thread and then block printed and tea dipped at the end.
100 Sample number 6 : Cotton fabric layer on top of the cotton fabric with the help of polyes-
ter thread.
Sample number 5 : Cotton fabric layer on top of the same cotton fabric with the help of polyester thread.
Sample number 7 : Cotton fabric layer on top of the cotton fabric with the help of polyester thread.
National Institute of Design | Graduation Project | 2015
Sample number 8 : Composition with squares, the fabric is layered on top of another fabric with the help of polyester thread.
Sample number 10 : Composition with triangles and stitch lines to create motifs.
Sample number 9 : Composition with squares and stitch lines to create motifs.
Sample number 11 : Composition with square and stitch lines to create motifs.
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FINAL BRIEF Based on the requirements, a collection comprising of a range of upper body garments, stoles and bottoms for spring/summer 2016 for the age group of 35 years and above with a fuller body type,
Final Pieces :
• Upper body garment - 13 pieces. • Stoles - 3 pieces • Bottoms - 3 pieces.
STUDY OF THE MARKET AND CLIENTELE Weaver’s studio - the brain child of Darshah Shah was established 22 years ago, with the aim of designing and producing garments, They cater to a variety of clientele both retail and wholesale in domestic and international market. The company also engages in making costume design. Weaver’s studio designs and produces their own collections for retail as well as takes order for wholesale. In the retail segment the target clientèle is for the females above 35 years of age. The aim of the company is to sell high end exclusive products. Weaver’s Studio follows Shades of India, Pero, 11.11 for apparel inspiration.
Brands Weaver’s Follows
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Pero by Aneeth Arora
Shades of India
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UNDERSTANDING WEAVER’S AESTHETICS AND CUTS
NECK: Freedom to explore different types of the neckline. To avoid boat necks
FRONT
Process followed : • Study of the look books and samples from previous collection.
BACK
BUST LINE: To avoid highlighting this area.
• Understanding the cuts and silhouettes. • Study of material - weaver’s has a wide range including different counts and finishes of wool, silk, cotton - khadi, linen etc. • Understanding the body type of the particular age group and areas to enhance and what to avoid. •Understanding what sells.
BACK: Can have variation in cuts and design but cant have skin exposing in this area.
FRONT AREA: Should be highlighted
SLEEVES : Sleeves could either be full or three fourth, not shorter than that.
BOTTOM FULLNESS : Length could vary according to requirement Areas to be avoided
Existing products at Weaver’s Studio
Areas to be highlighted
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UNEVENLY NEUTRAL SEASON : Spring / Summer 2016 KEYWORDS • Soft • Chalky • Uneven / unfinished • Sophisticated • Geometric • Bold • Contrasting proportions • Intricate and detailed • Refined TEXTURE : • Uneven • Chalky • Embossed • Dry texture MOTIFS : Geometry motifs that could be cut from the fabric.
Few changes had to be made in the colour palette with the addition of neutral shades to achieve weaver’s aesthetics.
Revised colour palette
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Material : Khadi (loom finish) Count : warp-100’s, weft-80’s
Material : Linen Count : warp and weft-1/60’s
MATERIAL USED With the look and feel of the mood board the materials that would go with it would be linen, cotton, khadi. Hence on future study, linen and khadi would be one of the ideal for the season we were aiming at because
EXPLORATIONS
Combination of colours to use in each product. 1.
2.
3.
4.
5.
6.
7.
8.
BENEFITS OF WEARING LINEN CLOTHES IN SUMMER Material : Linen Count : warp-1/60’s, weft-1/70’s
Material : Linen Count : warp-1/60’s, weft-1/70’s
Material : Khadi Count : warp and weft - 100’s
• Linen clothers in hot weather provides with coolness • Due to the weave and linen fib re air flow. Due to the structure it stays away from the body. • Linen is a ‘stiff ’ fabric and is less likely to cling to the skin, when it billows away, it quickly dries out and becomes cool again. • Possess high air permeability, which allows air to flow through the fabric easily and allows the body to breathe. • Fabric is highly absorbent and a good conductor of heat.
Source: www.Linenme.com/news/benefits-of-weaving-linenclothers-in-summer/
Material : Linen Count : warp and weft - 1/60’s
Material : Khadi Count : warp and weft -100’s
Material : Linen Count : warp and weft - 1/60’s
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MOTIF EXPLORATION Simple geometric forms like square, circle, triangle and rectangle were explored keeping in mind the techniques of appliquĂŠ and machine embroidery.
Fabric
Stitch line
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THE TECHNIQUE How the layering of the fabric is done on the surface with the sewing machine
The required fabric pieces are arranged on the fabric
A rough stitch line is sown on the fabric to secure it.
Sewing of stitches at the required interval. After which the rough stitch line is pulled out.
Fabric Rough stitch line
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Fair stitch line
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INITIAL EXPLORATION Exploration of placement and cuts.
Exploration with placement of motif and stitch lines of uneven heights on the upper body along with baggy sleeves to give the garment volume
Exploration with placement of motif and stitch lines on the upper body along with the bottom fullness to give the garment volume
Exploration with placement of motif and stitch lines of uneven heights on top of the motif to secure it.
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Exploration with placement of motif and stitch lines of uneven heights on top of the motif to secure it. Placement of motifs create visual imbalance.
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Exploration with placement of motif are at uneven intervals and stitch lines are stitched on top of it at even intervals to secure it.
Exploration with placement of motif are at uneven intervals and stitch lines are stitched on top of it at even intervals to secure it.
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Exploration with placement of motif and stitch lines of uneven heights on the upper body
Exploration with placement of motif and stitch lines
Exploration with placement of motif and stitch lines of uneven heights on the upper body
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Exploration with placement of motif and stitch lines of uneven heights
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Exploration with placement of motif in the central region of the garment with stitch lines unevenly ending at the end.
Exploration with placement of motif and overall stitch lines.
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FINAL COLLECTION PARAT
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INITIAL SAMPLE
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FINAL DESIGN 01 SILHOUETTE
In the sample, th edges are fraded, where the warp and weft of the greyish blue fabric are of the different colour, hence giving it a interesting look. 1) Colour - After Sampling, discussion of adding another colour was taken to make the pattern more interesting. 2) Motif : The smaller square motif is layered on top of a bigger square and attached with parallel stitch lines. This requires high set of skills on the sewing machine to have consistence and precision.
SINGLE REPEAT
EMBROIDERY Thread used for embroidery Off white Fabric used for layering Pink, Light grey, Dark grey Base Fabric Off white
MEASUREMENT Length - 38” Shoulder - 15” Chest - 40” Hip - 44” Sleeves - 3/4th - 18” Neck - 8.5”-9” Side cut - 14-15” Front Fullness - 24” TIME TAKEN TO COMPLETE THE PRODUCT : 3 DAYS
ACTUAL SIZE OF THE MOTIF Big square - Each side is 1.5 inches Small Square - Each side is 0.5 inches
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COMPOSITIONS Motif here includes rectangle and square and is placed at a particular distance from each other. The stitch lines are stitched parallel to each other. Layout exploration keeping in mind the techniques of appliquĂŠ and machine embroidery.
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FINAL DESIGN 02 • Stitch lines - 1) The front panels with design have vertical stitch lines. 2) This helped to reduce the production cost as well as the time taken. • Motif - Rectangle motif places at a distance between them. Also as the pattern is horizontal, the vertical stitch lines would give a different dimension to the surface.
SILHOUETTE
DESIGN LAYOUT
EMBROIDERY Thread used for embroidery Deep grey Fabric used for layering Blue and pink Base Fabric - Mid grey
MEASUREMENT Length - 46” Shoulder - 15” Chest - 40” Hip - 44” Sleeves - 3/4th - 18” Neck - 8.5”-9” Side cut - 14-15” Front Fullness - 24” TIME TAKEN TO COMPLETE THE PRODUCT : 2.5 DAYS
3. 5 INCHES
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DETAILS OF THE GARMENT
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FINAL DESIGN 03 • Motif : Rectangular motif in two colours placed at a parallel distance from each other at irregular heights. • Stitch lines - The base fabric has over all uniform stitch lines to give character to it. • Layout - In this garment only the bottom par it highlighted along with details at the neck and sleeves.
EMBROIDERY
SILHOUETTE
Thread used for embroidery Off white Fabric used for layering Mustard yellow and dark grey Base Fabric Off White
MEASUREMENT Length - 38” Shoulder - 15” Chest - 40” Hip - 44” Sleeves - 3/4th - 18” Neck - 8.5”-9” Side cut - 14-15” Front Fullness - 24” TIME TAKEN TO COMPLETE THIS PRODUCT : 3 DAYS
SCALE :
Rectangle : 1 cm in width and the length varies. Square : Approx 1 cm x 1 cm 123
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FINAL DESIGN 04
SILHOUETTE
• Stitch line - 1) The front panels with design have vertical stitch lines, 2) This helped to reduce the production cost as well as the time taken. • Motif - Its a mix of rectangle and square. The distance between the motifs keeps increasing gradually vertically. Also as the pattern is horizontal, the vertical stitch lines would give a different dimension to the surface. •Colour - The stitch lines are two shades of grey stitched at irregular intervals, creating a stripe rhythm.
EMBROIDERY Thread used for embroidery Light grey and dark grey Fabric used for layering Pink, mustard, darl blue Base Fabric Mid grey
MEASUREMENT Length - 38” Shoulder - 15” Chest - 40” Hip - 44” Sleeves - 3/4th - 18” Neck - 8.5”-9” Side cut - 14-15” Front Fullness - 24” TIME TAKEN TO COMPLETE THIS PRODUCT : 3 DAYS
SCALE :
Rectangle : 1 cm in width and the length varies. Square : Approx 1 cm x 1 cm 127
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FINAL DESIGN 05 • Layout - Played with the layout of the garment to create variation • Stitch lines - In this garment, the stitch lines are along the pieces of the fabric • Colour - Use of two colours used randomly to create irregularity • Motif - Rectangle motif placed at irregular horizontally.
EMBROIDERY
SILHOUETTE
Thread used for embroidery Dark shade of off white Fabric used for layering Blue and Grey Base Fabric Off White
MEASUREMENT Length - 36” Shoulder - 15” Chest - 40” Hip - 44” Sleeves - 3/4th - 18” Neck - 8.5”-9” Side cut - 14-15” Front Fullness - 24” TIME TAKEN TO COMPLETE THE PRODUCT : 3 DAYS
SCALE :
Rectangle : 1 cm in width and the length varies. Square : Approx 1 cm x 1 cm
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FINAL DESIGN 06 • Layout - Played with the layout of the garment to create variation • Stitch lines - In this garment, the stitch lines are along the pieces of the fabric • Colour - Use of two colours used randomly to create irregularity • Motif - Mix of rectangle and square motif in a combination of two colours,
EMBROIDERY
SILHOUETTE
Thread used for embroidery Deep off white Fabric used for layering Mustard yellow, White Base Fabric Mid grey
MEASUREMENT Length - 38” Shoulder - 15” Chest - 40” Hip - 44” Sleeves - 3/4th - 18” Neck - 8.5”-9” Side cut - 14-15” Front Fullness - 24” TIME TAKEN TO COMPLETE THE PROJECT : 3 DAYS
SCALE :
Rectangle : 1 cm in width and the length varies. Square : Approx 1 cm x 1 cm 131
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FINAL DESIGN 07 • Fabric - Base fabric was selected from the previous stock of Weaver’s Studio and revamped. • Technique - The fabric is attached on both sides of the stole. • Use - This makes the stole reversible • Motif - Rectangular Motif with varied length.
6 inches
FINISHING : Tassels were made along with the threads of the stitch lines. DIMENSION: Length: 200 cm Width : 70 cm
10 inches 135
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INITIAL SAMPLE • Design - A surface with a play of form. Checks pattern was created with stitch lines with two difference threads. In this sample, checked fabric was used but in • Motif - The final sample the circles were of solid coloured fabric
SILHOUETTE
EMBROIDERY Thread used for embroidery Light chocolate and deep off white Fabric used for layering Blue and Grey
FINAL DESIGN 08
Base Fabric Off White
• Fabric - The fabric used for layering is a solid off white khadi cloth instead of patterned fabric like the sample • Stitch lines - The stitch lines are of two different colours creating a checks pattern. This intersection would create colour interaction.
MEASUREMENT
SIZE :
Diameter : 2 cm
Length - 38” Shoulder - 15” Chest - 40” Hip - 44” Sleeves - 3/4th - 18” Neck - 8.5”-9” Side cut - 14-15” Front Fullness - 24” TIME TAKEN TO COMPLETE THE PRODUCT : 3 DAYS 137
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INITIAL SAMPLE A surface with a play of form. • Colour and Design - Circles were of three different colours, were the smallest and the largest circle were interchanged alternately, The stitch lines were overall the surface. • Problems - As the form of the fabric was circle, it would fare too much .
SILHOUETTE
EMBROIDERY Thread used for embroidery Light chocolate Fabric used for layering Light grey, Mid grey, Dark grey Base Fabric Off white
MEASUREMENT
MOTIFS AND SIZE :
Length - 38” Shoulder - 15” Chest - 40” Hip - 44” Sleeves - 3/4th - 18” Neck - 8.5”-9” Side cut - 14-15” Front Fullness - 24” TIME TAKEN TO COMPLETE THE PRODUCT : 2 DAYS
FINAL DESIGN 09 • Stitch lines - 1) Instead of over all stitch lines like in the sample, in the garment the decision was made of just having the motif and pattern at the bottom with irregular ending. 2) This helped reduce the costing of the product as well. • Technique - The fabric motif has a base of fussing attached to it, this helped giving a better edge finishing.
1 cm
1.5 cm
2 cm 139
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FINAL DESIGN 10 • Use of diagonal stitch lines to give character and make the bottom interesting .
CUT :
• Straight cut pants
SILHOUETTE EMBROIDERY
Thread used for embroidery Grey Fabric used for layering Pink and Blue Base Fabric Light grey TIME TAKEN TO COMPELETE THE PRODUCT : 1 DAY
SIZE :
Diameter : 2 cm
MEASUREMENTS Waist - 32” Height - 38” Width of the design - 4” Pocket - 9” Croch - 13.7 “ Bottom fullness - 11”
4.5 inches
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FINAL DESIGN 11 • Colour - A blend of three colours forming a irregular pattern. • Stitch lines - stitch lines are in the V- formation, along the neck at a distance of 1 cm from each other. • Motif - Its a combination of square and circle, there two different colours of squares are combined with one colour of a cirlce.
MEASUREMENT
SILHOUETTE
Length - 44” Shoulder - 15” Chest - 40” Hip - 44” Sleeves - 3/4th - 18” Neck - 8.5”-9” Side cut - 14-15” Front Fullness - 24”
ACTUAL SIZE :
EMBROIDERY Thread used for embroidery Off white Fabric used for layering Dark blue, light blue and light grey Base Fabric White and dark blue
SCALE :
Square ~ 1.5 cm ( each side ) - 2 colours Circle ~ 2 cm ( diameter ) - single colour
TIME TAKEN TO COMPLETE THE PRODUCT : 3 DAYS
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FINAL DESIGN 12 Base fabric was selected from the previous stock of Weaver’s Studio and revamped. • Layering - The smaller square is layered on the darker square are random intervals • Stitch lines - They run along the length of the fabric, this makes it faster and cost effective. • Motif : Its a combination of two different sizes of sqaures, The smaller square is placed on top of the bigger sqaure. FINISHING : Tassels were made along with the threads of the stitch lines to give it finishing as well as the tassels are made from the left over sewing thread.
DIMENSION: Length: 200 cm Width : 70 cm
EMBROIDERY Thread used for embroidery Salmon Pink Fabric used for layering Dark grey and Light grey Base Fabric Off White
TIME TAKEN TO COMPLETE THE PRODUCT : One day
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FINAL DESIGN 13 • Fabric - The fabric used for layering is a solid off white khadi cloth forming an irregular pattern • Stitch lines - The stitch lines run regularly on the york.
SILHOUETTE
CUT : • This is high low, long anarkali kind of a garment.
SIZE :
Each side of the square ~ 1.5 cms
MEASUREMENT Length - 44” Shoulder - 15” Chest - 40” Hip - 44” Sleeves - 3/4th - 18” Neck - 8.5”-9” Side cut - 14-15” Front Fullness - 24”
EMBROIDERY Thread used for embroidery Light grey Fabric used for layering White Base Fabric Pink and mid grey TIME TAKEN TO COMPLETE THE PRODUCT : Two days 147
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FINAL DESIGN 14 • Stitch lines - 1) In this garment the stitch lines are highlighted more than the fabric layering. 2) They run diagonally along the fabric. • Motif : Square motif is placed in the negative space created by the stitchlines.
SIZE:
The motif size was small, around 1 cm.
MEASUREMENT Length - 36” Shoulder - 15” Chest - 40” Hip - 44” Sleeves - 3/4th - 18” Neck - 8.5”-9” Side cut - 14-15” Front Fullness - 24”
TECHNIQUE
EMBROIDERY As the size of the motif was small, a different type of technique was used to secure it on the fabric.
Thread used for embroidery Off white Fabric used for layering Pink Base Fabric Dark grey
TIME TAKEN TO COMPLETE THE PRODUCT : Three days
SURFACE : 151
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FINAL DESIGN 15 • Stitch lines - 1) In this garment the stitch lines are highlighted more than the fabric layering. 2) They run vertical and horizontal along the fabric. • Motif : Square motif is placed in the negative space created by the stitchlines.
SIZE:
The motif size was small, around 1 cm.
EMBROIDERY Thread used for embroidery Light grey and dark grey Fabric used for layering Pink, mustard, darl blue Base Fabric Mid grey
TECHNIQUE
As the size of the motif was small, a different type of technique was used to secure it on the fabric.
MEASUREMENT Length - 36” Shoulder - 15” Chest - 40” Hip - 44” Sleeves - 3/4th - 18” Neck - 8.5”-9” Side cut - 14-15” Front Fullness - 24”
SURFACE : TIME TAKEN TO COMPLETE THE PRODUCT : Three days 155
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INTIAL SAMPLE 158
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INITIAL SAMPLE • Its a combination of fabric along with stitch lines of irregular length used to layer the fabric on the base fabric. • Motif - Use of two square motif placed at a particular distance from eachother.
FINAL SAMPLE 16 • Size - The motif is small in size, around 1.5 cms. • Stitch line - Stitch line is more highlighted in the garment. CUT : It is a high low cut.
SIZE : ~ 1.5 CM MEASUREMENT Length - 38” Shoulder - 15” Chest - 40” Hip - 44” Sleeves - 3/4th - 18” Neck - 8.5”-9” Side cut - 14-15” Front Fullness - 24”
EMBROIDERY Thread used for embroidery Grey Fabric used for layering Dark Blue Base Fabric Off White
TIME TAKEN TO COMPLETE THE PRODUCT : Three days
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FINAL DESIGN 17
• Cut - As it is a pallazo, the fullness is more. • Stitch lines - To reduce costing, the stitch line is around the fullness of the fabric. • Motif - Combination of two types of motif rectangle and square placed at a particular distance. SIZE : Square ~ 1.5 cm ( each side ) Rectangle ~ 1.5 cm ( width wise ) , Length varies between 5 to 8 cms
Waist - 32” Height - 38” Width of the design - 3” Pocket - 9” Croch - 13.7 “ Bottom fullness - 20”
( varies between 5 - 8 cms)
1.5 cm
MEASUREMENTS
3 inches
1.5 cm
TIME TAKEN TO COMPLETE THE PRODUCT: One day
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FINAL DESIGN 18 • Size - Small square motifs with sides of 1 cm. • Stitch lines - Irregularly at the bottom
CUT :
• Straight cut pants
SIZE : 1 cm
MEASUREMENTS Waist - 32” Height - 38” Width of the design - 2” Pocket - 9” Croch - 13.7 “ Bottom fullness - 11”
EMBROIDERY Thread used for embroidery Light grey Fabric used for layering White Base Fabric Dark grey TIME TAKEN TO COMPLETE THE PRODUCT : Half a day
2 inches
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FINAL DESIGN 19
DESIGN
Base fabric was selected from the previous stock of Weaver’s Studio and revamped. • Layering - The left over fabric pieces were used in this stole. • Stitch lines - They run along the length of the fabric, this makes it faster and cost effective.
10 inches - Embroidery and appliqué 4 inches - Plain 2 inches - Embroidery and appliqué 3 inches - Plain 1 inches - Embroidery and appliqué 6 inches - Plain 2 inches - Embroidery and appliqué 2 inches - Plain 1 inches - Embroidery and appliqué 14 inches - Plain 1 inches - Embroidery and appliqué 14 inches - Plain 1 inches - Embroidery and appliqué 2 inches - Plain 2 inches - Embroidery and appliqué 6 inches - Plain 1 inches - Embroidery and appliqué 3 inches - Plain 2 inches - Embroidery and appliqué 4 inches - Plain 10 inches - Embroidery and appliqué
FINISHING : Tassels were made along with the threads of the stitch lines to give it finishing as well as the tassels are made from the left over sewing thread.
MEASUREMENT Length - 200 cm Width - 70 cm
EMBROIDERY Thread used for embroidery Grey Fabric used for layering All the Colours Base Fabric Off white
TIME TAKEN TO COMPLETE THE GARMENT : One day
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11 BATI
PROJECT - II
PROJECT BRIEF ‘BATI’ in bengali means lamp. Narayan Sinha, the artist held an exhibition on 25th April 2015 in Kolkata displaying artefacts using scrap metal. Part of the exhibition showcased lampshades for which he required exquisite fabrics which had to be classic, antique and unfinished. Different textiles techniques were used to create one of a kind surface. The range of lampshades required digital printed covers as well. Eleven pieces of fabric were finalized for the display. 171
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ABOUT THE ARTIST NARAYAN CHANDRA SINHA Born in 1977, Nayanan Sinha completed his Bachelors in Science from Calcutta University. Narayan has held over 12 solo shows since 2000. including ; ‘Birla Academy of Art & Culture, Kolkata in 2008; ’The Address’, Kolkata in 2008; ; ‘Gufa Art Gallery, Ahmedabad in 2006; ’Jahangir Art Gallery’, Mumbai in 2005; ’Academy of Fine Arts , Kolkata in 2005. He has also displayed his work at several group exhibitions including; ‘Harmony Show’, Mumbai in 2006; ‘Birla Academy of Art & Culture-Open Air Painting Exhibition, Kolkata in 2004; ’Annual Exhibition of Birla Academy of Art & Culture’, Kolkata in 2003,2005 & 2006; ‘Durga Exhibition (La Mera), Kolkata in 2002 & 2004. He lives and works in Kolkata.
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Narayan Sinha with his work
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DETAILS ABOUT THE LAMPSHADE: SHADE MEASUREMENT LENGTH X BREATH X HEIGHT 1) 16.3” X 16” X 12.4” 2) 12.4” X 12” X 9.5” 3) 25.5” X 12.2” X 14” 4) 12.2” X 10” X 10.5” 5) 12.3” X 10.2” X 10” 6) 13” X 12.3” X 10.3” 7) 15.6” X 16.2” X 14.3” 8) 9” X 10.3” X 8.3” 9) 10.4” X 9” X 8.4” 10) 9” X 10” X 8.5” 11) 11” X 11” X 10.5” 12) 14” X 12” X 25” 13) 8.5” X 10” X 9”
COST OF THE FABRIC: approx Rs 5000 - Rs 10,000
COST OF EACH LAMPSHADE : approx Rs 60,000 - Rs 1,20,000
Lampshade
Lampshade frames of different shapes and sizes.
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INSPIRATION BOARD i) SABYASACHI
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ii) GONUL PAKSOY
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THEME BOARD THEME THEME: : : THEME
ANTIQUE ANTIQUE ANTIQUE ANTIQUE RICH OLD OLD OLD UNFINISHED DISTRESSED DISTRESSED DISTRESSED DISTRESSED UNFINISHED UNFINISHED UNFINISHED UNEVEN UNEVEN UNEVEN CLASSIC UNEVEN VINTAGE TORN TORN TORN DULL DULL DULL
DULL CLASSIC CLASSIC CLASSIC VINTAGE VINTAGE VINTAGE
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TECHNIQUE Brocade fabric and katta fabric were used initially for sampling, as it justified the rich look required.
TECHNIQUES
EMBROIDERY a) AppliquĂŠ b) Chain
PRINTING a) Stencil b) Block c) Screen TYPES OF DYE : a) Natural b) Acid c) Discharge
DYEING a) Hydro (Discharge) b) Tie-Dye - marble, arashi, clam dye
SUGGESTED COLOUR PALLETTE : Different combinations using different techniques were used to create interesting surfaces. An interesting overlap of techniques created a vintage look which was the requirement of the mood board. The different colours were merged. Textured stitch lines were added to created dimension. Fabrics were dip dyed to give a classic look.
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PRINT EXPLORATION
Material : Brocade fabric
Material : Brocade fabric
Material : Tussar silk
Material : Brocade fabric
Process :
Process:
Process:
Process :
1) Over all shift block method with discharge blue dye. 2) Shift block method with acid black 3) Shift block method with discharge ochere dye. 4) Steamed
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1) Dipped in Hydroxide and bleach 2) Textured block printing block in acid blue 3) Fine line in dark chocolate 4) Steamed 5) Tea dipped
1) Roller used with sap green unevenly done 2) Placement of block with acid black 3) Steamed
1) Dipped in a solution of hydroxide and bleach. 2) Tie-dyed with unevenly pleated with textured block with acid black strokes. 3) Steamed
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Material : Brocade fabric
Material : Brocade fabric
Material : Brocade fabric
Material : Khadi fabric - 80’s
Process :
Process :
Process :
Process :
1) Block printing with acid indigo 2) Dark brown acid brush strokes 3) Steamed 4)Tea dipped twice
1) Dipped in a solution of hydroxide and bleach. 2) Textured block by shift block method with acid rust 3) Steamed 4)Tea dipped
1) Shift block method with discharge grey dye 2) Steamed
1) Tea dipped 2) Sap green discharge dye lines block 3) Roller was used with grey dye unevenly 4) Steamed
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Material : Brocade fabric
Material : Brocade fabric
Material : Brocade fabric
Material : Brocade fabric
Process :
Process :
Process :
Process :
1) Block print of grey discharge 2) Steamed 3) Tea dipped
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1) Strokes of peach and brown in natural dye. 2) Block printed with grey discharge. 3) Steamed
1) Dipped in Wax, crushed. 2) Dipped in indigo wax. 3) Steamed
1) Dipped in hydroxide and bleach 2) Strokes of natural dye - maroon and indigo 3) Steamed 4) Tea dipped
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Material : Mutka Silk
Material : Brocade fabric
Material : Brocade fabric
Material : Brocade fabric
Process :
Process :
Process :
Process :
1) Textured block used with discharge sap green dye 2) Block printed with acid black dye 3) Steamed
1) Marble tie -dye and then dipped in hydroxide and bleach 2) Block printed in rust acid 3) Steamed 4) Tea dipped
1) Dipped in hydroxide and bleach 2) Shift block of acid tussar dye 3) Steamed 4) Tea dipped
1) Dipped in hydroxide and bleach 2) Random acid chocolate brush strokes 3) Textured block of grey discharge dye 4) Steamed
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Use of textured khatta The existing khatta embroidery on the layers of fabric added extra dimension and texture.
Material : Silk Khatta fabric
Material : Khatta Patchwork
Material : Khatta Fabric
Process :
Process :
Process :
1) Uneven texture with roller with acid sap green colour. 2) Random brush strokes with natural indigo colour, 3) Placement of the motif with acid black colour 4) Steamed
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1) Unevenly texture with roller with acid sap green colour. 2) Placement of stencil motif with maroon and chocolate acid colour. 3) Steamed
1) Block printed with discharge grey colour, 2) Block printed with discharge ocher colour. 3) Steamed
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EMBROIDERY EXPLORATION Sequence, zari and old brass coins were incorperated in the katha base fabric to enhance the character of the fabric. Material : Base - Tussar fabric, Thread - cotton
Craftsman at work
Details 183
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MOTIF EXPLORATION Lotus was one of the main motifs, as specified in the brief. Form of lotus was explored.
Exploration of the lotus motif
Finalised motifs
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The selected form of the lotus is then used for velvet applique as the foreground and printed jal on tussar silk as the background. Material : Tussar Silk Surface : Velvet
Single repeat
Details
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FINAL PRODUCT 01 Fabric was discharged and tea dipped to give a worn out look. The reverse of the fabric was used to give a textural unevenness to the surface.
Process : (1) Marble tie-dye and then dipped in hydroxide and bleach (2) Block printed in rust acid (3) Steamed (4) Tea dipped
Fabric before any treatment.
Marble tie dye dipped in hydro and bleach.
Block printed with acid dye and later tea dipped
Final look of the fabric after surface treatment with internal lining. 188
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Lampshade at the exhibition
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FINAL DESIGN 02
Process :
Fabric was dipped twice to age the fabric
(1) Block printing with acid indigo (2) Dark brown acid brush strokes (3) Deep tea dipped.
Fabric before any treatment.
Block printed with acid Indigo
Dark brown acid brush strokes
Final look of the fabric after surface treatment with internal lining. 190
Details
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Lampshade at the exhibition
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FINAL DESIGN 03
Process :
(1) Natural dye random strokes (2) Block printed of dark brown acid (3) Steamed (4) Tea dipped
This piece is inspired by Gonul. The patchwork added a different dimension.
Random strokes of indigo natural blue after which kalamkari block was used with a block shift technique with acid dark brown, later tea dipped.
Details
Final look of the fabric after surface treatment with internal lining. 192
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Lampshade at the exhibition
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FINAL DESIGN 04
Process : (1) Textured block printing block in acid blue (2) Fine line in dark chocolate (3) Tea dip
Fabric was block printed with acid blue
Later printed with fine lines of chocolate brown and tea dipped twice for a deeper look.
Final look of the fabric after surface treatment with internal lining. 194
Details
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Lampshade at the exhibition
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FINAL DESIGN 05
Process : (1) Dipped hydroxide and bleached (2) Random natural grey brush strokes (3) Rust acid dye with textured block (4) Steamed (5) Tea dipped
Original fabric
Dipped in bleached and Hydroxide
Random natural grey brush strokes
Details 196
Final look of the fabric after surface treatment with internal lining.
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Lampshade at the exhibition
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FINAL DESIGN 06 Use of Katha fabric to give the lampshade a character and texture. Process 1) Block printed with discharge grey colour, 2) Block printed with discharge ocher colour. 3) Steamed 198
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Lampshade at the exhibition
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FINAL DESIGN 07 | 08 | 09 |10 | 11
After a week of experimentation, the direction was changed and inspiration was taken from Gonul Paksoy. Different fabrics were used together to create a stunning garment. Hence the samples made for exploration were used as patchwork to create a single piece. This way every dimension on the lampshade would look different. Five such pieces were created
These pieces were a combination of the exploration samples as well as waste pieces available to create a balanced composition.
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Lampshades at the exhibition
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12 CONCLUSION
My degree project at Weaver’s studio was a wonderful experience of putting learning into practice. During this six and a half months whatever I had seen, absorbed assimilated during my four years at Nid was put into application keeping commercial aspect in the forefront. From the first few weeks till the end of the project I have got exposure to the industrial world and its working.
Though the design process was very spontaneous, it was very confusing initially as I was still trying to understand the needs and demands of the buyers as well of the company itself. Weaver’s Studio helped me to understand many aspects which we generally did not as students. In the first few days there was so much to absorb and keep in mind regarding the processes, techniques, aesthetic approach, buyer demands etc.
At NID we are trained to absorb certain things like design processes in a certain way and use this understanding in all the future projects. The four years at this institute has allowed me to think rationally, yet freely and creatively; it has inspired me to observe more, to store information in the subconscious which eventually affects my aesthetics and enriches the final outcome of any project. Reflecting back on my four year journey at NID, I realised that we know design in a very different way than the real world.
Working for a design firm like Weaver’s Studio gave me a valuable exposure to the functioning of an export market and clientele. This learning outside the classroom seemed to take a little more time than anticipated. A realization of my strengths and weaknesses also dawned at regular intervals.
The shift from a classroom project to an industrial setup the processes, techniques, aesthetic approach, buyer demands etc was challenging and full of new learnings for me. My project started with a set of rules and points to be remembered while designing.
One of the advantages of working with this organisation was having a in-house production unit. Which gave me a hands on experience with the technique and craftsman. I had direct assess to the material, which made the conceptualizing stage simpler. The freedom to explore and experiment, also helped me translate my thoughts from paper to material and also how cost effective it would be for production. I was exposed to the problems faced at the production level and which gave me the confidence to take decisions at a design level.
The company had an controlled environment. Having their own set of aesthetics and a particular way or working, made it difficult to bring something completely new to the table. This pushed me to work harder and convey my ideas in a more refined and a systematic way. This project will always have a special place in my design career apart from being my first real life industrial project. Keeping in mind the never ending constraints and deadlines, finding required people to do the job, keeping tab of the minute detail and negotiating with vendors was all a part of this project that was instrumental in inculcating within me a deep sensibility to understand the machinery of this organization. Though there were times when frustration would creep in during the stage when nothing would seem to happen, but soon enough I had to realize that I am a design professional and rendering my service to a client in a professional environment and I needed to perform accordingly. At the end of it all, I feel that I have thought like a textile designer and applied my knowledge and skill to deal and develop designs. The journey has taught me more than I had expected it to.
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13 IMAGE REFERENCE PAGE : 30 JURGEN LEHL 1.1 http://blog.jurgenlehletc.com/images/jl12au_MG_1716.jpg 1.2 http://blog.jurgenlehletc.com/images/jl12wi_MG_3473.jpg 1.3 http://blog.jurgenlehletc.jp/images/jl11wi_MG_0153.jpg 1.4 http://image.rakuten.co.jp/jimu/cabinet/q10/028295-1.jpg?_ ex=60x60 CHIAKI MAKI 2.1 http://en.cafa.com.cn/preview-of-works-by-hand-woven-textilesdesigner-chiaki-maki.html 2.2 https://s-media-cache-ak0.pinimg.com/736x/e1/26/31/e12631fc8473690b7b8ef97d125c181a.jpg 2.3 https://s-media-cache-ak0.pinimg.com/736x/47/5d/5e/475d5ed4 bfa42534be11a0aaa50510fa.jpg 2.4 http://tubutubu-grandma-yumikoblog.net/tubuyb/wp-content/ uploads/2013/09/5b9ed76db5e832904bb08f159ac9bffd-580x385. jpg PAGE : 31 KENZO TAKADA 3.1 http://www.polyvore.com/cgi/img-thing?. out=jpg&size=l&tid=150070196 3.2 https://cdnd.lystit.com/200/250/tr/photos/875f-2014/09/17/ kenzo-black-squares-wool-scarf-black-product-1-23693298-0706918604-normal.jpeg 3.3 https://s-media-cache-ak0.pinimg.com/736x/e1/26/31/e12631fc8473690b7b8ef97d125c181a.jpg 3.4 http://image.rakuten.cofhjdlnv.jp/jimu/cabinet/q10/028295-1. jpg?_
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ISSEY MIYAKE 4.1 https://cdnb.lystit.com/photos/a509-2015/02/13/pleats-pleaseby-issey-miyake-gray-pleated-print-scarf-product4.2 https://cdnd.lystit.com/200/250/tr/photos/2012/11/13/isseymiyake-purple-amethyst-pleated-stole-prod 4.3 https://cdna.lystit.com/photos/2193-2015/04/09/pleats-pleaseby-issey-miyake-blue-fold-over-stole-scarf-product4.4 http://cdn2.picvpicimg.com/pics/3973479/pleats-please-by-isseymiyake-check-fitted-snood.jpg YOHJI YAMAMOTO 5.1 http://www.yohjiyamamoto.co.jp/en/ 5.2 https://cdna.lystit.com/photos/79e1-2013/12/25/yohji-yamamoto-blue-graphic-stole-scarf-product5.3 http://cdna.lystit.com/photos/2013/02/08/yohji-yamamotoblack-check-stole-product-2-6342389-056433026_large_flex.jpeg 5.4 http://www.yoox.com/us/women/sale/shoponline/y’s%20 yohji%20yamamoto_d/stoles_cwww PAGE : 32 MAKU TEXTILES 1.1 https://fbcdn-photos-b-a.akamaihd.net/hphotos-ak-xpa1/v/t1.00/q85/p480x480/11695022_746350508808641_86789641 1.2 https://s-media-cache-ak0.pinimg.com/236x/e4/f3/3b/ e4f33b08bf4fe5ff1501f90ede02302b.jpg .3 https://s-media-cache-ak0.pinimg.com/736x/ce/cf/fa/cecffa3da27d7b1fc6b7c079eb138e9a.jpg 1.4 https://www.facebook.com/MakuTextile/photos_stream
RAHUL MISHRA 2.1 http://www.business-standard.com/article/pti-stories/rahulmishra-showcases-east-meets-west-collection-at-wifw-11 2.2 https://en.wikipedia.org/wiki/Rahul_Mishra 2.3 http://cache.perniaspopupshop.com/media/catalog/product/ cache/2/thumbnail/900x1350/9df78eab33525d08d6e5fb8d2713 2.4 http://static.fquotient.com/media/items/2014/7/13/5673/navyblue-handwoven-jamdani-long-top-by-rahul-mishra-at-perniasPERO 3.1 http://pero.co.in/index.html 3.2 https://www.google.co.in/search?q=PERO+JAMDANI+COLLEC TION&oq=PERO+JAMDANI+COLLECTION+&aqs=chrome..6 3.3 https://wearabout.wordpress.com/2010/11/09/pero/ 3.4 http://english.fashion101.in/news/FAS-FTR-TFE-what-is-jamdani-and-how-is-it-made-5012222.html
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14 BIBLIOGRAPHY BOOKS
WEBSITES :
DOCUMENTS :
1. Scarves. London: Thames and Hudson, 1993. Print. First published in great Britain in 1993 by thames and Hudson lts,London. Copy right by Chic simple 1993
1. Website Title: Pinterest Article Title: Pinterest Date Accessed: February 02, 2015
1. Maniar Pinal, Rudra Rupali, Tripathu, Craft documentation on jamdani of West Bengal, Ahmedabad, Print 2006
2. Ranjan, Aditi, and M. P. Ranjan. Handmade in India: Crafts of India. New York: Abbeville, 2009. Print.
2. Website Title: dosa Article Title: life of jamdani Date Accessed: Febuary 10, 2015
3. Woven Air: The Muslin & Kantha Tradition of Bangladesh. London: Whitechapel, 1988. Print.
3. Website Title: Stock Photography, Royalty-Free Photos & The Latest News. Article Title: Stock Photography, Royalty-Free Photos & The Latest news. Date Accessed: Febuary, 2015
2. Roy Jamine, Dwija : revisting Jamdani textile (diploma), Ahmedabad. Print 1998 3. Kadu Shalaka, Bedtime Stories : A collection of duvet covers and pillow covers, Ahmedabad. Print 2015 4. Das Rudrani, Filaceous ( Diploma), Ahmedabad, 2003
4. Website Title: - Newspaper Article Title: Jamdani: Weaving history Electronically Published: May 22, 2011 Date Accessed: March, 2015 5. Website Title: WGSN Fashion Trend Forecasting and Analysis Article Title: WGSN Fashion Trend Forecasting and Analysis Date Accessed: March 02, 2015 6. Website Title: Weaversstudio Kolkata Article Title: Facebook logo Date Accessed: May, 2015 7. Website Title: Wikipedia Publisher: Wikimedia Foundation Date Accessed: June 20, 2015
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