Graduation Project, Textile Design 16-20 by parinitadas700

GRADUATION PROJECT Textile Design Depertment ( Bachelor of Design)

Submitted in Partial Fulfillment of The Graduation Requirement

Sponsor : Sangeeta Seth Home, New Delhi Student Name : Parinita Das Project Mentor : Dr Ankita Srivastava (Assistant professor) 2016-2020

COPYRIGHTÂŠ No parts of the document may not copy, reproduce, modify, republish, transmit or distribute. I hereby grant permission to the National Institute of Fashion Technology the right to achieve and make it available in the resource centre in all forms of media. I have not used any of copyright material in any document nor have I obtained permission to use copyright material.

Edited and designed by Parinita Das National Institute Of Fashion Technology, Jodhpur B.des Textile design 2016-2020 Copyright ÂŠ National Institute of Fashion Technology, Jodhpur 2020. All rights reserved.

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PARINITA DAS | B.DES TEXTILE DESIGN

SYNOPSIS

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This document is made for the graduation project of four months as per NIFT curriculum graduation project is conducted in the 8th semester of b.des course for the completion of the degree. Here we have to develop two collections for our final jury. This document is accumulated by conducting secondary research, primary research, trend forecast research and design principles. The first collection is inspired by Renaissance architectural engraving and Assam basket weaving. The first collection consists of nine cushions and one tieback. The colour palette for the first collection is inspired by (Buyersâ&#x20AC;&#x2122; Briefing Newness A/W 20/21 Interior Colours) The second collection is inspired by Assam traditional cotton mekhela chador and ikat technique. The second collection consists of sixteen cushions which are further divided into two subcollections with two colourways, one is monotone and the other one consist of three colours from the colour forecast report (Lifestyle & Interiors Colour S/S 22) for home furnishing. The design process starts from initial concepts by hand drawing then sampling to finished products. Sourcing is done locally. For the first collection, the primary research is gathered by visiting multiple brand outlets, and for the second collection, it is gathered from the local weavers. All the design-related secondary research is collected through WGSN report and research papers.

ACKNOWLEDGEMENT This document is the compilation of my entire four years of study and research for b.des textile design. Foremost, I would like to express my sincere gratitude to all the professors of textile design department Dr Janmay Singh Hada, Ms Lajoplin Nongsiej, Dr Akanksha Pareek, Dr Chet Ram Meena and Dr Ankita Srivastava for the continuous support of my B.des textile design study and research, for there patience, motivation, enthusiasm, and immense knowledge. I would also like to thank Ramkishor Barupal our TD lab assistant sir Their guidance helped me in all the time of research and writing of this thesis. My completion could not have been accomplished without the support of my college mentor Dr Ankita Srivastava. My sincere thanks also go my industry mentor Miss Komal Seth, company owner Mrs Sangeeta Seth and

Mr Atul Seth for offering me the graduation project opportunities in their company and leading me working on diverse exciting projects. And a special thanks to Mr Nepan Deka the weaver and his wife Rumi Deka for coming out of their comfort zone and sparing their valuable able time to understand and participate in experimenting and exploring new designs with me. Indeed we all have learned one thing that is we never stop learning new things. Regardless of any language knowledge speaks a single language. I would like to thank for the corporation of all the Sangeeta Seth Home staff members for my first collection and the Assam weaver community for my second collection, to help me deliver my collections without any delay. A special thanks to our Director maâ&#x20AC;&#x2122;am Vijaya Deshmukh and all the teaching

staff of Nift Jodhpur for having the patience to guide me throughout my four years. Last but not the least, I would like to thank my family, and b.des textile design 2016-2020 batch-mates to go through these beautiful four years of my college life.

CONTENTS

1. Company Profile & Organisational Chart.............................................................................................................................................. 13 2. Product Range................................................................................................................................................................................................... 16 3. Production Process......................................................................................................................................................................................... 18 4. Materials Used.................................................................................................................................................................................................. 20 5. Post production Process...............................................................................................................................................................................22 6. Collection One...................................................................................................................................................................................................24 7. Secondary Research........................................................................................................................................................................................26 8. Primary Research.............................................................................................................................................................................................28 9. Trend.......................................................................................................................................................................................................................32 10. Mind Mapping................................................................................................................................................................................................. 34 11. Hand Crafted Luxury..................................................................................................................................................................................... 36 12. Color Board....................................................................................................................................................................................................... 39 13. Initial Explorations......................................................................................................................................................................................... 40 14. Initial Motif Explorations..............................................................................................................................................................................42 15. Final Motif.......................................................................................................................................................................................................... 46 16. Product Development Process.. ............................................................................................................................................................. 48 17. Motif placement Explorations................................................................................................................................................................... 50 18. Costing.................................................................................................................................................................................................................52 19. Product Mapping & Flat Sketch Illustration ................................................................................................................................... 54 20. Production Under Process....................................................................................................................................................................... 59 21. Finished Products.......................................................................................................................................................................................... 60 22. Collection Two................................................................................................................................................................................................ 64 23. Secondary Research................................................................................................................................................................................... 66 24. Primary Research...........................................................................................................................................................................................70

25. Trend..................................................................................................................................................................................................................... 74 26. Mind Mapping..................................................................................................................................................................................................75 27. Hand Crafted Luxury.....................................................................................................................................................................................76 28. Color Board.......................................................................................................................................................................................................79 29. Initial Stripes Explorations........................................................................................................................................................................ 80 23. Initial Motif Explorations............................................................................................................................................................................. 81 31. Final Motif.......................................................................................................................................................................................................... 83 32. Product Development Process.............................................................................................................................................................. 84 33. Fabric sample.................................................................................................................................................................................................. 96 34. Costing................................................................................................................................................................................................................97 35. Product Mapping, Flat Sketch Illustration & Finished Products ........................................................................................ 98 36. Who made my cushion ?...........................................................................................................................................................................118 37. Conclusion.......................................................................................................................................................................................................120 38. References.......................................................................................................................................................................................................123

PARINITA DAS | B.DES TEXTILE DESIGN

NATIONAL INSTITUTE OF FASHION TECHNOLOGY 2016-2020

1. COMPANY PROFILE & ORGANISATIONAL CHART

‘‘ With specializations in bespoke curtains, blinds, handmade bedcovers, throws and opulent wallpapers and with the best of the fittings available in India & abroad complementing the interiors with such extravagant luxuries which are designed to reflect not only the Indian handicrafts and cultural heritage but also stating the contemporary mood of today’s interior designs and architecture. Through this process, Sangeeta Seth Home brings forth luxurious living that adapts and evolves with you.’ ’

1.1 image 1. Interior done by Sangeeta Seth home. image 1.1. Mr Atul and Mrs Sangeeta Seth.

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tarted by the Husband-Wife Duo, Mr Atul and Mrs Sangeeta Seth, we are a S Two Decade Old, New Delhi based, Luxury Boutique Soft Furnishing firm. Over the years “Sangeeta Seth Home” has carved out a place for itself in the Luxury Furnishing Industry by offering Contemporary, Luxurious Furnishing with a distinct house signature and an inherent Indian-ness that celebrates handcrafted traditions. Working with Architect’s, Designer’s and Private client’s they have been transforming Area’s into Luxury Spaces for nearly Two Decade’s now. The company has in house team of designer’s are regularly creating innovative designs and products to complement the interiors of any given space by understanding the use of fabric and the colour preferences of the designer’s or the clients. With Projects delivered all over the world, their motto is to induce luxury in every corner of any given space be it a Residence, Hotel, Farmhouse, Office etc.

image 1.2 Interior done by Sangeeta Seth home.

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2. PRODUCT RANGE

With world-class inhouse manufacturing capabilities, they specialize in bespoke handmade home furnishing products such as curtains, cushions, bedcovers, throws, tassels, tiebacks, valance and manual blinds. They are associated with a range of wallpaper and motorised blind companies making it easier for their clients to visualise and availability of every requirement under the same roof giving them a hassle-free shopping experience.

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For motorised blinds Sangeeta Seth Home is proudly associated with renowned American Brand:

For wallpapers, they are associated with:

image 2, 2.1, 2.4, 2.5 Interior done by Sangeeta Seth home image 2.2 Fabric sample image 2.3 Tassel image 2.6 Roberto Cavalli wall wallpaper image 2.7, 2.8 Hunter Douglas blinds

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3. PRODUCTION PROCESS 1st Appointment for site visit

Sangeeta Seth Home is very well known for its customised luxurious home furnishings, which brings clients all over from the country. First, the client has to make an appointment for a site visit. The process starts with visiting clients property, taking all the notes from dimensions of the furniture and planing accordingly. The second meeting is arranged at the office with the clients deciding their budget, colour schemes, mood and fabrics they want to go for. From here the beautiful creation of design process begins, creating from all the boards, digital files and listing down the patterns, techniques to be used on the products. Once the digital files are ready the patterns are traced on the khaha sheet then itâ&#x20AC;&#x2122;s traced back on to the fabric if it is manual embroidery, are Tari or applique otherwise the digital files are directly sent for leaser cutting or digital embroidery. In case of curtains and blinds, once the manufacturing is 16

done professional installers are sent by the company to install the products perfectly. From decorating clintâ&#x20AC;&#x2122;s walls to decorating their bed and formal areas, with there attention to detail and an eye for creating aesthetically pleasing spaces, they offer their consultancy to clients, designers and Architects for various interior styling related needs. Techniques used 1.Applique 2.Ari Tari 3.Hand embroidery 4.Swaroski 5.Machine embroidery 6.Laser cutting 7.Knotting 8.Smoking 9.Pleating

Site Visit 2st Appointment deciding the budget and fabric selection

Sampling

Boards are prepared

CAD files are prepared

Selection of techniques

Khaka Making

Production

Installation if curtain

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image 3 Making khaka image 3.1 Hand ari work image 3.2 Laser cut blind panel image 3.3 Smoking image 3.4 Machine ari work image 3.5 Hand ari work

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4. MATERIALS USED

1. Machines:

3. Types of needle used for stitching:

Stitching machines

-Size: 11, 16, 14, 18 As the thickness of the fabric increases the size of the needle increases.

-Company: Juki (1 manual) Jack (2 manual, 2 computerised) -Threads used: PC 3 ply Five thread overlock machine -Company: Jack (1 manual) -Threads used: PC 3 ply Machine embroidery -Company: Friends India (3 manual) -Threads used: Nylon and art silk 2. Types of pressure foot used for stitching: -Half boot pressure foot: piping -Plastic pressure foot: leather stitching -Folding pressure foot: leather stitching 18

4. Trims used: -Conceal zipper -3 pinch curtain hook -Ripple curtain hook -Pencil pleat curtain tape -Ripple pleat curtain tape -3 pinch pleat curtain tape -Accessories used for tassels and cushions -Border tapes for cushions 5. Fabrics used: -Company: Dedar, Warwick, Zynna, Silk essence, D decor. -Fabric type: Sude, velvet, satin, sear and semi sear. -Compositions: Polyester, Silk, PC blend. -Price range: Rs 600-15,000/m

image 4 Half boot pressure foot: piping image 4.1 Folding pressure foot: leather stitching image 4.2 Plastic pressure foot: leather stitching image 4.3, 4.4 Size: 11,16,14,18 needle image 4.5 Ripple pleat curtain tape image 4.6 Pencil pleat curtain tape image 4.7 Half boot pressure foot: piping image 4.8, 4.9, 4.10, 4.15, 4.16 Border tapes for cushions image 4.11 Accessories used for tassels and cushions. image 4.12 Ripple curtain hook image 4.13 Conceal zipper image 4.14 3 pinch curtain hook

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5. POST PRODUCTION PROCESS Care instructions

Quality inspection

Packaging

As per the fabrics and the techniques used on the products, dry cleaning, do not iron and iron steam is suggested by the company.

When a product is ready the head designer runs a quality check on the following parameters:

The packaging of the product is done in a transparent polythene bag sealed properly with sellotape.

DRY CLEAN

IRON STEAM DO NOT IRON

Finishing When a product is ready the head designer runs a quality check on the following parameters: - Trimming of the extra thread - Interlocking after stitching all the panels together - Removal ink marks of tracing - Steam ironed - Shaping the corners of the cushion - Cleaning the grease stain 20

- Trimming off extra threads - Removal ink marks of tracing - Overlock - Proper steam ironed - Hand ari and machine ari finishing - Design outcome - Trims used - Color combination - Removal of the grease stain - The pile height of machine ari - Loop formed by machine ari - Size of the product - Stitching of the product - Fabric used - Motif outcome - Placement of the motif - Layout - Removal of glue

Labelling A logo on the company is stitched along with the product and a paper tag consisting the product code, company address and contact number are attached with a swiftach.

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5.1 image 5 Packaging image 5.1 Company lable and paper tag consisting company details

PARINITA DAS | B.DES TEXTILE DESIGN

6. COLLECTION ONE Project Brief The project brief is to develop 8 cushions in a collection along with that 1 tieback. As per clients demands, exploring samples with different techniques. Like interlacement techniques and Renaissance architectural engraving. Exploring with laser cut technique like combining different shapes to create a unique interlaced sample. Work with macrame technique to create different tiebacks.

image 6 Laser cut blind panel

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PARINITA DAS | B.DES TEXTILE DESIGN

7. SECONDARY RESEARCH Literature Review I. The material culture of the Misings of Assam tradition and change a research paper by Ashok Sharma guided by Nabin Chandra Sarma under Gauhati University, published on 31/12/2000: A literature review in 2020, by Parinita Das focusing on chapter 5, topic-Methods of basket making and interlacing techniques. Despite a growing number of studies on the contribution of bamboo craft as a livelihood in past and the craft history, no reports have objectively evaluated the traditional designs which have been used in the craft and the futuristic approach of the craft. For a craft to survive in the market, we have to serve the market according to the demand of the market. For that, we have to go back to itâ&#x20AC;&#x2122;s past and acknowledge the traditional design aspect of the craft, the roots, their purpose, everything to understand and work forward on it. 24

The methods which are mentioned are: 1. Check or Plain Weave: The weft strip floats over the warp, on the other hand, the warp floats over the weft. The float is equal in both the cases of weft and warp. 2. Twill Method: In the twill method of basket weaving, the float of the warps over the wefts and wefts over the warps are equal in number overall it gives a step look. 3. Irregular twill method: In this method of weaving the weft and warp are not passed uniformly to the next series; it varies from one to another. 4. Hexagonal Technique: In â&#x20AC;&#x2DC;this method the wefts and warps are neither horizontal nor vertical, instead they cut each other at 45 degree forming hexagonal spaces. 5. Twined Method: Here the bamboo strips are woven with the help of two cane strings. 6. Angular Pattern: The angular design

of basket weaving is the outcome of complex twilling. Sometimes varying degrees of the preponderance of the warp and weft and sometimes the equal number of floating of the warp and the weft are seen. Other than these methods there are many different techniques which are not mentioned here like Plain weave with regular size gaps, circular bamboo stick weaving etc. II. A Renaissance without order a research paper by Michael J. Waters under Journal of the Society of Architectural Historians, published on 01/12/12: A literature review in 2020, by Parinita Das focusing on the topic inspiration of architectural engravings from Renaissance of the 14th-15th century. Despite a growing number of studies on the architect forms and the

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reproduction of new composition from the fragments of prints no report have objectively evaluated from where the inspiration of the architectural engravings come from, how they were created. Mario Carpo has introduced the mechanical regenerating a stable, authoritatively identical reproductions which removed the creative drift in a system of drawn copies. Sebastiano Serlio found a new way of easily regenerating, standardized orders and marginalized a fluid sketchbook tradition developed on the practice of tracing drawings, especially those of antiquity. Giovan Battista Aleotti (1546–1636), also known as L’Argenta. It is described by Giovan Battista that each of the fragments is placed so that it wandered as prints and was collected elsewhere by the architect L’Argenta, Aleotti

arranged these printed fragments by columnar order, interleaved between sections of Vignola’s Regola delli cinque ordini d’architettura (1562), and even converted them into an entire architectural composition. Other then the study of architectural forms and reproduction of the fragmented prints the report should also focus on the inspiration of the architectural engravings like: The Grotesque: It was a style of decorating based on ancient Roman wall paintings discovered in Italy in the late 15th century. It featured a combination of masks, fantastic creatures, figures, scrolling plants and vases. Strapwork resembles: flat strips of leather, three-dimensional shapes, bent to suggest boldly. It appeared frequently

in English design in the 16th century. Strapwork was often used to trace other architectural features or motifs. The Moresque: was a type of decoration related to the Moors of North Africa and Spain. The interlacing patterns of stems, tendrils and leaves were a common characteristic of Renaissance design. Figures in Roundels: busts of men and women depicted within a circle, known as a roundel, were a popular feature of the Renaissance style. They were often shown in profile. This decorative motif originated from ancient Roman coins. Mythological stories: Renaissance culture in England created a newly developed interest in the characters and stories of Classical mythology. These were often shown in prints and paintings and used as motifs on objects. 25

PARINITA DAS | B.DES TEXTILE DESIGN

8. PRIMARY RESEARCH Brand & Market Research This survey is conducted by visiting all the store, exhibition stalls and studying there products, the quality and the price range they are proving to their customers. This survey has helped me to understand the existing home furnishing market very well. Here we have some major competitors for Sangeeta Seth Home: Window Passion, OMA, Anca, Sarita Hand. Sangeeta Seth Home showroom is located on MG Road, Ghitorni which is the hub for all the highend soft furnishing brands, the walk-in customer they serve are the same, so be the best among them they have to be on there those all the time. Every year Sangeeta Seth Home launce there new collection in India Design which is a huge platform for all the furnishing brands, creating a massive competition among them. The main target of this exhibition is to attract all the clients as much as they can to keep a constant workflow throughout the year. 26

SARITA HANDA

1. Sarita Handa since 1992, age-old Indian needlework with crossculturally. 2. The variety of soft furnishing from cushions, bed linens and fabrics. 3. Price ranges from: Cushion: 400-7000, Bed Linen: 13500-25000. 4. They have a vast range of cushions & bed linens, great experimentation of Indian traditional textiles like hand embroidery, braiding, iket and hand quilting. 5. They are major competitors of cushion and bed linen.

image 8 Cushions from Sarita Handa image 8.1 Window dressings from Window Passion image 8.2 Cushions Anca

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WINDOW PASSION

ANCA

1. Window Passions since 1994, has stayed true to its reputation as one of Indiaâ&#x20AC;&#x2122;s leading luxury window & interior solutions company. 2. They have a variety of soft furnishing from window dressings, wall hangings, cushions and bed linens. 3. Price ranges from: Window dressings: Cushion: 4. They a vast range of window dressing, great experimentation of drapes, knotting and smoking. 5. They are a major competitors of window dressing.

1. ANCA since 1985 is a world-class furniture, fixtures and equipment manufacturing company. It is a Delhi based company. 2. They have a variety of soft furnishing from linens, to rugs, window dressings, towers, bedding and bedspreads, cushions and throws. 3. Cushion price ranges from 4500Rs to 10,000Rs. 4. Extreme experimentation of drapes, pleats, fabric weaving and smoking techniques. 5. They are major competitors of cushions and window dressings. 27

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OMA LIVING

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1. OMA Living since 2010 is one of Indiaâ&#x20AC;&#x2122;s most exclusive luxury lifestyle destinations with its iconic bouquet of dĂŠcor, art and furniture. 2. They have a variety of soft furnishing from: bed linen, table linen, towel, cushion and throw. 3. Price ranges from: Cushion- Throw4. They specialised in using natural fibres like merino wool, linen and silk and a great variety of knitted and woven throws. 5. They are major competitors of cushions and throws. 28

image 8.3 Cushions from OMA Living image 8.4 Curtain border image 8.5 Laser cut blind panel image 8.6 French knot & hand ari image 8.7 Shiny leather hide aplique & french knot image 8.8 Machine Ari and hand ari image 8.9 Matt leather hide aplique & zari work image 8.10 Fancy roap curtain border

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Consumer Research The consumer data is collected during the India Design 2020 exhibition from 13th of February. This provides a huge platform for the home furnishing brands. In this survey, I have observed that you will find a range of consumer base starting from interior designers, architects and consumers who are looking for their own houses. These are the techniques i.e interlacement, laser-cut, ari work, beadwork, applique and architectural patterns which are prefered by most of the consumers. Materials like suede, velvet, leather hide and pollytaft which gives an apprentice of art silk are 8.10 prefered.

PARINITA DAS | B.DES TEXTILE DESIGN

9. TREND

9 9.1

image 9 Crafted Interlacement image 9.1 New Heritage image 9.2 Renaissance return image 9.3 Crafted Interlacement

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These are few WGSN trend reports focusing on playing around with interlaced techniques to create a deeper connection with the surface as well as enhancing crafted and imperfect qualities. This brings a crafted touch to space which is great for hospitality environments. On the other hand, traditional craftsmanship techniques, material archives and referencing past eras are essential to creating future heritage collections that hold a meaningful narrative. 31

PARINITA DAS | B.DES TEXTILE DESIGN

10. MIND MAPPING

THEME

CRAFTED INTERLACE

ASSAM BAMBOO BASKET WEAVING

SPIRAL TWESTING WAVES IRREGULAR TWILL CHECK OR PLAIN WEAVE

TWILL TWINED HEXAGONAL TECHNIQUE

ANGULAR PATTERN

COMBINATION OF SHAPES

CREATIVE PATTERNS CIRCULAR

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RENAISSANCE RETURN RENAISSANCE ARCHITECTURAL FORMS

RENAISSANCE ARCHITECTURAL ENGRAVING

TENDRILS BRANCHING

THE FEAST OF THE GOD

STYLIZED PLANT

LEAVES

STRANGE

PARNASSUS

WIRED SHAPES MAGNIFICENT

HIDEOUS

STYLIZED RIBBON

FRAME WORK 3 DIMENTIONAL

INTERLACED BANDS

POPULAR FIGURE

ANCIENT ROAM COIN

BUSTS OF MEN & WOMEN

PARINITA DAS | B.DES TEXTILE DESIGN

11. HAND CRAFTED LUXURY

This theme is all about going through the process of creation and acknowledging the time and energy invested on every single detail, putting all piece by piece together by the craftsmen for a product is itself a definition of luxury. This theme is all about the incorporation of the past with the present, you can see a deep relation between both the eras to produce a contemporary collection having a meaningful narrative. Connecting the clients with the past era, giving a twist of the present era to survive the market. You can see a beautiful mix of two themes one is handcrafted Assam traditional bamboo basket weaving techniques and the other one is Renaissance architecture as an inspiration. Exploring both the themes and finding ways to innovate while revolving old patters, striking a balance between both the eras and 34

themes. Studying the traditional basket weaving techniques of interlacing, experimentation is done with different shapes like circular, rectangular strips, waves etc. Interlacing all the different shapes beautifully together, gives a different look. On the other hand, Renaissance architectural engraving is a completely different theme yet connected to the other theme as here the purpose for both the themes are the same. Renaissance architectural engraving has: Strapwork resembles, The Moresque, Figures in Roundels, Mythological stories and The Grotesque. But here we will be focusing more on the Moresque which was a type of decoration associated with the Moors of North Africa and Spain. The interlacing patterns of stems, leaves and tendrils were a commonly found in Renaissance design.

Key Word Vintage Story Handcrafted Homespun Luxury Creative Interlacement

image 11, 11.1, 11.5, 11.8 Renaissance architectural engraving image 11.2, 11.3, 11.4, 11.6, 11.7 Assam traditional bamboo basket

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PARINITA DAS | B.DES TEXTILE DESIGN

4192 C

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12. COLOR BOARD

Colours are a key route to achieving the mood what we desire for. Colour palette is inspired by Buyers’ Briefing Newness A/W 20/21 Interior Colours. Composite Greys: Tinted greys offer a serene and restful effect when mixed with neutrals in both residential and commercial settings. Mix tonal greys with neutrals for a serene feel. Be inspired by urban influences, materials .

Green Shades: Green remains an important colour, with both soft, lighter tones and forest shades feeling fresher and richer in quality. Offset with neutrals, black and dark blue, or pair with the season’s brightest tones for a directional, youthful focus d darkblue, or pair with the season’s brightest tones for a directional, youthful focus.

Deep Indigo: Dark blue continues to bring a formal sophistication to products with its deep intensity and versatility. Combine with warm neutrals to soften hues for an artificial effect. Combine with metallic silvers and golds to add a refined and elegant aesthetic 37

PARINITA DAS | B.DES TEXTILE DESIGN

13. INITIAL EXPLORATIONS

These are a few initial explorations of interlacement, macrame with different materials and paper exploration for better visualisation of the technique. The interlacement techniques are inspired by the Assamese basket weaving but giving it a little twist by changing the material, we can now explore with the flexibility of the fabric by using it in interlacement with different shapes.

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14. INITIAL MOTIF EXPLORATIONS

Here you can see these are my initial sketches. It all started from tracing and manipulating different patterns inspired by Renaissance architectural engraving.

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15. FINAL MOTIF

These motifs are created by manipulation of different patterns, combining them, extending them and placing them in different angles emerges into these beautiful motifs inspired by Renaissance architectural engraving.

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PARINITA DAS | B.DES TEXTILE DESIGN

16. PRODUCT DEVELOPMENT PROCESS

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17. MOTIF PLACEMENT EXPLORATIONS

Experimenting with different placement and changing the size of the motif gives a very different look to the product. Visualisation of the product with the same motifs but different placement helps to choose the most aesthetically pleasing look among all the possible options.

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PARINITA DAS | B.DES TEXTILE DESIGN

18. COSTING

Labour Cushion 1

Machine Ari

Cushion 2

Work/ sq m

Work/ piece

Stitching

Time

Total

XXX

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XXX

Interlacement

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XXX

Cushion 3

Interlacement

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Cushion 4

Hand Ari

XXX

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XXX

Cushion 5

Interlacement

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Cushion 6

XXX

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XXX

Cushion 7

Machine embroidery, Hand & Machine Ari Interlacement

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XXX

Cushion 8

Machine Ari & Hand Ari

XXX

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Cushion 9

Hand Ari & Aplique

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Tieback

Interlacement

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XXX

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Material

Per meter

Total

Cushion 1

Suede

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Cushion 2

Suede

XXX

Cushion 3

Suede & Velvet

XXX

Cushion 4

Slub polyster

XXX

Cushion 5

Rexine & Facy roap

XXX

Cushion 6

Polytaft

XXX

Cushion 7

Polytaft

XXX

Cushion 8

Slub polyster

XXX

Cushion 9

Satin, Velvet & Fancy roap

XXX

Tieback

Suede & Fancy roap

XXX

Laser Cutting

Per Design

Total

Cushion 2

XXX

Cushion 3

XXX

Cushion 5

XXX

Cushion 7

XXX

PARINITA DAS | B.DES TEXTILE DESIGN

19. PRODUCT MAPPING & FLAT SKETCH ILLUSTRATION Cushion 1 Sham Sixe : 20” X 20” Fabric : Suede Technique : Machine Ari

Cushion 2 Sham Sixe : 20” X 20” Fabric : Suede Technique : Interlacement

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Cushion 3 Lumber cushion Size = 12” X 22” Fabric : Suede & Velvet Technique : Interlacement

Cushion 4 Lumber cushion Size = 12” X 22” Fabric : Slub polyster Technique : Hand Ari

PARINITA DAS | B.DES TEXTILE DESIGN

Cushion 5 Size : 16” X 16” Fabric : Rexine Technique : Interlacement Trim : Facy roap

Cushion 6 Size : 16” X 16” Fabric : Polytaft Technique : Machine embroidery, Hand & Machine Ari

Cushion 7 Size : 16” X 16” Fabric : Polytaft Technique : Interlacement Trim : Facy roap

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Cushion 8 Size : 16” X 16” Fabric : Slub polyster Technique : Machine Ari & Hand Ari

Cushion 9 Size : 16” X 16” Fabric : Satin & Velvet Technique : Hand Ari & Aplique Trim : Facy roap

Tieback Size : 30” Fabric: Suede Technique : Interlacement Trim : Facy roap

PARINITA DAS | B.DES TEXTILE DESIGN

Tinted greys offer a serene and restful effect when mixed with neutrals in both residential and commercial settings. Flou. Rich forest and moss green shades deliver a connection to the outdoors. And the colour blue is used as an accent for a little pop of colour.

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20. PRODUCTION UNDER PROCESS Cushion 4 Lumber cushion Size = 12” X 22” Fabric : Slub polyster Technique : Hand Ari Trim : Beads Motif size : 11” Fabric pieces used : 3 Cushion 1 Sham Sixe : 20” X 20” Fabric : Suede Technique : Machine Ari Thread used for ari : White PC Motif size (left) : 18” Motif size (right) : 13“ Fabric pieces used : 3

5.1”

4.6”

Cushion 9 Size : 16” X 16” Fabric : Satin & Velvet Technique : Hand Ari & Aplique Trim : Facy roap & silver beads Fabric pieces used : 3

4.1”

8.1” 4.5”

7.9”

8.1”

7.7”

8.1”

PARINITA DAS | B.DES TEXTILE DESIGN

21. FINISHED PRODUCTS Cushion 2 Sham Sixe : 20” X 20” Fabric : Suede Technique : Interlacement Fabric strip size : 0.5” No. of fabric circles : 41 No. of fabric strip vertically : 9 No. of fabric strip horizontally : 9 No. of fabric strip diagonally : 18 Fabric pieces used : 3

0.5”

1.5” 2”

Cushion 3 Lumber cushion Size = 12” X 22” Fabric : Suede & Velvet Technique : Interlacement No. looped strips : 7 Fabric pieces used : 3

6.1” 0.4” 0.7” 1.5”

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Cushion 5 Size : 16” X 16” Fabric : Rexine Technique : Interlacement Trim : Facy roap No. of raop piece vertically : 21 Vertical shacing between roaps : 0.7” Interlacement pattern : Brick pattern Fabric pieces used : 3

Cushion 6 Size : 16” X 16” Fabric : Polytaft Technique : Machine embroidery, Hand & Machine Ari Thread used for ari : White PC Trims : Beads Motif size : 17” X 17” Fabric pieces used : 3

PARINITA DAS | B.DES TEXTILE DESIGN

Cushion 7 Size : 16” X 16” Fabric : Polytaft Technique : Interlacement Trim : Facy roap Fabric strip size : 0.5” No. of fabric strip : 32 No. of raop piece vertically : 18 No. of raop piece horizontally : 18 Vertical shacing between roaps : 0.8” Fabric pieces used : 3

Cushion 8 Size : 16” X 16” Fabric : Slub polyster Technique : Machine Ari & Hand Ari Thread used for ari : Silver zari Trims : Beads Motif size : 15” X 15” Fabric pieces used : 3

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Tieback Size : 30” Fabric: Suede Technique : Interlacement Trim : Facy roap No. of pieces used : 56

0.5”

0.7”

3.1”

0.6”

1.4”

PARINITA DAS | B.DES TEXTILE DESIGN

22. COLLECTION TWO Project Brief The project brief is to develop a collection according to the resources available around here. Exploring types of stripes with varying colour combinations and thickness of it. Motif explorations in both stylized and geometric style. Two sets of cushions to be developed, dividing the collection into two subcollection.

image 22 detangling warp threads

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PARINITA DAS | B.DES TEXTILE DESIGN

23. SECONDARY RESEARCH Literature Review I. Sericulture and traditional craft of silk weaving in Assam a research paper by R Chakravorty, Pranab Dutta & J Ghose published under Central Muga Eri Research and Training Institute, Central Silk Board, Ministry of Textile, Government of India, Lahdoigarh 785 700, Assam on April 2010: A literature review in 2020, by Parinita Das, focusing on the material used & motif used. Despite a growing number of detailed studies on silk mekhela chador weaving and pre and post-processing, no reports have objectively evaluated the cotton mekhela chador weaving and pre and post-processing. Raw materials for handloom weaving in Assam, various counts of cotton ranging from 10s to 80s is generally used by the weavers. Three varieties of silk, eri, muga and pat are commonly used in Assam as raw materials and a majority of the silk 64

weavers. Rayon (artificial silk) is also used as raw materials by the weavers for commercial weaving in Sualkuchl, Palasbari and Hajo. Textiles of Assam including silk consists of abstract figures of flowers, creepers, birds, animals and diamond motifs. These designs used in weaving by different groups, both tribal and non-tribals are indigenous and carry a special meaning and cultural significance. Symbolisms of nature like Kaziranga style are often conveyed by the motifs and designs. The motifs and designs of Assam are mostly inspired by nature. These motifs and designs are known as phuljali (flower and creeper) or phul (flower and floral pattern). The bright-hued diamond motif on contrasting background representing fine workmanship is a typical and traditional feature of the tribal textiles of Assam. In pat and muga

silk mekhela chador they mostly use designs of flowers, creepers etc. while bold motifs and design of geometric shapes are found on eri silk and cotton. Weaving designs in the hills are almost found in geometric style. The tribal and folk designs of Assam also consist of butterflies, birds and animals like horses, elephant, tiger, etc with diverse geometrical forms for the ornamentation of textiles. Cotton mekhela chador is a very important part of women in villages, itâ&#x20AC;&#x2122;s a part of their day to day lives. In villages of Assam, women ware cotton mekhela chador at home every day, women in Assam design and weave their mekhela chador. Assam is always known for its silk mekhela chador but why not cotton, it also requires the same amount of labour as silk mekhela chador. A detailed study of types of cotton yarns, itâ&#x20AC;&#x2122;s motifs and colours used in it is required to be documented, to show the importance of

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cotton mekhela as weavers are shifting from cotton to polyester due to its durability and no pre and post weaving process, making it easier for the weaver. But to spread awareness of sustainable design is very necessary to pay equal attention to both the crafts. II. Telia Rumal, double Ikat fabric of Andhra Pradesh a research paper by Purva Khurana, Suman Pant & Chanchal published under The National Institute of Science Communication and Information Resources (NISCAIR)Council of Scientific and Industrial Research (CSIR), India on Jan-2016: A literature review in 2020, by Parinita Das focusing on the patterns used on telia rumal. Despite a growing number of detailed studies on the history of Ikat textile, there is no reports have objectively evaluated the different traditional

patterns of all the communities practising ikat weaving. Andhra Pradesh has a much older local tradition of cotton double ikat-weave of telia rumal, distinct from. Patterns: The patterns in the telia rumal consist of a variety of geometric shapes. Shapes such as the dot, rectangle, cross, chevron, square and various stepping motifs. Initial patterns were strictly geometric but telia rumals made after 1930s incorporated figurative designs such as lions, elephants, birds, even clock and aero planes, which required higher weaving skills. Ikat weaving technique is very common in home textiles so it is important to have proper knowledge about the craft to innovate. So it is very important to be aware of the designs of all the community along with their different techniques of ikat weaving. 65

PARINITA DAS | B.DES TEXTILE DESIGN

Brand & Market Research This survey is conducted for the understanding of the present home furnishing market. As per the trend, ikat has been a major inspiration for most of the home furnishing brands using both traditional handloom ikat and other techniques like applique, digital print and embroidery. It is observed that the use of white grounds to highlight intricate motifs and expose contrasting layers and overhead stitching is done for a decorative finish. Nowadays people are being aware of environmental issues. Some brands are shifting towards environmentfriendly fibres and believing more in sustainable design. Tradition handicrafts are considered as a luxury. Some brands like Jaypore, Sarita Handa, Oma, The Citizenry, Coyuchi etc are leaning towards it. This survey has given me a better vision of the trends that are followed in the market. 66

JAYPORE Jaypore has a variety of ikat-inspired cushions in both tradition handloom ikat technique and embroidery. We will also find clubbing tradition handloom ikat with embroidery. Their ikatinspired cushions range from 300-4000 Rs.

image 23 Ikat inspired cushions by Jaypore image 23.1 Ikat inspired cushions by Sarita Handa image 23.2 Hand woven cushions by Jaypore

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23.1

23.2

SARITA HANDA

JAYPORE

Sarita Handa has a range of ikat-inspired cushion collection as their bestsellers. They have created new ikat designs with embroidering and applique technique. Their ikat-inspired cushions range from 2000-4000 Rs.

Jaypore is well known for their handcrafted products. Here you will find a range of different weaving techniques like weaving with recycled fabric pieces which is called chindi, durrie weaving, traditional handloom weaving etc. Their handwoven cushions range from 400-2000 Rs.

PARINITA DAS | B.DES TEXTILE DESIGN

24. PRIMARY RESEARCH Stripes Here we can see some different types of stripes which are found on the cotton mekhela chador, from varying thickness of stripes. Stripes pattern are common for cotton mekhela chador. A combination of awning stripes, dress stripes and chalk stripes are mostly found. The stripe pattern is called kora in the local language. Strip pattern is placed towards the ends of the chador.

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PARINITA DAS | B.DES TEXTILE DESIGN

Motif The motifs on cotton mekhela chador are more of simple geometric patterns and floral motif. The simple motifs are handpicked and the complicated motifs are woven with dobby machine. The small motifs are called buta which are placed scattered all over the chador.

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PARINITA DAS | B.DES TEXTILE DESIGN

25. TREND

25.1

image 25 Ikat influence image 25.1 Soften stripes image 25.2 Natural Fibres image 25.3 Minimal graphics

25.2

These are few WGSN trend reports focusing on natural fibres and the benefits of sustainable design. Minimalist graphics is all about a monochrome palette to the uplift interior where the white ground is essential with fine traditional motifs. Ikat influence talks about how to play around with traditional ikat method but using different techniques i.e printing, digital embroidery or weaving, experimenting new patterns with the white ground with contrasting colours to give a dramatic look. Soften stripes focuses on era less design, converting traditional stripes into contemporary by using contrasting colours for a striking look.

25.3

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26. MIND MAPPING

THEME

ASSAMESE TRADATION MEKHELA CHADOR

GEOMATRIC

IKAT TECHNIQUE

SIMPLE FLORAL

BARANF

STRIPES

PARVATI

GEOMATRIC

GEOMATRIC SHAPES JAPI

COMPLEX FLORAL

KAZIRANFA STYLE

JOON BIRI

MOURAH KING KHAP STYLE

GACH

KARBI

ANIMALS

COMPLEX FLORALS BIRDS

KALKI

POKHILLA BHAGAVAT SARAI

BODO

PARINITA DAS | B.DES TEXTILE DESIGN

27. HAND CRAFTED LUXURY

This theme is all about going through the process of creation and acknowledging the time and energy invested on every single detail, putting all piece by piece together by the craftsmen for a product is itself a definition of luxury. This is all about the awareness of Assamese cotton mekhela chador and adds a little twist to it for its survival in the market. Connecting the customers with craft is the main focus of this theme. This theme is a beautiful mix of tradition Assamese cotton mekhela chacor and Ikat which is the yarn dying technique. Assamese traditional cotton mekhela chador is unique in its self. As every woman in villages weaves their attire. Their attire describes themselves by their perspective of choosing the colours, the motifs and the stripes they prefer. 74

Every community have their motifs. Geometric and stylised floral motif (phool buta): Most patterns and motifs used in the traditional garments are a representation of nature. Hence flower or a bunch of flowers are one of the most common motifs found in the traditional Assamese garments. As ikat has been very common in the home furnishing market but giving a little twist has changed the game. Random ikat technique is the key element. Tying a bunch of weft yarn randomly with different tying patterns has emerged into unique patterns. Exaggerate the blurred ikat style and random placements for a dramatic look.

Key words Handcrafted Revival Story telling Mood boosters Random

image 27 Resist dying outcome image 27.1 Chador with motifs image 27.2, 27.6 Resisting image 27.3, 27.4 Random ikat pattern image 27.5 Ikat motif image 27.7 Fringes (julun) image 27.8 Paisley (kalki) image 27.8 Tree motif (gach)

27.1

27.2

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27.8

27.7

27.3

27.5

27.6 27.4

27.9

PARINITA DAS | B.DES TEXTILE DESIGN

179 C

7670 C

7674 C

426 C

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28. COLOR BOARD

In what will be a cautious market in the wake of the Covid-19 pandemic, uncertainty will define the next normal. Homewares and interiors will be a bigger focus, and consumers will be drawn to products and spaces that bring joy and reassurance. The is split into two moods â&#x20AC;&#x201C; one with intensified natural hues, and the other with more subdued and grounding colours. Colour palette is inspired by Forecast S/S 22 Lifestyle & Interiors Global Colour.

Everyday Pleasure: This palette is characterised by softer, more muted colours that have a grounded and pigmented appeal. Muted tones have a restful and anchored quality, and tap into the importance of simple pleasures.

Enhanced Nature: This mood-boosting palette features warm hues to activate and energise the mind and body, counterbalanced by cooler, more therapeutic colours. These are cautiously optimistic tones, with an intensity that will activate the senses, igniting feelings of joy, pleasure and tranquility. 77

PARINITA DAS | B.DES TEXTILE DESIGN

29. INITIAL STRIPES EXPLORATIONS

Exploration of stripes started with different colour combinations, varying thickness of the stripes and the types of yarns used.

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23. INITIAL MOTIF EXPLORATIONS

It all started by sketching our simple geometric shapes, stylised florals and combining them together to form a motif. Few of the motifs are manipulated from their tradition versions.

PARINITA DAS | B.DES TEXTILE DESIGN

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31. FINAL MOTIF

Motifs are inspired by the traditional mekhela chador. Exploring with minimal geometric motifs and traditional stylised florals motifs, geometric floral motifs(ful) and temple tops(parvati).

PARINITA DAS | B.DES TEXTILE DESIGN

32. PRODUCT DEVELOPMENT PROCESS Sourcing Sourced yarn and dyestuff from Fancy Bazar which is the business hub of all types of goods. Fancy Bazar is located towards the old Guwahati near the banks of Brahmaputra river. Fabric Sample 1 Warp: Material = Cotton Count = 4/20 Twist = S Weight = 2.27 kg

Weft: Material = Cotton Count = 2/20 Twist = S Weight = 2.27 kg

Fabric Sample 2 Warp & Weft Material = Mercerized Cotton Count = Twist = S Weight = 4.54 kg

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31.1

Card making

31.3

31.4

Machine = Dobby Hooks = 120 Card 1 No. of cards = 118 Card 2 No. of card = 37

31.5

31.2

Card 3 No. of card = 72 Card 4 No. of cards = 32 Card 5 No. of cards = 33

image 32 Sourcing image 32.1 Graphf of card 1 = 118 image 32.2 Graph of card 2 = 37 image 32.3 Graphf of card 1 = 72 image 32.4 Graphf of card 2 = 32 image 32.5 Graphf of card 1 = 33 image 32.6 Card making

31.6

PARINITA DAS | B.DES TEXTILE DESIGN

Bleaching Sample 1

Sample 2

Time = 60 min Sodium Silicate = 2-4 gpl H2O2 (hydrogen peroxide) =2-3 Volume

Temperature = 80 - 85oC

Weight of yarn = 5gm MLR = 1:20

Total Liquor: Weight of yarn X 20 5 X 20 = 100 ml

H2O2 (hydrogen peroxide) = Total liquor X Req. Srength Available Strength = 5X2 = 0.1 ml 100

H2O2 (hydrogen peroxide) = Total liquor X Req. Srength Available Strength = 5X3 = 0.15 ml 100

Sodium Silicate = 2 X Total liquor

Sodium Silicate = 4 X Total liquor

= 2 X 100 = 200gm

= 4 X 100 = 400gm

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Unprocessed

Sample 1

Sample 2

32.6

32.7

32.8

Final Time = 60 min Sodium Silicate = 2-4 gpl H2O2 (hydrogen peroxide) =2-3 Volume Temperature = 80 - 85oC Weight of yarn = 4.54kg MLR = 1:20 Total Liquor: Weight of yarn X 20 4.54 X 20 = 90.8 liter H2O2 (hydrogen peroxide) = Total liquor X Req. Srength Available Strength = 90.8 X 3 = 2.72 ml 100 Sodium Silicate = 4 X Total liquor =

4 X 90.8 1000

=0.363kg 32.9

image 32.6 Unprocessed image 32.7 Sample 2 image 32.8 Sample 3 image 32.9 Bleaching bath

PARINITA DAS | B.DES TEXTILE DESIGN

Dying ( Samples ) Sample 1

Sample 2

0.5 % direct dye ( Blue ) Time = 60 min Weight of yarn = 10 gm MLR = 1:20 Temperature = 80-85oC

2 % direct dye ( Blue ) Time = 60 min Weight of yarn = 10 gm MLR = 1:20 Temperature = 80-85oC

Total liquor= Weight of yarn X 20 = 10 X 20 = 200 ml

NaCl 2.5% = 2.5 X Weight of yarn 100 = 2.5 X 10 = 25 = 0.25 gm 100 100 Soda ash 0.5% = 0.5 X Weight of yarn 100 = 0.5 X 10 = 10 = 0.1 gm 100 100 Stock solution = 0.5 X Weight of yarn = 0.5 X 10 = 5 ml 100 100 1 1 100 100

NaCl 10% = 10 X Weight of yarn 100 = 10 X 10 = 100 = 1 gm 100 100 Soda ash 2% = 2 X Weight of yarn 100 = 2 X 10 = 20 = 0.2 gm 100 100 Stock solution = 2 X Weight of yarn = 2 X 10 = 20 ml 100 100 1 1 100 100

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Sample 3

Sample 4

3 % direct dye ( Blue ) Time = 60 min Weight of yarn = 10 gm MLR = 1:20 Temperature = 80-85oC

3 % direct dye ( Black ) Time = 60 min Weight of yarn = 10 gm MLR = 1:20 Temperature = 80-85oC

Total liquor= Weight of yarn X 20 = 10 X 20 = 200 ml

NaCl 15% = 15 X Weight of yarn 100 = 15 X 10 = 150 = 1.5 gm 100 100 Soda ash 3% = 3 X Weight of yarn 100 = 3 X 10 = 30 = 0.3 gm 100 100 Stock solution = 3 X Weight of yarn = 3 X 10 = 30 ml 100 100 1 1 100 100

NaCl 15% = 15 X Weight of yarn 100 = 15 X 10 = 150 = 1.5 gm 100 100 Soda ash 3% = 3 X Weight of yarn 100 = 3 X 10 = 30 = 0.3 gm 100 100 Stock solution = 3 X Weight of yarn = 3 X 10 = 30 ml 100 100 1 1 100 100 87

PARINITA DAS | B.DES TEXTILE DESIGN

32.11

Sample 1

Sample 5

Sample 2

2 % direct dye ( Orange ) Time = 60 min Weight of yarn = 10 gm MLR = 1:20 Temperature = 80-85oC

Sample 3

Total liquor= Weight of yarn X 20 = 10 X 20 = 200 ml NaCl 10% = 10 X Weight of yarn 100 = 10 X 10 = 100 = 1 gm 100 100 Soda ash 2% = 2 X Weight of yarn 100 = 2 X 10 = 20 = 0.2 gm 100 100 Stock solution = 2 X Weight of yarn = 2 X 10 = 20 ml 100 100 1 1 100 100 88

Sample 4

Sample 5

32.10

image 32.10 Samples image 32.11 Sample dyeing

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Dying Final BLUE 0.5%

ORANGE 2%

0.5 % direct dye Time = 60 min Weight of yarn = 10 gm MLR = 1:20 Temperature = 80-85oC

2 % direct dye ( Blue ) Time = 60 min Weight of yarn = 10 gm MLR = 1:20 Temperature = 80-85oC

Total liquor= Weight of yarn X 20 = 500 X 20 = 10000 ml = 10 liter 1000 NaCl 2.5% = 2.5 X Weight of yarn 100 = 2.5 X 500 = 1250 = 12.5 gm 100 100 Soda ash 0.5% = 0.5 X Weight of yarn 100 = 0.5 X 500 = 250 = 2.5 gm 100 100 Stock solution = 0.5 X Weight of yarn = 0.5 X 500 = 205 ml 100 100 1 1 100 100

Total liquor= Weight of yarn X 20 = 500 X 20 = 10000 ml = 10 liter 1000 NaCl 10% = 10 X Weight of yarn 100 = 10 X 500 = 5000 = 50 gm 100 100 Soda ash 2% = 2 X Weight of yarn 100 = 2 X 500 = 1000 = 10 gm 100 100 Stock solution = 2 X Weight of yarn = 2 X 500 = 1000 ml 100 100 1 1 100 100 89

PARINITA DAS | B.DES TEXTILE DESIGN

32.12

32.13

BLUE & BLACK 3% 3 % direct dye ( Blue ) Time = 60 min Weight of yarn = 10 gm MLR = 1:20 Temperature = 80-85oC Total liquor= Weight of yarn X 20 = 10 X 500 = 10000 ml = 10 liter 1000 NaCl 15% = 15 X Weight of yarn 100 = 15 X 500 = 7500 = 75 gm 100 100 Soda ash 3% = 3 X Weight of yarn 100 = 3 X 500 = 30 = 0.3 gm 100 100 Stock solution = 3 X Weight of yarn = 3 X 10 = 30 ml 100 100 1 1 100 100 90

32.15

32.17

32.14

32.16

image 32.12, 31.16, 31.17 Dye bath image 32.13 Resisting image 32.14 Final dyed yarns image 32.15 Resist pattern

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32.18

32.19

32.21

32.20

32.22

32.23

Warping ( bati kara ) Fabric Sample 1 Total no. of warp thread = 650 Fabric Sample 2 Total no. of warp thread = 700

Denting ( rah bindhua ) Fabric Sample 1 Reed count = 40 Fabric Sample 2 Reed count = 52 No. of thread per dent = 2

32.25

32.24

image 32.18 Bobin making image 32.19, 31.21 Warping image 32.20 Taking out the warp thread from the warping frame image 32.22 Denting image 32.23 Detangling image 32.24 Putting weight on the warp thread to provide equal tention image 32.25 Taking up the wap threads

PARINITA DAS | B.DES TEXTILE DESIGN

Drafting ( Bow kora )

32.26

32.27

32.28

32.29

32.30

32.31

32.33

32.32

No. of shaft = 2 Type of weave = Plain weave

Lifting plan of extra warp ( Ful bow ) Draft = Pointed draft

image 32.26 Two shafts image 32.27, 32.28 Drafting image 32.29 Denting image 32.30, 32.32, 32.33 Lifting plan of extra warp image 32.31 Pointed draft

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Weaving ( bua )

32.34

image 32.34 Image taken during weaving

PARINITA DAS | B.DES TEXTILE DESIGN

33. FABRIC SAMPLE

Fabric Sample 1 : Warp Yarn Count = 4/20 Weft Yarn Count = 2/20 EPI = 31 PPI = 19 GSM = 450 33

33.1

33.2

33.3

Fabric Sample 2 : Warp Yarn Count = 2/80 Weft Yarn Count = 2/80 EPI = 52 PPI = 45 GSM = 351

image 33, 33.1 Fabric sample 1 image 33.2, 33.3 Fabric sample 2

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34. COSTING

Material

Count

Quantity

Per Bunch

Total

Cotton

2/20

2.27 kg

420

2.5 kg

700

82.2

740

Mercerized cotton PC blend

4/20

2.27 kg

Tool

Quantity

Total

Chemical

Quantity

Total

Reed (40)

340

Hydrogen Peroxide

500 ml

530

Drafting yarn ( bow )

300

Orange Dye

100 gm

170

Dobby card

965

Black Dye

100 gm

140

Charkha

150

Blue Dye

100 gm

190

Soda Ash

50 gm

20 796

Labour

Per Day

Total

Sodium Silicate

1 kg

Weaving

250

5000

Travell Expense

Total

Labour

Per Piece

Total

30 days

3000

Stitching

131

2100 95

PARINITA DAS | B.DES TEXTILE DESIGN

35. PRODUCT MAPPING, FLAT SKETCH ILLUSTRATION & FINISHED PRODUCTS The Monotones Cushion 1 Cushion 2 Cushion 3 Sham Size : 20” X 20” Fabric : Cotton Pattern : Stripes GSM : 351

Cushion 1

Cushion 2

Cushion 3

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Cushion 4

Cushion 5

Cushion 6

Size : 16” X 16” Fabric : Cotton GSM : 351 Motif size : 0.9”

Size : 16” X 16” Fabric : Cotton GSM : 351 Motif size : 1.5” X 2.4”

Size : 16” X 16” Fabric : Cotton GSM : 351 Motif size : 1.4” X 1.1”

Cushion 4

Cushion 5

Cushion 6

PARINITA DAS | B.DES TEXTILE DESIGN

Cushion 7 Size : 16” X 16” Fabric : Cotton GSM : 351 Motif size : 1.4” X 1.1”

Cushion 6

Cushion 8 Lumber Size : 12” X 22” Fabric : Cotton GSM : 351 Finishing : Tassel Tassel Height : 1”

Cushion 7

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Digital representation of the cushions, it helps for better visualization of the collection. The first image is the front view of a bed and the second image is the front view of a bedside couch. Where there is a lotâ&#x20AC;&#x2122;s of patterns and colours going around in the interiors we can balance it out by monochromatic colour palette.

PARINITA DAS | B.DES TEXTILE DESIGN

Finished products

100

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34.1

image 34 Finished Product image 34.1 Product details

101

PARINITA DAS | B.DES TEXTILE DESIGN

Front Cushion 1 Sham Size : 20” X 20” Fabric : Cotton Pattern : Stripes GSM : 200

Cushion 2 Sham Size : 20” X 20” Fabric : Cotton Pattern : Stripes GSM : 200

102

Back

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Front

Back

Cushion 3 Sham Size : 20” X 20” Fabric : Cotton Pattern : Stripes GSM : 200

Cushion 4 Size : 16” X 16” Fabric : Cotton GSM : 200 Motif size : 0.9”

103

PARINITA DAS | B.DES TEXTILE DESIGN

Front Cushion 5 Size : 16” X 16” Fabric : Cotton GSM : 200 Motif size : 1.5” X 2.4”

Cushion 6 Size : 16” X 16” Fabric : Cotton GSM : 200 Motif size : 1.4” X 1.1”

104

Back

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Front

Back

Cushion 7 Size : 16” X 16” Fabric : Cotton GSM : 200 Motif size : 1.4” X 1.1”

Cushion 8 Lumber Size : 12” X 22” Fabric : Cotton GSM : 200 Finishing : Tassel Tassel Height : 1”

105

PARINITA DAS | B.DES TEXTILE DESIGN

The Mood Boosters Cushion 1 Cushion 3 Sham Size : 20” X 20” Fabric : Cotton GSM : 200

Cushion 1

Cushion 2 Sham Size : 20” X 20” Fabric : Cotton GSM : 200 Motif Size : 3.4” X 2”

Cushion 2

106

Cushion 3

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Cushion 4

Cushion 5

Cushion 6

Size : 16” X 16” Fabric : Cotton GSM : 200

Size : 16” X 16” Fabric : Cotton GSM : 200 Motif Size : 3.4” X 2”

Size : 16” X 16” Fabric : Cotton GSM : 200 Motif size : 1.5” X 2.4”

Cushion 4

Cushion 5

Cushion 6

107

PARINITA DAS | B.DES TEXTILE DESIGN

Cushion 7 Size : 16” X 16” Fabric : Cotton GSM : 200 Motif size : 1.4” X 1.1”

Cushion 6

Cushion 8 Lumber Size : 12” X 22” Fabric : Cotton GSM : 200 Motif size : 1.5” X 2.4”

Cushion 7

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As of now, the interior plays a very important part of our day to day lives. Home is where our days starts and ends, that energy push us through the day. The colours are the key to this collection, acts as a mood booster. The most vibrant colours can be used to ignite feelings of joy and pleasure, especially in a digital context, while the palest tints are purifying and calming.

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Finished products

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34.3

image 34.2 Finished Product image 34.3 Product details

34.2

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Front Cushion 1 Sham Size : 20” X 20” Fabric : Cotton Pattern : Stripes GSM : 200

Cushion 2 Sham Size : 20” X 20” Fabric : Cotton GSM : 200 Motif Size : 3.4” X 2”

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Front

Back

Cushion 3 Sham Size : 20” X 20” Fabric : Cotton Pattern : Stripes GSM : 200

Cushion 4 Size : 16” X 16” Fabric : Cotton Pattern : Stripes GSM : 200

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Front Cushion 5 Size : 16” X 16” Fabric : Cotton GSM : 200 Motif Size : 3.4” X 2”

Cushion 6 Size : 16” X 16” Fabric : Cotton GSM : 200 Motif size : 1.5” X 2.4”

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Front

Back

Cushion 7 Size : 16” X 16” Fabric : Cotton GSM : 200 Motif size : 1.4” X 1.1”

Cushion 8 Lumber Size : 12” X 22” Fabric : Cotton GSM : 200 Motif size : 1.5” X 2.4”

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36. Who made my cushion ?

Orsola de Castro and Carry Somers they started the “ Who Made My Clothes” movement. The motive is to inspire a change in the industry for not valuing the people and to express the value of the creativity is more than profit. The “ Who Made My Clothes” movement was implemented for the collapse of the Rana Plaza building 5 years ago.

Nipen Deka is a proud weaver from weavers community in the village name Bagta in Assam. He is the main weaver of my second collection. Been there with me throughout and helped me with his years of weaving knowledge. His traditional style of weaving clubbed with my contemporary design process has given birth to a beautiful creation of art. 116

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36.1

Mrs Rumi Deka wife of Mr Nipen Deka. She has been weaving since the of 16. She helped us weave the collection.

image 36 Mr Nipan Deka (main weaver) image 36.1 Mrs Rumi Deka (helper) image 36.2 Mrs Sayedur Rahman

36.2

Mr Sayedur Rahman, he stitched the cushion for collection 2.

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37. CONCLUSION

As per the graduation project aspect, I have learned a lot converting all the knowledge which I have gathered in my four years of B.des textile design course into the practical world. Although there is a huge difference in applying the book knowledge and that same moment I have overcome obstacles like sourcing the correct material, understand the flexible use of that material, clubbing different techniques together and pulling together all the work under any circumstances. Working with Sangeeta Seth Home I have gathered a lot of experience understanding the true importance of managing the worker in a company because once the designing part is done the next step is production. Studying the capability of each worker and helping them connect to my design is the key role of the entire process. The mentor Miss Komal Seth has provided 118

me with genuine feedbacks which has helped me to improve my collection. The company has given me a great opportunity to attend India Design 2020 by Asian Paints which is one of the Indias largest home furnishing exhibition. Here I have learned how to attend the clients, understanding the mind of each client and survey of the present market. While working with the local weaver of Bagta Village in Assam has enhanced my understanding of handloom. I have worked with the main weaver of my collection Mr Nipan and his wife Mrs Rumi. Working with them has improved my knowledge on the loom. As I have worked with the tabletop loom is the college but working with the handloom is different. When we started the first fabric sample we came across a lot of problems with the shaft. The handloom which we were using is mostly used

for muga, cotton, eri and pat mekhela chador. But the yarn which we used was much courser and heavyweight. The loom could not take the load of the yarn. This taught me a very important part of the production that is proper material sourcing and understanding the use of it. As a student, the most important learning during my Graduation Project is working with different material and understanding the market demands.

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38. REFERENCES 1. Khurana, P. and Pant, S., 2020. <Span Style=”Font-Size:11.0Pt; Mso-Bidi-Font-Size:10.0Pt;Font-Family:” Times New Roman”,” Serif ”;Mso-Fareast-Font-Family: “ Times New Roman”;Mso-Ansi-Language:EN-GB;Mso-Fareast-Language:ENUS; Mso-Bidi-Language:AR-SA” Lang=”EN-GB”>Telia Rumal, <Span Style=”Font-Size:11.0Pt;Mso-Bidi-FontSize:10.0Pt;Font-Family:” Times New Roman”,” Serif ”; Mso-Fareast-Font-Family:” Times New Roman”;Mso-Ansi-Language:ENGB;Mso-Fareast-Language: EN-US;Mso-Bidi-Language:AR-SA” Lang=”EN-GB”>Double Ikat Fabric Of Andhra Pradesh. [online] Nopr.niscair.res.in. Available at: <http://nopr.niscair.res.in/handle/123456789/33554> [Accessed 15 January 2020]. 2. Nopr.niscair.res.in. 2020. [online] Available at: <http://nopr.niscair.res.in/bitstream/123456789/8166/1/IJTK%20 9%282%29%20378-385.pdf> [Accessed 14 January 2020]. 3. Nopr.niscair.res.in. 2020. [online] Available at: <http://nopr.niscair.res.in/bitstream/123456789/33554/1/IJTK%20 15%281%29%20167-172.pdf> [Accessed 20 January 2020]. 4. Sarma, A., 2020. Material Culture Of The Misings Of Assam Tradition And Change. [online] Shodhganga.inflibnet.ac.in. Available at: <https://shodhganga.inflibnet.ac.in/handle/10603/66500> [Accessed 6 February 2020]. 5. Shodhganga.inflibnet.ac.in. 2020. [online] Available at: <https://shodhganga.inflibnet.ac.in/bitstream/10603/66500/12/12_ chapter%205.pdf> [Accessed 8 January 2020]. 6. Vam.ac.uk. 2020. Style Guide: Renaissance - Victoria And Albert Museum. [online] Available at: <http://www.vam.ac.uk/ content/articles/s/style-guide-renaissance/> [Accessed 10 January 2020]. 7. Waters, M., 2012. A Renaissance without Order. Journal of the Society of Architectural Historians, 71(4), pp.488-523. 8. “ Who Made My Clothes” Movement: History & Importance | Fashion Insider. Fashion Insiders. (2020). Retrieved 15 July 2020, from https://fashioninsiders.co/features/inspiration/who-made-my-clothes-movement/.

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