Matchmaker - A collection of handwoven organic cotton saris by PrachiGor

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ACKNOWLEDGEMENTS

Fig 0.1 The Ethicus team

To start with, I would like to offer my gratitude to Ethicus and Appachi Eco-Logic Cotton, for providing me with this opportunity to learn and experience all that I have in this project. Ethicus has been an eye opener in many ways and almost like a home away from home. I am thankful for mentors like Mrs. Vijayalakshmi Nachiar and Mr. Mani Chinnaswamy for supporting me through the difficulties I faced. I am glad to have received guidance from Viji Ma’am who constantly pushed me to think and do more. I would also like to offer my gratitude to the design team at Ethicus - Amishi, thank you, for being a mentor and a fun roommate, and for helping me build confidence in my work. Saranya, for being an amazing roommate and a great critique, teaching me to not be satisfied easily and to go the extra mile. Kavissha, for being so supportive and helpful through the entire project, and showing me a how to take a positive approach to everything. Gayathri and Sh r e ya, for h el pin g me pull through the tough times.

Apart from the design team, a few people at Ethicus have made this journey a memorable one and I am lucky to have met them. Mohanraja anna, the most enthusiastic, kind and understanding person I met at Ethicus. A master weaver with great dedication, he managed to teach me Tamil in 6 months and was positive about any weaving experiment that would be suggested. He patiently explained each and every loom and it’s setting multiple times when I was filled with doubts. He is someone I can never thank enough. My heartfelt gratitude to all the people of the loom shed, for making every single day so exciting, for teaching me Tamil, for making me feel like home, for teaching me things I could never learn sitting at the desk, and for bringing my project to life. Vijayakumar anna, for explaining each and every technical aspect of the weave structures and the loom with so much patience. Krishna akka, for being patient, explaining everything in detail and helping me manage my work. Rangaraja anna, for being the saviour and fixing any problem that came our way. Vasanti akka, for her unforgettable chai and Selvi akka for her delicious food.

Like everything else, this project had it’s ups and downs. It wouldn’t have been possible to go through them without the help and support of a lot of people. I am extremely grateful to all of them. To start with, my heartfelt gratitude to my guide Swasti Singh Ghai, who gave instant valuable inputs at every stage and kept pushing me through the entire project. One mail from her side would throw light on so many confusions. I am glad to have received this opportunity being a student of National Institute of Design. The entire Textile Design faculty and staff - Aarti Srivastava, Sucharita, Saktivel who have helped me learn what I have learnt today. Govind kakka, Mahesh bhai, Amit bhai, Sailesh bhai for teaching me the basics of weaving through the eyes of a weaver.

This project would not have been possible without the support of my friends and family. I am thankful to all of them as they helped me go through this journey in an entirely new surrounding. Mom, Dad, Gopi, Ami, Kashyap thank you for supporting me through the ups and downs that I faced during the project. My entire TDUG13 batch without whose company these four years at NID wouldn’t have been so great. Lastly, I am grateful that my closest friends Himani, Gargi, Nidhi, Simran, Saumya, Aarushi, Nivida, Sahil, Aniruddha, Parimal, Prathamesh, Zunaira, Shraddha, Akhila and Mitul spoke to me almost every day through this project and did not let me feel down.

CONTENTS

Introduction

Methodology

1.1 National Institute of Design 1.2 Textile Design 1.3 Graduation Project

6.1 Initial Design Brief 6.2 Methodology planned 6.3 Timeline followed

02 03 04

Synopsis

Pollachi

The Sponsor

4.1 Appachi Eco-Logic Cotton Pvt. Ltd 4.2 The cotton trail

Ethicus The Brand

5.1 Brand philosophy 5.2 The setup 5.3 Brand Identity 5.4 Product range 5.5 USPs of an Ethicus product 5.6 Market 5.7 Recognitions 5.8 Sales outlets 5.9 Collections so far 5.10 Process flow

Research

Weaving

09 10

Redefining brief

Conceptualization

10.1 Initial theme board 10.2 Revised theme board 10.3. Understanding layouts

115

The collection

127

Lakme Fashion Week

257

13.1 Blouse and Garment Research 13.2 Blouse and Garment Documentation 13.3 Production Planning 13.4 Experience

8.1 Jacquard weaving 8.2 Weaving tradition in Negamam 8.3 Looms at Ethicus

Explorations

12.1 The final collection (10 saris) 12.2 Costing

7.1 Exhibition at Bangalore 7.2 Store visit 7.3 Study of layouts 7.4 Study of contemporaries 7.5 About the sari

11 12

14 15 16 17

Reflections

301

Annexure

303

Image Credits

307

References

308

Textile Design • B. Des • National Institute of Design

INTRODUCTION

Fig 1.1.1

Foyer, National Institute of Design

Prachi Gor • Graduation Project • 2017 • Introduction

NATIONAL INSTITUTE OF DESIGN The National Institute of Design (NID) is internationally acclaimed as one of the foremost multi-disciplinary institutions in the field of design education and research. The Business Week, USA has listed NID as one of the top 25 European & Asian programmes in the world. The institute functions as an autonomous body under the department of Industrial Policy & Promotion, Ministry of Commerce & Industry, Government of India. NID has been declared ‘Institution of National Importance’ by the Act of Parliament, by virtue of the National Institute of Design Act 2014. NID’s graduates have made a mark in key sectors of commerce, industry and social development by taking role of catalysts and through thought leadership.

Fig 1.2.1 Weaving studio at NID

Prachi Gor • Graduation Project • 2017 • Introduction

TEXTILE DESIGN

GRADUATION PROJECT

The Textile Design programme develops innovative and synergetic approaches to design for the textile industry, markets and the social sector by an appreciation of the cultural heritage, socio-economic and environmental concerns that is developed through fieldwork and research. The courses stress on creative explorations and from concept to prototype developed through various stages of further explorations and refinement. The programme commences with the fundamentals of textile design. This includes, textile fibres, weave structure, surface design, dyeing techniques, printing methods, sewing techniques, constructed textiles and basic inputs in garment design. Exposure to all levels of industrial and craft production is given through field visits and a short training with industry. Documentation of crafts introduces the student to fieldwork and research methodology and enables the student to develop a deeper understanding of the cultural issues that impact design. Being a part of the textile design programme has enabled one to look beyond the surface of things and figure out multiple ways of analysing problems. It has led to a better understanding of material, textures, form, colours and most importantly people and society.

The end of the students’ academic tenure at the National Institute of Design is marked by a project on a topic associated to their discipline of study. The graduation project and a subsequent documentation is the final academic project for the student. A jury comprising faculty members evaluates the students’ performance in the graduation project, after which, students are awarded NID’s professional education programme final graduation. The graduation project is an opportunity for students to demonstrate their expertise as independent practitioners of design.

Textile Design • B. Des • National Institute of Design

SYNOPSIS

The graduation project at NID marks the end of the classroom projects and prepares the student to step out into the industry. It provides the student with an opportunity to learn, experience and implement design thinking in all aspects. As a student, my outlook in this project was to gain knowledge about how to visualise a project/collection/ product right from the scratch, assess it’s workability, witness the entire production process and analyse the final outcome. It would be an all-round experience to be a part of the textile industry, as an almost professional. The journey at Ethicus proved to be extremely enriching, not only in terms of learning about textiles, but also in interactions with the communities and stepping into a new culture. Launched in 2009, Ethicus is the in-house brand of Appachi cotton. It’s co-founders , Ms. Vijaylakshmi Nachiar and Mr. Mani Chinnaswamy, work towards promoting slow and sustainable fashion. It’s entire set up is located in Pollachi, Tamil Nadu, where almost every step in the process is carried out with environmentally conscious policies and practice. Ethicus has brought together 42 handlooms with extremely talented weavers under one roof where designers and artisans interact and weave exclusive organic cotton fabrics. The studio promotes the story of handloom revival and is known mainly for it’s culturally and fashionably rich saris, not just in the states of South India but all over the country.

Prachi Gor • Graduation Project • 2017 • Introduction

Since Ethicus is currently expanding it’s market for saris, it was decided that the initial project brief would be a collection of handwoven jacquard saris and a few blouse fabrics. At the conceptualisation stage, the chances of showcasing at Lakme Fashion Week were considered and the brief was revisited. Around 5 km from Zamin Uthukuli, lies a village named Negamum where one can perpetually hear the clicketyclack of handlooms in the village. Negamum saris are known to be famous for their vibrant colors and simple designs. Using the local craftsmanship of these weavers from neighbouring villages, the Ethicus loom shed has been set up. Experiencing the cotton trail that started from the farms and ended at the loom shed was a huge source of inspiration.

The initial brief included a total of 15 handwoven jacquard saris and 4 blouses with a limited colour palette use of simple lines and squares. After the first few saris, it was finalised that the collection would go for Lakme Fashion Week. Post this, the brief was revisited to make 10 saris, 4 blouses and 2 garments. Meanwhile, planning and handling production alongside an intern and Ms. Vijaylakshmi was worthwhile as it brought into perspective tons of other things that need to be looked into once the design and patterning have been finalized. Since the blouses and garments that were showcased at the fashion week had mixed inputs from the entire design team and Ethicus was resuming garments, it was added as a task to document these garments so as to ease production of these garments from then on.

Visiting villages like Negamum, Kunjiapalyam, Kulakkapalyam, etc. was a visual treat as one cannot miss being captivated by the rhythmic movement of the weavers’ hands and feet, and the enormity of the entire process from fibre to fabric.

Ethicus is a brand that stands for it’s bright colors and bold patterning. With handicrafts and weaving being two fields that interest me and I wished to explore more, there was no place better than Pollachi where both of these came together.

One of the challenges faced as a student was to put aside personal bias and understand what the brand stood for and what the clientele desired. To understand the same and communicate design solutions effectively so as to make good sales was the task. The research done and process followed was to be done keeping in mind Lakme Fashion Week.

The graduation project has helped me think beyond the pen, paper and laptop and actually understand and visualise 6 metres of a fabric and it’s drape. Moreover, living in a new community, learning the language and experiencing their way of life has been enriching. With Mrs. Vijayalakshmi Nachiar being a constant guide and support, a whole lot has been learnt about production management, design analysis and marketing strategies. This project has enhanced and taught me more than what I expected. 06

POLLACHI

Fig 2.1

Pollachi, the land of coconut trees, is a town located 40 kms south of Coimbatore, Tamil Nadu. Unlike most of the towns in Tamil Nadu, Pollachi experiences a pleasant climate given its proximity to the Western Ghats and is one of the few places which receive both southwest and northeast monsoon rains which contributes to the rich natural beauty around. It is therefore one of the most popular location for film shootings. The walk from home to work every morning was a visual treat with clear skies and lush green trees. Pollachi is a very popular marketplace, with large markets for jaggery and vegetables and is considered to be South Indiaâ&#x20AC;&#x2122;s biggest Cattle market. People in the town and villages around Pollachi are mainly involved in agriculture and weaving. Rice, being the staple diet is found in abundance, along with bananas and coconuts. Women here are usually spotted wearing cotton saris and men wear veshtis or lungis. Rural culture has its own life, a beat that takes you back to our traditional roots.

Fig 2.1 : Entrance to the Nachiar Vidyalayam school from the office. Also, the view from my window. Nachiar Vidyalayam is a school run by the sponsor family which is right next to the Ethicus setup. There is free education provided for the kids of the weavers.

Textile Design â&#x20AC;˘ B. Des â&#x20AC;˘ National Institute of Design

Fig 2.2 A place where the mosque and temples stand side side by side beautifully, Ambrampalyam is a village 3 kms from Zamin Uthukuli, Pollachi

Fig 2.3 A bright day on the way to work

Prachi Gor • Graduation Project • 2017 • Pollachi

Fig 1.1

Fig 2.4

At the beginning of the project, while visiting the popular weaving village Negamam, we met Jaymani akka’s (in charge of card cutting at Ethicus) sister. She showed us the traditional pit looms

Fig 2.5

Lemon rice for lunch at one of the local shops

Fig 2.6

Every Friday, there is a pooja in the ‘mandir’ near the school and office. Cow dung is spread to clean the ground and then a ‘kolam’ is made every Friday outside the temple.

Textile Design â&#x20AC;˘ B. Des â&#x20AC;˘ National Institute of Design

Fig 4.1 : The Appachi story is beautiful because it can be told, heard, seen and felt.

THE SPONSOR

Fig 4.1

Textile Design • B. Des • National Institute of Design

INTRODUCTION Appachi Cotton is a Pollachi, India based company mainly involved in ginning of extra long staple cotton varieties. The foundation was laid by Mr. Mani’s grandfather who started a cotton ginning business in 1946, today called Appachi Cotton. Over the decades, a strong ethos has guided the family business, focusing on solid and trusted relationships with the farmers. Working in a sector that saw high rates of suicides by Indian cotton farmers in the nineties, Mr. Mani was determined to do things differently. For him, having a real connection to the growers and their environment, even more so than his grandfather and father before him, is of essence. He says ‘ there is no pyramid of hierarchy, it is indeed only a circle, or a chain. Everyone is on the same level.’ Ethicus is the in-house brand of Appachi Cotton which utilises the cotton produced and combines it with the local traditional weaving skill to create soft, flowy fabrics.

SHIFTING TO ORGANIC

ICCF MODEL

In 2006, Appachi formed an alliance with a group of farmers called Savayava Krishikara Sangha (SKS) based in the eco-sensitive environment of the Kabini region. Over the years, SKS became more structured which enabled them to certify their organic cotton. Appachi, in turn, provided marketing support and inputs for SKS (such as non-GMO cotton seed) as well as an undertaking to buy their cotton using a transparent pricing model and to share 50% of the certification costs. Today, there are on average 60 to 120 SKS farmers each year growing organic cotton for Appachi. Although the farmers can sell the cotton to any trader offering them the best price, farmers prefer to sell to Appachi which reflects their trust in the company.

In 2002, Appachi was inspired by the co-operative societal system practiced by Tibetan monks growing agricultural crops in neighbouring Karnataka and thus developed a model of Integrated Cotton Contract Farming (ICCF). This system created a win-win situation: Appachi secured its cotton supply whereas the farmers benefited from a non-binding, open- ended purchase agreement, technical support, new technology and access to affordable loans to invest in their farms. Appachi pioneered this first ICCF model for cotton allowing farmers to reduce their input costs and increase their productivity leading to higher take-home incomes for farmers. “Without understanding the cotton industry – and by that we mean farming business structures and farm techniques - we can’t fully appreciate what we are doing and where we want to go as outspoken proponents of a more “conscious” textile or design industry. Leading us by example are Mr. Mani Chinnaswamy and his wife, Ms.Vijayalakshmi Nachiar, of Appachi Cotton and Ethicus.” Yoshiko Iwamoto Wada

14 Fig 4.1.1 Mr. Mani Chinnaswamy, Mrs. Vijayalakshmi Nachiar and Junior

Textile Design â&#x20AC;˘ B. Des â&#x20AC;˘ National Institute of Design

Fig 4.1.2 Ginning of cotton at Appachi cotton

Fig 4.1.3 Farmers in the Kabini region gathering the seed cotton to be transported to Abirami in Pollachi where it is ginned

Prachi Gor • Graduation Project • 2017 • The Sponsor

INDIA’S COTTON Cotton is one of the major raw materials for the textile industry in India. India has the largest cotton cultivation area in the world, at 9 million hectares, and constitutes 25% of the world’s total cotton cultivation area. It is the second largest cotton producing nation in the world (after China), with a production of 240,000,000 480-pound bales.9 It is also the second largest exporter of cotton (after United States). Even though India has the longest history of cultivation of cotton and is a major global exporter of the raw material, it doesn’t get it’s price since there is no branding of this cotton. Appachi Eco-Logic Cotton is the first Indian cotton to be branded. Any company associated with Appachi cotton needs to mention the brand of cotton used to produce the end product. Although the farmers who work with Appachi cotton grow cotton organically, it is branded as eco-logic. This is because in India, farmers have small land holdings and if neighbours stick to use of chemicals, there can be difficulties and slight contamination.

• Recently, Appachi Eco-Logic Pvt. Ltd. collaborated with Wills Lifestyle and created a range of formal shirts priced at Rs. 7,000/- using the superfine Suvin quality cotton. • In 2017, Appachi cotton has tied up with a leading retail German brand Tchibo, to become a regular supplier of Eco-logic cotton as a raw material. With Tchibo as a company trying to work towards 100% sustainability, they have gone out of their way to support and promote the efforts of Mr. Mani and all the people involved in the value chain. Launched on 20 March 2017, Tchibo will be coming out with collections of garments with the tags of Appachi Baumwolle as their main raw material Tchibo blogs about Appachi, “Gandhi’s vision for India was a combination of political self-management and independent, free-spirited people. People who live in the village communities, can defend their own livelihood and live on the products of their home..When I think about the visions of Gandhi for India, I wonder whether Mani Chinnaswamy, founder of the organic Appachi cotton, is not carved from the same wood as Gandhi?”

Textile Design • B. Des • National Institute of Design

THE COTTON TRAIL The cotton trail is a journey of the cotton from seed to fabric. It is an experience that tells you the story of the origin and it’s finish point. The cotton trail is an essential journey as it connects the customer directly to the farmer and lets the customer understand the efforts that go behind the making of a product at each stage. Appachi Cotton forms this connect between the customer and the farmer, ginner, spinner and weaver. The company organizes programmes where you can witness the entire cotton trail starting right from the Kabini region in Karnataka upto the weavers’ loom shed in Pollachi, Tamil Nadu. A huge variety of people such as college students, tourists, foreigners, textile enthusiasts, researchers, etc. participate in this 1-5 day long programme.

Fig18 4.2 Seed cotton being brought to Abirami for further ginning

Textile Design • B. Des • National Institute of Design

DIAGRAMMATIC REPRESENTATION OF THE COTTON TRAIL

Fig 4.2.1 Generation of a product involves processes happening at many places in the chain. The total set of greenhouse gas emissions caused expressed as carbon dioxide equivalents is called Carbon Footprint. Appachi Cotton has the shortest carbon footprint in India of only 300 kms.

Prachi Gor • Graduation Project • 2017 • The Sponsor

Fig 4.2.2 Illustration of the seed to fabric process done during ideation for Lakme Fashion Week press kit

Textile Design • B. Des • National Institute of Design

THE JOURNEY OF A SEED

Fig 4.2.3

1. Seed

Fig 4.2.4

2. Cotton Boll

Fig 4.2.5

3. Seed Cotton

Fig 4.2.6

4. Lint

Fig 4.2.7

5. Sliver

Prachi Gor • Graduation Project • 2017 • The Sponsor

Fig 4.2.8

6. Roving

Fig 4.2.9

7. Yarn

Fig 4.2.10

8. Cone

Fig 4.2.11

9. Dyed yarn

Fig 4.2.12

10. Fabric

Textile Design • B. Des • National Institute of Design

FROM FIBRE TO FABRIC : PROCESSES INVOLVED

Sowing

Farming

Harvesting

Procuring

Grading

Ginning

Spinning

Dyeing

Weaving

Prachi Gor • Graduation Project • 2017 • The Sponsor

Fig 4.2.13 1. Sowing

Fig 4.2.15 3. Harvesting

Fig 4.2.14 2. Farming

Fig 4.2.16 3. Collecting Harvest

Textile Design â&#x20AC;˘ B. Des â&#x20AC;˘ National Institute of Design

Fig 4.2.18 5. Grading

Fig 4.2.17 4. Procuring

Fig 4.2.19 6. Ginning

Prachi Gor • Graduation Project • 2017 • The Sponsor

Fig 4.2.20 7. Spinning

Fig 4.2.21 8. Dyeing

Fig 4.2.22 9. Weaving

Fig 4.2.23 9. Finished fabrics off the loom

Textile Design â&#x20AC;˘ B. Des â&#x20AC;˘ National Institute of Design

ETHICUS

Fig28 5.1 Entrance of the Ethicus studio

Fig 5.1.1

Prachi Gor • Graduation Project • 2017 • Ethicus

Fig 5.1.1 Work in progress. Since denting and drafting for every new warp is a task, the specific rhythm of yarns are knotted to the previous warp ends.

BRAND PHILOSOPHY

THE ETHICUS SETUP

Ethicus - a term coined by adding ‘U’ in our ethics, is a product of the minds of Mrs. Vijayalakshmi Nachiar and Mr. Mani Chinnaswamy. A true translation of a farm to fashion story, Ethicus was launched on September 21st, 2009 in Mumbai. A brand promoting sustainability at every step, today Ethicus is an 8 year old brand with it’s inclusive growth story appreciated and recognised globally. It’s entire set up is located in Pollachi, Tamil Nadu, where almost every step in the entire process is carried out with environmentally conscious policies and practice. Ensuring the betterment of every single person involved in the value chain from the farmers, the environment, the wildlife and the weavers to the staff, designers and businessmen, Ethicus is a brand that strives to promote slow fashion in today’s fast paced world. So today, when you buy Ethicus, you’re not just buying a brand - you’re buying a cause.

Ethicus being located in Pollachi is surrounded by a number of villages whose residents are traditional weavers but cannot accommodate more than 2 looms in their houses. With an opportunity to bring the weavers together under one roof, the Organic production handloom unit, also known as the nesavu-salai was a means for the weavers from the neighbouring villages to join the value chain. An entire area comprising of 42 jacquard looms with proper planning to suit the working conditions of the weavers and the production requirements of the company was set up. The main idea behind setting up the loom shed was to maintain a clean and spacious environment for the weavers and to bridge the gap between the customers and weavers when they visit the studio so as to make people realise the rich culture of handloom weaving. Ethicus also has a garment unit in the same campus. Two percent of the proceeds from the sale of Ethicus-branded goods are dedicated to educating a weaver’s child. The children of weavers are given free education at Nachiar Vidyalayam, a school run by Appachi Cotton.

Fig 5.3.1

Prachi Gor • Graduation Project • 2017 • Ethicus

BRAND IDENTITY With India being one of the biggest exporters of cotton, Ethicus strives to create a niche market using the extensive raw material available in the country. The identity of the brand lies in the amalgamation of light weighted, soft and supple Ecologic Organic Cotton fabric, the best of colours and the traditionally rich jacquard handloom weaving that make the striking range of products that Ethicus has to offer. Ethicus has tried a variety of looks, details, colours, motifs and overall looks for it’s saris mainly, ranging from simple sober pieces to highly experimental ones, each retaining a class and finish of it’s own. Starting from the simple greys and beiges, Ethicus has also presented us with collections comprising of bright colours associated with the south. In the patterning area, their saris have ranged from minimal motifs and textures to bold stripes and checks too. However, overtime, Ethicus has come to be associated with the brighter colours of the region, larger bold motifs on the pallu, quirky borders, fresh and light look of the sari, their unique dobby texture and tassles, and their tags that recognize every person involved in the process

Fig 5.3.1 : The color blanket or the rainbow sari has become the identity of Ethicus. While the making of the rainbow sari was being shot, the 6 metres of fabric was flown against the air to enhance it’s colors against the sky and see it’s texture and fall.

Textile Design • B. Des • National Institute of Design

Fig 5.4.1 Exhibtion setup at Raintree, Bangalore

Fig 5.4.2 Line up of garments and saris in green room at Lakme Fashion Week

Prachi Gor • Graduation Project • 2017 • Ethicus

PRODUCT RANGE • Simple as well as ornamented saris • Contemporary blouses • Baby Garments (knitted and woven) • Casual garments for men and women • Scarves, stoles and dupattas (knitted and woven) • Bed linen • Table linen • Cushion covers • Bags

Fig 5.4.3 Fabrics and scarves at the sari room in the Ethicus studio

Fig 5.4.4 Home furnishing and scarf display at the Ethicus studio

Fig 5.5.1

Prachi Gor • Graduation Project • 2017 • Ethicus

USP OF AN ETHICUS PRODUCT An Ethicus product has one too many defining characteristics which make it unique even today. • Woven with fine yarns of 100s and 120s, the saris approximately way only 500gms making the drape lighter and comfortable for the modern woman of today. • Ethicus has over time also come up with a variety of textures in the same cotton saris that have resulted in better drapes and received an overwhelming response. • To add to this is the playful detail of the tassels at the end of each sari, for which a separate group of women are specifically employed. • What is also inspiring about the brand is the fact that it attaches a story and a sentimental value to each of it’s products through the medium of tags. With each product, come a set of tags which include the name and photo of the weaver along with the days taken to by him/her to weave that product. • Another tag includes the details of the story behind that particular product along with the designer who was worked on it. Basically, every person who has contributed to the making of an Ethicus product is given credit so when it passes onto the hands of the customer, she knows what is she buying and the work that has gone behind it - only then there stands no question of the price of the product.

Fig 5.5.1 :The fabric tells the story of the many hands that worked on it. One can tell an Ethicus sari from it’s bright colors, it’s tiny tassels, vibrant colors, soft shiny texture and the tags that carry the names of the hands that worked on that very fabric.

Textile Design â&#x20AC;˘ B. Des â&#x20AC;˘ National Institute of Design

Fig 5.6.1

All the different kinds of Ethicus cutomers

Prachi Gor • Graduation Project • 2017 • Ethicus

AN ETHICUS CUSTOMER Over the years, Ethicus has catered to the likes of politicians, doctors, teachers, actors, etc. Most of Ethicus’s customers are women aged between 28-60 yrs. An Ethicus customer is one who cherishes the heritage and traditions but is always looking for innovation. The range of customers that shop at Ethicus can : • Be a promoter of handicrafts and handloom • Have love for cotton • Love light weighted, airy fabrics • Be protective about the environment • Have a habit to practise eco friendly methods of living • Love colours • Be a professional woman • Be a statement maker • Be a stylist • Love saris that make them stand out • Be curious to try something new and different every time • Be craft activists • Be a V.I.P • Be committed to promoting the story of the sari • Love the cause that Ethicus stands for • Be a promote of slow and sustainable fashion and many many more.

Textile Design • B. Des • National Institute of Design

RECOGNITIONS • Being a brand that is recognised by it’s saris with stories, Ethicus has received recognitions for it’s sustainable fashion. In 2012, Textile exchange awarded the ‘Future Shaper’ award to Ethicus for being India’s first ethical farm to fashion brand promoting inclusive growth. • In 2017, Ethicus was voted the ‘Pride of Tamil Nadu’ by the people and jurors. Mrs. Vijayalakshmi, the owner of Ethicus, has been invited and felicitated by a number of places all over the world for her talks on Sustainable fashion, trade and marketing of Organic products, entrepreneurship etc. • Ethicus also exhibited their Winter Festive ’17 collection ‘Matchmaker’ at the Lakme Fashion Week in August ’17. These acknowledgments have helped the brand realise their tasks and responsibilities even more and to strive for better. • All Ethicus saris carry an IHP (Indian Handloom Product) tag and use yarns that are GOTS (Global Organic Textile Standards) certified.

Prachi Gor • Graduation Project • 2017 • Ethicus

SALES AND OUTLETS Ethicus sells mainly through exhibitions, solo shows, popups, and trunk shows that happen throughout the year all across the country. Initially, a store in a store concept was also carried out for a while with Kanakavalli in Chennai and Coimbatore. A lot of customers also walk into the Pollachi set up in order to witness the entire process and understand the making before buying it. Being in the market for over 8 years, a huge number of shops, boutiques, sari stores, exhibition outlets etc. have acted as a medium between an Ethicus product and it’s customers. With saris making up a majority of the production at Ethicus, in the past a number of sales were done on consignment and outright basis. Ethicus now also sells through social media, i.e., Facebook and Instagram. A brief summary of places that have been associated with Ethicus till date are mentioned on the right.

Textile Design • B. Des • National Institute of Design

COLLECTIONS SO FAR

Prachi Gor • Graduation Project • 2017 • Ethicus

CHELNA DESAI The very first collection of Ethicus saris was designed by Chelna Desai, an alumni of National Institute of Design. The collection used basic jacquard techniques and was a mixture of cotton and ahimsa silk saris. Plain or small butta bodies were combined with bold pallus to generate a safe and conventional look. These saris were designed keeping in mind middle aged professional women.

Fig 5.9.3

ISFAHAN

Fig 5.9.1

Fig 5.9.2

The Isfahan was an experimental collection by Amishi Vadgama, inspired from the architectural and Cultural similarities of India and Iran. With delicate motifs and subtleties, this collection also included the new added textured saris made with the help of an additional dobby. It was well received since the new textures and subtle designs made the fabric even more light weight and gave it a better drape.

Textile Design • B. Des • National Institute of Design

ATHANGUDI Designed by Tanvi Kareer as part of her graduation project, Athangudi drew inspiration from the Chettinad culture. With Ethicus being recognized as a brand more and more daily, this collection was an effort to shift away from the traditional look of the sari. Athangudi resulted in bright, simple, bold and striking saris much with textures much to everyone’s liking.

Fig 5.9.7

Fig 5.9.8

LOVESTORY

Fig 5.9.5

Fig 5.9.6

The different stages of a love story were imagined and documented to lead to this younger, more explorative collection designed by Bandana Matharu. With an aim to delve into the contemporary market more, utilising the jacquard, meena and dobby boxes, an exciting collection was brought into the market

Prachi Gor • Graduation Project • 2017 • Ethicus

GOND - A TEXTURAL SAGA With time passing, Ethicus began to be recognised as a popular choice and was making it’s permanent place in the market. With the customer’s love and support came the higher priced collection Gond, designed by Ann Cherian. As the name suggests, it was a textural saga inspired from the Gond paintings of Madhya Pradesh. A series of techniques of handpicking, checks, jacquards motifs amalgamated with striped fabrics, textures etc. were introduced that were very willingly received with repeat orders in the market.

Fig 5.9.11

Fig 5.9.12

BALLAD OF BLOSSOMS

Fig 5.9.9

Fig 5.9.10

Designed by Binoli Shah as part of her graduation project, as the name suggests, the collection was a narrative created with European flowers. With some of the highest priced saris of Ethicus, Ballad of Blossoms included saris for the subtle taste customers as well as the bold statement makers. Being one of Ethicus’s recent collections, Ballad of Blossoms along with the Gond collection have caused a stir within the customers.

Textile Design â&#x20AC;˘ B. Des â&#x20AC;˘ National Institute of Design

MUMBAI MERI JAAN A stopgap collection with the efforts of the Design team, Ethicus came up with Mumbai Meri Jaan as a set of saris inspired from the banal elements of the city of dreams. With minimal jacquard motifs and bringing in colour play with stripes and checks, this collection has proved to be a hit and one that everyone wants. Fig 5.9.15

Fig 5.9.16

Fig 5.9.17

Fig 5.9.18

AJRAKH BY ETHICUS

Fig 5.9.13

Fig 5.9.14

With a 9th generation old tradition that was established and broken and established and broken again, Ajrakh is an age old block printing and natural resist dyeing technique practiced in Ajrakhpur, Kutch. Combining the light weighted Ethicus saris with the Ajrakh motifs, colors and techniques proved to be a boon to Ethicus. Due to the numerous times an Ajrakh fabric is washed, the organic cotton saris achieved an exemplary softness which only led to a better drape. It sold like hot cakes as people loved the novelty that is there in these unique Ajrakh layouts on such supple textured fabrics.

Prachi Gor • Graduation Project • 2017 • Ethicus

KALAMKARI BY ETHICUS This capsule collection was produced along with master craftsmen J. Niranjan at Kalahasti. Ethicus retains the identity of it’s base fabric by mixing it’s special weave along with the region specific korvai technique using zari. The handprinted, vegetable dyed collection received a positive response in terms of it looks and layouts. However, the motifs and patterning remained traditional since inputs were given by the design team of Ethicus only in terms of a look and layout.

Fig 5.9.21

Fig 5.9.22

VILAY

Fig 5.9.19

Fig 5.9.2

The Vilay collection was a a mix and match collection done in collaboration with the weavers in Negamam. Permutations and combinations of different jacquard cards, layouts, pallus, buttas and borders from the past years were put together to produce simple but vibrant daily work wear. 46

Textile Design • B. Des • National Institute of Design

PROCESS FLOW

Prachi Gor • Graduation Project • 2017 • Ethicus

SPINNING The textile process flow beings from when the yarns are ready. Spinning is the twisting together of drawn out strands of fibers to form yarn. At Acetech textiles, after spinning, the yarns are sent for checking their count. Once the spinning of yarn is done, the specific counts used by Ethicus are sent further for dyeing

Fig 5.10.2

DYEING

Fig 5.10.1

After spinning, the cones are sent for dyeing. Following the Pantone shades, Ethicus has picked a few colors, sampled the exact shades and given it a personalised Ethicus colour number for easier reference. These dyed yarns are 100% colour fast and are GOTS certified.

Textile Design • B. Des • National Institute of Design

IDEATION At the Ethicus studio, the first step of a new collection is the ideation process. Based on the previous collections, what has been done till now and what is in trend now, a theme is selected for the new collection. A brainstorming session takes place at the beginning of the project to visualize what the collection will be like.

Fig 5.10.4

LAYOUTING

Fig 5.10.3

Once the theme has been decided, a number of artworks and sketches are made in order to picture the new collection. A lot of positive feedback has been received by the different layouts Ethicus has in it’s saris. The next step is to roughly finalise the layouts of the collection and how each one can be different from the other.

Prachi Gor • Graduation Project • 2017 • Ethicus

PUTTING IN WEAVES While the designs are being worked upon, a digital copy of the repeats to be put into the jacquard box is given to Vijayakumar anna. After discussing the loom setting with Mohanrajja anna, the weave structures are put in the designs given. Any technical flaws of the design are changed at this point.

Fig 5.10.6

CARD CUTTING

Fig 5.10.5

Jaymani akka is in-charge of the card cutting. She operates the files saved by Vijaykumar anna in the computer and monitors the cutting of cards that will make the patterning on the loom

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WARPING Meanwhile, warping of yarns according to specifications given is taking place. At Ethicus, yarns having a count of 100s are used in the warp. Kunjipallyam is a village around 3 kms from Zamin Uthukuli where a few houses have huge warping wheels along with a loom shed. The warping wheel is set up in a pit and has a capacity of warping 20-40 metres at once. Since a standard of 6 saris/warp is woven at Ethicus, a warping pattern is given and total no. of ends are specified. Cans made of steel are used as bobbins for winding the yarn so when the bobbins fall into the pit, they are removed using the magnet. The warp is then leased and passed on for sizing.

Fig 5.10.8

SIZING

Fig 5.10.7

After warping, Sizing of the warp yarn is essential to reduce breakage of the yarn when it is under extreme tension while weaving. This starch can however be washed away if the customer isn’t in favour of the strict starched look. Kulakkapalayam, a village 10 kms from Zamin Uthukuli is where the sizing of the warp is carried out. The entire warp is stretched out and lease rods are inserted at intervals to spread out the ends and ensure even application. A paste is made out two different kinds of rice pastes (called kanji) in different quantities. This paste is then diluted with water and sprayed using a spray tank. Post spraying, a brush made out of coir is held by two people who run across the warp and run the brush and paste uniformly across the entire warp. The warp is flipped over and the same process is carried out multiple times. This process becomes tough on rainy days as the layers of paste need the sun to dry out.

Prachi Gor • Graduation Project • 2017 • Ethicus

WARP STRETCHING AND COUNTING The warp is then brought back to the loom shed at Ethicus where the ends are counted and arranged in it’s rhythm. The warp is then stretched and the ends are spread over 44” for the body. These are then rolled onto the warp beam with newspapers in between to avoid the ends from sticking to each other.

Fig 5.10.10

KNOTTING Once the warp is rolled onto the beam, the ends need to be knotted to those of the previous warp since drafting and denting are tedious processes that can’t be done for every new warp. While knotting, it is easier to knot rhythms of the same kind and different colors since the counting will be reduced. The vibhuti powder is used to make knotting smoother. Meanwhile, extra warping using 2/120s for border and selvedge is also done and knotted separately. This is since the weight and strength of the border and selvedge is required to be more. Fig 5.10.9

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STACKING CARDS Before and after cutting the cards, they are numbered and stacked into separate sets of pallu, border, butta etc. This is done in order to make lacing a simpler task and avoid mistakes. All the cards are stored and kept as the borders, buttas and pallus are mixed and matched even from older collections.

Fig 5.10.12

LACING

Fig 5.10.11

Once the cards are cut and stacked, they are sent to the loom shed where the same set of women do the tasseling. The cards are placed on a horizontal device with pieces that fit into the holes of the card and facilitate lacing.

Prachi Gor • Graduation Project • 2017 • Ethicus

COLORING OF DESIGNS Once the design sheet is ready, cards have been cut and are being laced, the next step is coloring. The design sheet is looked at with Mrs. Vijayalakshmi and the extra weft and warp colors are decided for the sari based on the palette and in a way that color schemes don’t seem repetitive.

Fig 5.10.14

BOBBING WINDING

Fig 5.10.13

Once the colors are decided, the bobbins are wound in order to be given to the weavers for extra weft and ground weft. Since the selvedge and the extra warp have 2/120s in them, their winding is also done in the loom shed according to the color scheme given.

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GAITING Post knotting, gaiting ensure that all the ends are pulled towards the cloth beam and the weaver then weaves a few inches to check for faults or missing threads.

Fig 5.10.16

LOADING CARDS

Fig 5.10.15

After the warp is gaited and cards are laced, they are loaded in their respective jacquard boxes according to it’s labelling. While weaving, if the weaver skips cards, the cards can be reversed to start from the point where the weaver left off.

Prachi Gor • Graduation Project • 2017 • Ethicus

GIVING COLORS TO WEAVERS Once coloring is done, the extra weft colors are noted in a notebook. Each loom in the loom shed has a notebook where the colors are given to the akka who handles the production. Mohanrajja anna then simplifies the weft patterning by writing measurements and directions in Tamil or Telugu for the weavers.

Fig 5.10.18

WEAVING

Fig 5.10.17

The weaving finally begins according to the sketch and specification sheet that has been given to the weaver. In certain cases of complicated weaving weft patterns, the bobbins are wound and put into numbered envelopes for ease of weaving.

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INSPECTION Usually each warp is long enough to allow the wastage that occurs after cutting every sari. This also allows the sari to be inspected, draped and analyzed. Once the sari is cut, it is inspected for floats, coloring, it’s EPI, PPI, etc. and necessary changes are made in the next sari.

Fig 5.10.20

TASSELING

Fig 5.10.19

Once the sari is inspected, there are a set of women dedicated to the making kunjam (tassels) out of the ends that are left unwoven while cutting.

Prachi Gor • Graduation Project • 2017 • Ethicus

ADDING TAGS One of the USP’s of Ethicus products is it’s tansparency. The price of the fabric is often justified when the customer finds out the story and efforts behind the fabric. This is done after tasseling, where 4 tags are added to the sari by the women who do the tasseling. The tags talk about the company, the collection, the weaver, how many days it took to weave the fabric and the price

Fig 5.10.22

COSTING

Fig 5.10.21

Once the entire sari is ready along with the tassels and tags, it is sent to the sari room where Krishna akka will do the stock entry and calculate costing according to all the factors considered. The saris are then either hung on display or stacked in the cupboards. 58

Textile Design • B. Des • National Institute of Design

METHODOLOGY

Prachi Gor • Graduation Project • 2017 • Methodology

PHASE

Information collection

• Intensive research on company’s background :

Ethicus and Appachi cotton. • How the company works, its customers, competitors and consumer chain. • Understanding the sari, it’s structure and layouts • Studying the contemporaries • Understanding of production process : repeat sizes, loom setting and weave applications • Exhaustive user study - needs, dreams and aspirations

PHASE

Ideation

• Ideation/ conceptualization • Theme building

PHASE

Assimilation

• Synthesis • Redefining brief

PHASE

Design Development

• Explorations • Finalizing concepts • Detailing

Execution

• Observations and learning • Costing • Documentation

Textile Design • B. Des • National Institute of Design

INITIAL DESIGN BRIEF

Prachi Gor • Graduation Project • 2017 • Methodology

GOAL

CONTEXT

PROJECT SCOPE

To create a collection of 15 contemporary saris based on the theme ‘Urban Matrix’ , a monochrome collection with accents, for the modern woman of today. As blouses make a statement and affect the look and styling of a sari, therefore to also create a set of 4 blouses that will compliment the saris. While doing so, also enhance the brand identity of Ethicus to make it appeal to a larger section of customers.

Earlier, the sari was seen as a traditional piece of garment only worn by ladies of older age. However, in the current scenario, the sari is emerging as an identity, as a celebrated piece of garment, as a fashion statement, and as an expressive fabric. With examples of narratives such as ‘the 100 sari pact’ and ‘the sari story’, the youth has come to experiment with drapes of the saris, patterns of the blouses, it’s styling etc. Young emerging designers too are playing around not only with the patterns, motifs, textures and colours but instead the layout and format of the conventional sari. Today, even unconventional surface ornamentations, techniques and materials have found their way into the contemporary sari palette.

At Ethicus, the project that I will be involved with will provide me with various possibilities, each • Ethicus being situated in a distant village away from the city and being situated in the south, will open up my eyes to a completely new culture, people and a new world of textiles. • The south is blessed with traditions of colours, amalgamation of raw materials, variety of drapes and techniques of weaving. • With more than 40 artisans and their families, Ethicus will open up a new set of opportunities for me to interact and coexist with a variety of people during the six months. Having a skilled set of artisans and master weavers, NID alumni employees and highly educated sponsor heads will further my learning. • Due to the availability of in house production, a wonderful opportunity to view the entire farm to fashion process and to be a part and parcel of the collection unravelling in front of me, right from the sampling stage to the final piece production. he intent of bringing a shift in the look of Ethicus saris while retaining it’s identity is going to push me to look beyond the sari in the banal flat layout. • This project will thereby also increase the understanding of a sari - as a drape, as a single piece garment, as the traditional dress of the country and as a style statement.

Textile Design • B. Des • National Institute of Design

PROJECT TIMELINE

Prachi Gor • Graduation Project • 2017 • Methodology

Week 1 : Exhibition, Visit to store, Cotton trail Week 2-4 Research on company, Documents, Sales, Previous collections, understanding looms at Ethicus

Week 1 : Theme Ideation Week 2 : Simultaneous research on the sari, it’s layouts, structure and contemporaries Week 3 : Brainstorming on selected theme Week 4 : Initial Mood board making

MARCH

04 JUNE

Week 1 : Re-looking at looms and better understanding of looms Week 2-4 : Sari 4,5, Simultaneous illustrations of saris done till now, Redefining theme board

APRIL

05 JULY

Week 1 : LFW planning Week 2 : Sari 6 Week 3-4 : Production planning for LFW

03 MAY

Week 1 : Layout and pattern explorations Week 2-4 : Sari 1,2,3 Week 4 : Guide Visit

AUGUST

Week 1 : Sari 8,9 Week 2 : Sari 10 Week 3 : LFW Week 4 : Garments documentation and submission of design sheets

Textile Design â&#x20AC;˘ B. Des â&#x20AC;˘ National Institute of Design

RESEARCH

Fig66 7.1 An Ethicus sari on Parisera

Textile Design • B. Des • National Institute of Design

SOLO SHOW AT RAINTREE, BANGALORE It so happened that Ethicus had an exhibition right at the beginning of the graduation project which offered me an immediate insight into the market and sales of the company. It also meant that there would be direct interaction with the customers which would help me to draw out a certain framework for the upcoming collection. My aim at this exhibition was to understand the customer profiles, their choices, their demographic and psychographics, etc. A digital survey, personal interactions and feedback sessions led to an acquaintance with the customers of Ethicus and what they desire from the brand.

Fig 7.1.1 Blouses and saris part of the launch of ‘Mumbai Meri Jaan’ at Raintree, Bangalore on March 3rd and 4th 2017

Prachi Gor • Graduation Project • 2017 • Research

POINTS TO BE NOTED

OBSERVATIONS

• Name, age, profession • Why Ethicus? • How did the customer discover Ethicus • What is Ethicus’s USP according to the customer • Fabrics preferred • How often does the customer wear a sari • Preferences of colour, fabric, texture, weight, material, etc. while buying a sari • Preferred mode of shopping with Ethicus - online or retail • How much the customer is willing to spend on casual, work and occasional wear • Opinions on price point and value of product Dream sari

• Ages of our customers who visited the exhibition and actually purchased were mostly 35+ • Their occupations ranged from teachers, doctors, lawyers, housewives, businesswomen, designers etc. • They heard about the exhibition through personal invites, emails, newspapers, Instagram, Facebook, invites by Braintree etc. - the main being Facebook and the newspaper • Unique points about Ethicus that delighted and interested the customers were : The story, the lightweight cotton fabric, the sheen of a cotton fabric, the softness, etc • While some customers were not convinced about the prices, there were others that walked out with a minimum of 5 saris • A lot of older women were seeking a more contemporary look since they would wear those saris only once or twice and wished to make a statement • Certain people also questioned why should they pay such a higher price for cotton sari when they can invest the same in a silk sari (question of status)

• Simple garments were picked by women for their daughters or to appreciate our fabrics but because they don’t often wear saris • Almost everyone prefers and enjoys the retail experience and didn’t approve of our saris being justified online • It was interesting to note that certain customers knew Ethicus and its collections inside out. Every sari, every image, every collection. • They generally selected of a sari based on : 1. Color 2. Texture 3. Layout 4. Border 5. Motifs

Textile Design • B. Des • National Institute of Design

Fig 7.2.1

Fig 7.2.3

Fig 7.2.2

Fig 7.2.4

Prachi Gor • Graduation Project • 2017 • Research

STORE VISIT Taneira - ‘crafted by hand, curated with love’ Taneira, Titan Company’s latest retailing adventure blends culture and craft to tell - and sell - the story of the sari. The company’s new store in Bengaluru has saris from 20 different states of India. The range includes mugas from Assam, cottons from Chettinad, tussars from Bhagalpur, ikats from Gujarat, Andhra and Orissa; jamdanis from Bengal, chikankari work from Lucknow, exotic and classical Banarasi silks; exquisite Kanjeevarams; Heirloom pieces like Patan Patolas and Muslin Jamdhanis to name a few. The Taneira store has tried to bring about a change in the way we have traditionally looked at the sari with it’s strong ad campaigns and styling solutions. With the target being middle and upper class women, there were rich looking saris ranging from 4000 upto 25,000. Every color on the sari palette you can imagine was present in one technique or the other. The prices of the maheshwaris and cottons they had were much lesser than those compared to Ethicus also since they are mostly outsourced even though handwoven. The visit to the Taneira store gave a generic idea of the variety of saris, it’s layouts, colors and prices. Not just the saris, but the overall look of the store was very attractive, with saris arranged according to color and technique, to strategized mirror placements.

Textile Design • B. Des • National Institute of Design

Fig 7.3.1

Prachi Gor • Graduation Project • 2017 • Research

STUDY OF SARI LAYOUTS Ballad of Blossoms and Gond were two collections that differed from the regular collections of Ethicus. With a variety in layouts, these also had more handwork involved and occasional saris too. Since these were different from the daily work wear that Ethicus usually does, a brief study of sales of Ballad of Blossoms and Gond was done. Ballad of Blossoms and Gond both sold the most in Maharashtra. Layouts of the two collections, it’s colors and motifs were studied for direction for the new collection.

Textile Design • B. Des • National Institute of Design

CONTEMPORARIES

Prachi Gor • Graduation Project • 2017 • Research

ABRAHAM & THAKORE KEYWORDS : Bold, modern classic, woven and printed, work wear, colour blocking, darker palette, statement, modern, structured, geometric, woven and printed

Fig 7.4.3

Fig 7.4.4

RAW MANGO

Fig 7.4.1

Fig 7.4.2

KEYWORDS : Color blocking, traditional motifs in modernised way, vibrant in colors and layouts, higher price range, mostly silk and chanderi, styled, woven, printed, embroidered

Textile Design â&#x20AC;˘ B. Des â&#x20AC;˘ National Institute of Design

ANAVILA KEYWORDS : Minimal, Linen, Pastel color palette, summer wear, loose relaxed drapes, most recent collection : anti-fit blouses, daily work wear, striking layouts, in-skirts as a styling opportunity, colour blocking, woven and printed

Fig 7.4.7

Fig 7.4.8

AKAARO

Fig 7.4.5

Fig 7.4.6

KEYWORDS : Unconventional, play of lines and colors, sheen, work wear, bold, simple drapes but striking layouts, colors and mixture of materials, woven and printed

Prachi Gor • Graduation Project • 2017 • Research

JAYPORE B&W COLLECTION KEYWORDS : Minimalistic, simple, stripes, checks, formal wear, casual wear, bold, delicate, organic, faded, details on blouses, play of lines and squares.

Fig 7.4.11

Fig 7.4.12

BAILOU Fig 7.4.9

Fig 7.4.10

KEYWORDS : Benarasi jacquards, embroidered and printed silks and cotton silks, occasional wear, bright colour palettes, striking

Textile Design • B. Des • National Institute of Design

THE SARI STORY The etymology of sari comes from the Sanskrit word ‘sato’ which means a strip of cloth, which later got anglicised into ‘sari’. The Indian Sari is more than 5000 years old. It was first mentioned in Rig Veda, the oldest surviving literature of the world, written somewhere around 3000 BC. The Sari, originally intended both for men and women, is probably the longest incessantly worn dress in the history of mankind. Ranging from 4 yards to 9 yards, the sari is a piece of unstitched fabric that encompasses the entire Indian diversity, its culture, it’s traditions, it’s facets and is constantly evolving and is a style statement that can never go old. The sari epitomises power dressing - 300 ways of draping the fabric. However, The Nivi drape is the most commonly associated drape of sari today. It is said that the petticoat or Ghagra and the blouse or Choli which are worn under the Sari started with the coming of British in India. Increasing number of upper class women in the early 20th century did adopt items of European style clothing as the fitted blouse and slim petticoat. This was also adopted due to the fashion of transparent chiffon Saris during that particular period.

Fig 7.5.1

Prachi Gor • Graduation Project • 2017 • Research

“There’s no one type of sari,” says Rta Kapur Chishti, a recognized textile scholar, co-author and editor of the ‘Saris of India’ volumes. “Weaves, patterns, drapes, aesthetics and expressions… this one garment succinctly captures India’s incredible diversity. When you travel across the length and breadth of the country, you will spot the humble sari being woven and worn in myriad ways, each reflective of the region, its culture and textile heritage. To me, it’s the perfect cross-over garment — in it you can seamlessly move from workplace to evening hangouts. There’s so much to this unstitched length of cloth. It unfolds histories, cultural sentiments, weaving traditions and much more. It’s about thousands of Indians who still love it and live in it.”

Fig 7.5.2

Textile Design • B. Des • National Institute of Design

Fig 7.5.3

Prachi Gor • Graduation Project • 2017 • Research

Handlooms are woven in the warp and weft of India’s textile story. The sari was designed to adapt. The sari is a sustainable, finished product right of the loom, which for years and years has evolved in the Indian context. With the passage of time and westernisation, people started addressing the sari as a garment only for the older women. Most people perceive the Nivi drape as the only way to wear a sari and more importantly, have no easy access to learn the other drapes. There are more than 300 ways to drape the sari. With these associations and the realisation of the need to revive our traditions came the ‘the sari series’,‘#saristory’, ‘#100saripact’, ‘#Iwearhandloom’, ‘the sari draping school’, etc. which aimed at making the current generation realise the importance and aesthetics of this piece of this utilitarian garment which could walk the ramp, gave the kings and queens splendour, as well as provide comfort to the fisherwomen and farmers.

Textile Design • B. Des • National Institute of Design

THE SARI DRAPING SCHOOL

STRUCTURE OF A SARI

During the course of my project, I had the opportunity to attend The Sari Draping School hosted at Taneira, by Rta Kapur Chishti/Taanbaan. A few interesting facts about the sari I gathered are :

The sari has a basic structure in terms of it’s construction. It is generally about 4-9 metres in length with a width of about 4 feet. The width suffices for the height of the person wearing it whereas the length decides the style of the drape, whether it is put around the waist as a skirt or as pants and then taken over the shoulder. It is divided into three areas of design: the end piece or pallu, which is often elaborately decorated as it was earlier used to cover the head; the other three borders of the fabric; and the body or field.The pallu can be draped in a variety of ways—over the shoulder and down the back, over the shoulder and down the front, draped over the head, and even wrapped between the legs forming pants.

• There used to be two pallus originally to a sari where the 1st pallu would wrap your backside. The pallu being of heavier densit would provide strength to the area of wear and tear. • The design, composition and layout of a sari isn’t just superficial patterning. The weight of each part of the sari has a specific purpose. • The sari is something you can reinvent and recreate by yourself. • In olden days, the sari was usually heavy so that it would last longer and was starched since no iron existed then. • The blouse and peticoat are something that came into existence only after 1860. Earlier the one piece of fabric would suffice all the needs. • Weaving is a craft that requires a strong mathematical mind as it transforms a yarn into length and breadth.

Prachi Gor • Graduation Project • 2017 • Research

THE MAGIC OF THE UNSTITCHED

A 3m

90 cm

1.5 m

1- 1.5 m

B 36 - 48”

- Border density = Body density x 2, originially didn’t require fall - Pallu density = Body density x 4/5 - After the introduction of a blouse and a peticoat, an additional blouse piece is woven along with the sari usually

Fig 7.5.4

A - Top Border B - Pallu Border C - Bottom Border D - Pallu E - Body F - Pleat G - Blouse piece 82

Textile Design â&#x20AC;˘ B. Des â&#x20AC;˘ National Institute of Design

Fig 8.1 : Laced cards ready to be put into the jacquard box. These cards have the design punched on them based on which the patterns on the fabric are formed

WEAVING

Fig 8.1

Textile Design â&#x20AC;˘ B. Des â&#x20AC;˘ National Institute of Design

Fig 8.1.1 Simplified diagram of working of a Jacquard box of 120 hooks

Prachi Gor • Graduation Project • 2017 • Weaving

JACQUARD A jacquard shedding device is used in weaving designs that are beyond the scope of dobby shedding. Jacquards are used for large and intricate designs with several hundreds ends working in different ways and repeating after a similar number of picks. Earlier, the design would be converted into a set of knots that would control the healds to raise and lower ends. The jacquard loom invention by JosephMarie Jacquard changed hand weaving drastically. In this mechanism, rows of holes were punched into cards. each row corresponded with one row of the design on the graph paper (nowadays CAD has replaced graphs). The cards are placed in jacquard boxes above where the mechanism enables the ends to be appropriately raised to form a shed and a pattern when a weft passes through. Sometimes even two or three boxes are placed to create elaborate patterns.

INSIDE THE JACQUARD BOX There is a jacquard box which consists of a number of hooks. Each of these hooks are connected to a harness which repeats a number of times depending on total width and reed of loom. The harness has heald eyes through which ends pass and is attached to weights at the bottom. These hooks of the jacquard box pass through needles that are perpendicular to the hooks. There is a perforated cylinder where the patterned cards are placed. The back ends of the needles are connected to a spring box. When the weaver presses the peddle, the cards move and if there is a hole through which the needles can pass, the hook corresponding to that in the jacquard box, lifts itself, intern lifting all the ends that are connected to that hook. In such a way, each hole in the card corresponds to a different hook and thus elaborate patterns are possible. However, these patterns are restricted by the specifications of the jacquard box.

Textile Design â&#x20AC;˘ B. Des â&#x20AC;˘ National Institute of Design

NEGAMAM WEAVING The saris woven in and around villages in Pollachi, known as Negamam cottons, are woven on traditional pit looms with jacquard. The saris are also known as Village Cot sari. Looms at Negamum are usually pit looms. They are famous for their vibrant colours, simple checkered and striped designs. They are woven from either kora silk, silk cotton, or pure cotton. The saris typically have narrow borders and intricate pallus adorned with traditional motifs (peacocks, parrots, paisleys, elephants, and swans), which are often repeated and mirrored across the fabric). The weavers here repeat the same design in different colourways for three years in a row and sell these saris to middlemen.

Since the loom is situated in the house, the weaver and his wife take turns throughout the day to finish the sari as pastas possible. On an average, the weavers take 3-5 days to complete the saris, and the weavers earn anywhere between Rs. 1800 to Rs. 3000, depending on the complexity of the design. Even though the weavers enjoy their work, and take pride in their handicrafts, they prefer their predecessors to receive professional education and take up white-collar jobs. The main reason behind this is the uncertain market for handloom fabrics. Ethicus also has recently started working with complex jacquard designs including hand pacing etc, with the weavers in Negamam. Through this, Ethicus has expanded itâ&#x20AC;&#x2122;s production also and the artisans in the village are able to earn more as there are many people working on a sari.

Prachi Gor • Graduation Project • 2017 • Weaving

Fig 8.2.1 Pit looms in Negamam where all the members distribute their timings and take turns in weaving so that the loom is never empty

Fig 8.2.2 To provide weight to the extra warps where there is a tension difference, there is a smart use of waste plastic bottles instead of mud bags

Fig 8.2.3 Usual palette and language of Negamam saris

Textile Design • B. Des • National Institute of Design

LOOMS AT ETHICUS The duo discovered in Chennimalai, a panchayat town in the Erode district in the state of Tamil Nadu, where 2800 looms were dismantled and piled up in a godown, and were kept for sale. Some of the looms were made of 50-year-old wood. “It was a really pathetic sight. What is happening to our heritage? This is something which we should be proud of, and sustain” the duo said. They then selected 42 looms, brought them to Pollachi, refurbished them, and brought in weavers. Today after 8 years of R&D, a number of changes have been made and enhanced the looms to make it more suitable for the weaver to weave. With joint efforts of the designers and weavers, each loom can be set according to the design it needs to weave. By combining mercerised yarns with intriguing textures created on a third dobby box, Ethicus has changed the look and feel of dull cotton to something that drapes beautifully and gives a cotton silk touch and sheen.

Fig 8.3.1

Prachi Gor • Graduation Project • 2017 • Weaving

WORKING OF LOOMS • At Ethicus, the looms have been transformed from pit looms to ones where the loom is laced on the floor and the weaver sits on a appropriate height. • Looms have been added with extra lights to enhance visibility so that the weaver doesn’t have to strain his eyes while weaving • There are three peddles that control the three boxes - the body box, the border box, and the dobby. • The working mechanism of the looms is similar to that of a jacquard handloom where cards dictate the pattern that is being formed. • Structurally, in a sari, extra weft is usually carried out in the pallu and the body whereas extra warp is woven in the border. • The looms have two kind of jacquard boxes for extra weft and warp patterning. While making a patterns, the pattern will be adjusted to fit the repeat size of the loom. Depending on the design, permutations and combinations of jacquard boxes for the body and border can be set.

• Using these boxes and reworking on the harness, extra warp can be added onto the body and extra weft can be carried out in the border depending on the design and layout. • The sari is woven face down. On the loom, when we look at the sari, it will be what is going on the backside of the fabric. • There is a no float more than 6 ends rule at Ethicus. If the floats cross 6 ends, in the border or pallu or butta, either float control is added, handpicking is done or the design is scrapped. • The yarns used here usually are 100s in warp and 2/120s gassed and mercerised yarns in weft. • Base warp for body : 100s • Reed commonly used : 86 • Selvedge, Base warp for border, extra warp, extra weft : 2/120s (extra weft for pallu and butta is sometimes plied also) Fig 8.3.2 While learning about the looms at Ethicus, I tried to weave on the loom to understand the working, speed, oordination needed, etc.

Textile Design â&#x20AC;˘ B. Des â&#x20AC;˘ National Institute of Design

When more than 1 color is wanted in one pick, the meena card is used where there are 3 wefts running

Jacquard boxes available

in one pick, i.e., ground weft, extra weft, meena

at Ethicus

card weft.

Fig 8.3.3 Fig 8.3.5

Fig 8.3.6 Fig 8.3.4

The jacquard boxes create patterns via these cards. Different jacquard boxes have different sizes of cards. A 240 hooks box will have space for 30*8 = 240 holes in them. The holes are punched according to the pattern fed into the computer. A 120 box will have 20*6 = 120 holes punched in them. the cards are numbered and named according to their sequence and collection.

When extra warp and weft patterns are made and weaves are put, there are particular directions in which float control is put to avoid floats and hanging of ends.

Prachi Gor • Graduation Project • 2017 • Weaving

The ground weft runs from left to right in the fly shuttle. The extra weft however, is wound on bobbins and placed on the body of the sari where the patterning requires it. Many designs have a number of bobbins running across the width of the sari and that causes disturbance while shedding and beating. A wooden stick with adjustable length is used behind which the bobbins remain stable. The wooden stick has fine comb like metal ends on both sides that fit into the fabric without tearing it. With every few inches woven, the stick is moved and adjusted.

Fig 8.3.8

Fig 8.3.7

Call it the rainbow sari or the color blanket - it is become the identity of Ethicus, one of the best sellers. With 6400 colors together in it’s warp and weft, the patterning of this sari becomes complicated as each inch has a new color. Often such complicated colorways come as a part of the design at Ethicus. Then, the bobbin winding is done in a numbered way where colors are placed into separate numbered packets so it is easy for the weaver as he doesn’t have to remember the weft sequence.

Textile Design â&#x20AC;˘ B. Des â&#x20AC;˘ National Institute of Design

Fig 8.3.9

When warp stripes are given for warping, a total number of ends are given for each color. When the sized warp reaches the loom shed, a sequence of warp stripes is given to the weaver who then accordingly does the counting and separates the warp before putting it onto the beam.

Fig 8.3.10

The cards are usually punched in the cutting machine. Sometimes, manual punching is done when just a few floats need to be cut or a few cards need to be cut in an emergency. It is avoided however because it is a time consuming process.

Fig 8.3.11

Mohanrajja anna is patient enough to explain about the loom in detail to every student who comes to Ethicus. While doing the loom setting, he will take the students to the loom shed so that they can understand in what way their designs will be executed.

Prachi Gor • Graduation Project • 2017 • Weaving

Fig 8.3.12

The rhythmic movement of the fly shuttled from end to end is possible because of this ball like part of the loom. With the weavers’ hands sitting on the ball all the time, one will find it personalized from loom to loom.

Fig 8.3.14

Each sari takes days and days to be woven. To keep a track of how much is being woven daily, this thread is tied to the loom. The daily calculation of how many metres are woven gives them their daily wage. The thread becomes a measurement of how much they are going to earn today and how far they still have to go.

Fig 8.3.15

In most of the looms, the pallu and body are made by extra weft method and the borders are made by extra warp method. However, extra warp in the body is possible by doing certain loom settings. This is done by adding the extra warp onto the base warp through knotting and adding weights.

Textile Design • B. Des • National Institute of Design

REDEFINING BRIEF

Prachi Gor • Graduation Project • 2017 • Redefined brief

ANALYSIS

REDEFINED BRIEF

• Ethicus has created a niche market for cotton, therefore setting it apart and making it one of it’s kind. It has a sheerness, lightness and drape-ability to it that very less cotton fabrics are able to offer. Therefore overtime a certain kind of people with love for cotton have become part of it’s customer base. • Each of the various collections that Ethicus launches have a theme and underlying story to it. This has become a key point since the customers instantly like the product when they get visually connected to it through the story. • The weaving villages and around are a constant source of inspiration for the interns who come here • The presence of an in-house loom shed and stitching unit gives an intern the opportunity to be experimental with layouts, structure, weaves, etc. • Ethicus has a strong distinctive look that sets it apart from other brands in terms of it’s colors, cotton silk texture, and it’s motifs.

• From the theme of ‘Urban Matrix’, a brainstorming session led to expanding the theme under a broader category of connectivity. • The brief became more restrictive as the forms decided to be worked upon were only lines and squares • With Lakme Fashion Week’s Winter Festive show, the colour palette of the collection was more restricted compared to the usual multicoloured saris that fall in a collection. • With the coming of Lakme Fashion Week in the middle of the project, the deliverables at the end of the project were changed to 10 saris and documentation of 4 blouses and 2 garments.

Textile Design â&#x20AC;˘ B. Des â&#x20AC;˘ National Institute of Design

Fig 10.1 : Soft board for conceptualization at Ethicus studio. Only when you look back see what you have done, will you know what you have to do ahead

CONCEPTUALIZATION

Fig 10.1

Textile Design • B. Des • National Institute of Design

INITIAL THEME BOARD • A brainstorming session was done on the topics of connectivity, communication, urbanisation and modernization. • The next step was to pick out keywords and narratives that would support the entire collection yet give a lot of opportunities in terms of drawing inspiration from them. • Simultaneously collection names were written down. • Based on the initial narrative of how we connect and communicate today, a theme board for the collection titled ‘hello’ was created.

Fig 10.1.1

Prachi Gor • Graduation Project • 2017 • Conceptualization

Fig 10.1.2

Fig 10.1.3

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THE NARRATIVE A narrative titled ‘hello’ was created based on which a board was created sticking to the black and white color palette with accent colors. The pictures were drawn from different parts of the same story.

Fig 10.1.4

Fig 10.1.5

Fig 10.1.6

Fig 10.1.7

Fig 10.1.8

Fig 10.1.9

Fig 10.1.10

Fig 10.1.11

What sets us humans apart? Our ability to communicate. In ways more than one.

With time and technology came the powerful internet that took us all and converted this world into a global village.

Today it takes a second for us to get a message across to someone.

Several means of communication and carriers of language exist around us. They build together and serve us to express ourselves.

The continuous flow of information around us keeps us aware and informed. The speed with which messages are spread contribute to our daily dose of knowledge.

With the technotide and this competitive world, there is a constant need to keep up and become a part of the rhythm and join the flow.

The sites of information can be anything - a staircase, a bridge, a building, a cellphone.

Earlier, closest friends were the physically close ones and neighbours knew everything. Now we have a virtual local neighbourhood.

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Prachi Gor • Graduation Project • 2017 • Conceptualization

Fig 10.1.12

Fig 10.1.13

Fig 10.1.14

Fig 10.1.15

Fig 10.1.16

Fig 10.1.17

Fig 10.1.18

Fig 10.1.19

With so much talk happening, everyone perceives the means of communication in different ways the god and the bad.

One cannot deny the indefinite ways this forms of new age communication has brought people closer. But what about the distance of people in the same room?

Why do we remain stuck to words, alphabets, letters etc to say what we say. Art is also a major contributor to the daily dialogue in our lives.

Have you ever felt nostalgic or extremely emotional while listening to a song? How does music communicate so well without even saying a word.

For the visual people, we know how much a signage, a poster, a photograph can say.

Nature has it’s own way of communicating within themselves and us too.

We are all in this spiral together. Drawing in and pulling out what we need.

To sum it all up, communication is a basic necessity and instinct. So, look around you! Everything has some thing to say.

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REVISED THEME & COLOR BOARD Upon further discussion of what Ethicus has been doing and what changes it seeks in it’s new collection, the inspiration board was changed. Keeping the narrative along the same lines, the forms would be restricted to squares, lines and rectangles. Ethicus usually does a wide range of colors in each collection, whereas in Matchmaker, the color palette was changed and restricted. The colors were decided inspired from an image of Jurgen Lehl, looking at the general trend of winter colors, availability of yarns and popularity of colors working and not working for Ethicus.

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Prachi Gor • Graduation Project • 2017 • Conceptualization

Fig 10.2.1

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INSPIRATION BOARD With the purpose of creating something simple, geometric and basic, an inspiration board was created. Images were selected based on their forms, treatments, and the way they have been put together.

Fig 10.2.2

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Fig 10.2.3

Fig 10.2.4

Fig 10.2.5

Fig 10.2.6

Fig 10.2.7

Fig 10.2.8

Fig 10.2.9

Prachi Gor • Graduation Project • 2017 • Conceptualization

Fig 10.2.10

Fig 10.2.11

Fig 10.2.12

Fig 10.2.13

Fig 10.2.14

Fig 10.2.15

Fig 10.2.16

Fig 10.2.17

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Once an inspiration board and color palette were picked, the look of the collection became less blur. It was decided to focus on the play of forms and colors in the new collection, even if it meant slightly shifting away from the narrative. For a collection of 10 saris with a restricted color palette, it was necessary that all of the saris donâ&#x20AC;&#x2122;t fall into the same color scheme. There should be lighter, darker and mid-tones. Therefore, a segregated color board was formed drawing from certain images.

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Prachi Gor • Graduation Project • 2017 • Conceptualization

Fig 10.2.18

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PLAYING WITH LAYOUTS

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Prachi Gor • Graduation Project • 2017 • Conceptualization

An important part of patterning of the sari is it’s layout. The layout can change the way a sari looks and drapes and can enhance your look or go wrong completely for you. A basic understanding of layouts by imagining the sari to be a 5.5 m long canvas was done. Layouts were categorised and thumbnails were made to avoid repetition of layout in the collection.

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Fig 10.3.1

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Prachi Gor • Graduation Project • 2017 • Conceptualization

IDEATION Imagining the sari to be a rectangular canvas, basic color blocking and stripes were put into layouts to understand it’s possibility on the loom. The sketches were converted into digital layouts. These were discussed with the master weaver who said ‘yes’ or ‘no’ to each based on loom settings. Although ‘Mohanraja anna’ was enthusiastic and open to new ideas, the loom had certain limitations. From the various options, 16 layouts to work on were selected based on whether they would be possible to weave. There were quite a few hindrances in the layouts I made that I didn’t realize at that time since the jacquard mechanism was still sinking in. For example, there can’t be a stark cut across diagonal line unless done by hand picking. I also didn’t understand then the proportion in relation with the drape and hence these layouts were only a start point. Many of these didn’t translate into actual saris.

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DIGITAL LAYOUTS

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EXPLORATIONS

Fig 116 11.1 Illustration of saris for foldouts in press kit for Lakme Fashion Week

Textile Design â&#x20AC;˘ B. Des â&#x20AC;˘ National Institute of Design

PAPER EXPLORATIONS Using the simple forms of lines, squares and rectangles, artworks were made. These artworks helped gain clarity on what was possible and not on the loom. It also gave a clearer idea of the look we were seeking in this collection. Some of these paper explorations were further refined and organized in layouts to make the saris.

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Prachi Gor • Graduation Project • 2017 • Explorations

Fig 11.2

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Fig 11.3

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Prachi Gor • Graduation Project • 2017 • Explorations

Fig 11.4

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Fig 11.5

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Prachi Gor • Graduation Project • 2017 • Explorations

Fig 11.6

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Fig 11.7

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Prachi Gor • Graduation Project • 2017 • Explorations

Fig 11.8

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Textile Design â&#x20AC;˘ B. Des â&#x20AC;˘ National Institute of Design

The various artworks made to explore the line and square form were then placed in different rough layouts while trying to place it on a draped sari.

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Prachi Gor • Graduation Project • 2017 • Explorations

Fig 11.9

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Textile Design • B. Des • National Institute of Design

Drawing inspiration from the previously decided theme of connectivity, and taking the collection to Lakme Fashion Week, Ethicus decided to tell it’s story and how it connects the farm to fashion through the collection titled ‘Matchmaker’. When you talk about matchmaker, you think of someone who joins/puts things together that fit well. Ethicus is that bridge between the farmers, weavers, artisans, designers and the customers. Since the collection was a winter/festive, an unusual colour palette with darker, duller and winter feel was chosen with bright accents. The sari collection ranges between 10-15,000/-, the garments range between 4-6,000/- and the blouses range between 3-4,000/-

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THE COLLECTION

Fig 12.1 128 Illustration made by the Ethicus team for the press kit of Lakme Fashion Week

Textile Design • B. Des • National Institute of Design

SARI 01

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Prachi Gor • Graduation Project • 2017 • The Collection

THE BIG BORDER SARI

Fig 12.1.1

• Since this collection would be focused more on experimenting with layouts, using simple forms, the start point was the fix the layout. With the 14” bottom border “bird” sari from the collection Gond becoming so popular, a big bottom border was chosen to be worked on. • The set of explorations for this sari are inspired by a picture with the geometric aesthetics of Annie Albers. • The start point for this sari was to work on the border first that is bigger than the usual 1.5-2” loom border. • Working on explorations roughly by overlapping forms. Once the big bottom border was decided, the smaller border and pallu that coordinated with it were worked on. • Since this was the first sari, there was a lot of confusion in terms of how the patterning will take place, where to where does which weft move, which side do you place the border on paper, how it will be translated, etc. • Extra weft in pallu and extra warp in border. No handpicking. However, since the border has a different size, the loom would have to be reset to make adjustments to the border jacquard box. • Since it was a big border, it restricts the audience because a big border makes people look shorter. Therefore the look and had to be such that it would appeal to all. • The big border setting took upto 5 days with multiple weavers helping. Also, the pedal became heavier because of the number of threads of base and extra warp in the border box. But once the setting was done, the weaving was quicker because of no handpicking, and minimal extra weft color change • Everything was worked on first in greyscale to concentrate on the form rather than color, since the sari needed to look good in many colorways and not only one.

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BOTTOM BORDER EXPLORATIONS

WARP

Change in blacks, whites aand greys through changing density in weaves

11”

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PALLU AND TOP BORDER EXPLORATIONS IN LAYOUT

WARP

Simple striped pallus because heavier borders with adjacent simple small borders

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PALLU AND TOP BORDER EXPLORATIONS IN LAYOUT

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WARP

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PALLU AND TOP BORDER EXPLORATIONS IN LAYOUT

WARP

Keeping bottom and top border constant, changes in pallu.

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TOP BORDER EXPLORATIONS

WARP

Usually, in a border jacquard box, one set of 120 or 240 cards are put which generate the same patterns on both sides of the border. The number of cards = number of hooks which are sometimes adjusted to obtain the width of the border. In this case since the top and bottom borders were different, the cards had to be divided between the two borders.

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FINAL BOTTOM BORDER, PALLU AND TOP BORDER

WARP

In such areas with long vertical lines running without any cutting of horizontal lines, there would be a need to insert float control to break the vertical warp floats.

1 repeat

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FINAL LAYOUT WITH SUGGESTED COLOR

FINAL LAYOUT WITH COLOR ON LOOM

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WARP

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Fig 1.1

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Fig 12.1.2

Fig 12.1.3

Prachi Gor • Graduation Project • 2017 • The Collection

Fig 12.1.4

Fig 12.1.5

Fig 12.1.6

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Prachi Gor • Textile Design • B. Des • National Institute of Design • 2017 Textile Design • B. Des • National Institute of Design

SARI 02

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THE STEP SARI

Fig 12.1.7

• Drawing from the theme board and an initial layout of a half and half concept, the ‘patli-pallu’ layout was worked on. • In the ‘patli-pallu’, the patterning in the pleats and the body is different. This was tweaked by keeping the pleats plain, and a diagonal half and half layout in the body. • The diagonal half was initially explored through fragmented patterns. The problem was that the pallu had to be heavy on the bottom border end and become lighter by the time it reaches 3 m. There would be a stark line where handpicking would start which would look abrupt on the body. Also, the technique was becoming too complicated for the weaver to understand. The fragmentation was then simplified and done by dropping repeats. • The 3m long step was drawn and put on the body using a newspaper to understand the scale. Since the pallu would have a lot of work on it, the borders were kept plain. The bottom border would join the last square at the end of 3 m, this extra warp was added later onto the loom. • The technique of hand picking was carried out in the entire 3m where each box was given a number. The weft patterning was done where the numbers would follow a sequence. • Even though the number of cards were less for the sari, the cost and effort went up too much. The sari took almost 18 days to weave. The patterning was simple blocks but the number of wefts were too much • In places where there were 2 divisions, it happened quickly, but with 4 divisions, the job became tougher. and confusing for the weavers. The price didn’t justify the design, hence this was only produced as a single piece for the ramp.

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WARP

SETTING THE BASIC ‘PATLI-PALLU’ LAYOUT 1.

Step 1 : Figure out the diagonal line upto 3 metres, and count the number of steps and repeats to be droppped for the 3m. Step 2 : Figure out what will happen in the rest of the body of the sari apart from

143

these steps

Prachi Gor • Graduation Project • 2017 • The Collection

WARP

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FRAGMENTATION IN THE LAYOUT WITH SHAPES 7.

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WARP

Prachi Gor • Graduation Project • 2017 • The Collection

WARP 10.

Patterns of squares, circles, stripes etc. were filled in the steps to see how fragmentation was possible in them. 11.

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FILL PATTERNS FOR THE STEP LAYOUT

WARP

Going back to the inspiration board, an overlap of lines to form rectangles and interesting compositions to fill the step layout was done.

Repeat size + 2.75” Too much happening in this composition, not understanding the scale

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Spaced out but from a distance will barely show

Prachi Gor • Graduation Project • 2017 • The Collection

WARP

10.

11.

12.

13.

14.

Even after blowing up, I was unable to Blown up from the previous compositions

understand that this is a woven structure, not a print and there is more ground fabric showing than the extra weft pattern. When these patterns are going to be handpicked, they won’t even show from a distance.

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WARP

SOLID BLOCKS FOR THE STEP LAYOUT

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With too much happening with

Further

the lines, it was further brought

simplified to

down to solid blocks and a

only solid

very few lines

blocks

Prachi Gor • Graduation Project • 2017 • The Collection

SOLID BLOCKS FRAGMENTATION 1.

WARP

Fragmentation using first set of solid blocks and lines, where handpicking in body has to start after pallu. Wont work out as it is too random the blocks are skipped and no proper sequence for the weaver to follow

Instead of fragmenting out, after each step one repeat will be dropped to get the step layout, and the gradation can occur in terms of color as if it gets lighter pallu onwards.

With alot of work already happening in 3m of the sari, warp stripes would add to the cost and effort put into the sari. So, it was scrapped.

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FINAL LAYOUT WITH SUGGESTED COLOR

FINAL LAYOUT WITH COLOR ON LOOM

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WARP

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INITIAL REPEAT

Step 1 Step 2

FINAL REPEAT

WARP

Step 1 Step 2

Step 1 Step 2 Step 3

Step 1 Step 2 Step 3 Step 4

• The layout was a 3m long handpicked patli pallu layout where after each step a repeat had to be dropped. This already was leading to the sari being expensive. The repeat selected finally had to be such that there isn’t alot of efforts put into it’s cutting, lacing etc. • The initial 2.75” repeat was made with simple steps where each block of color would have different weaves and colors that would change in every repeat and step. The blocks in each row were randomnly divided. Some rows had 2 steps and some 3. While putting in the weaves, it was realized that this would lead to more cards as three wefts would have to work for 1 pick. • The final repeat was then changed and each row had either two or four steps which could alternately lift together. So, there would be 2 meena cards where each box would be put in another color separately but boxes 1,3 and 2,4 would lift together.

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How it was explained to weavers

Fig 1.1

The weaving of this sari was already a lengthy process since each square was of a different color. Places where there were 4 boxes instead of 2 led to too many wefts being used so close to each other that it was becoming confusing and more time taking for the weaver to weave those steps. It was almost like only one or two Fig 1.1

rows were being woven per day.

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Fig 12.1.8

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Fig 12.1.9

Fig 12.1.10

Prachi Gor • Graduation Project • 2017 • The Collection

Fig 12.1.11

Fig 12.1.12

Fig 1.1

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SARI 03

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THE RULER SARI • The initial idea behind this sari was to have a central pallu which is a simple one to weave but looks effective and worth it’s price. • The start point was the artworks made for a central pallu which were all turning out to be expensive. Then the sketches made earlier were looked back at and one of my artworks inspired me to begin again. • The pallu was played with first and a big but minimal border followed the pallu. The smaller border and body were kept simple. • The pallu has a basic extra weft end to end patterning with a melange look obtained by twisting of extra wefts. The borders have different density stripes by adding extra warps and different weave structures. The lines at the bottom border are obtained by handpicking the pattern formed by another set of cards. • For the bottom border, initially a number of permutations and combinations of lines of different heights and thicknesses were made. However, while giving it to the weaver, the master weaver suggested that we make the line thickness a fixed one and play with colors, length and spacing only. • The first sample sari wasn’t good in terms of body color and the way the colors of the pallu didn’t show much of the pallu patterning. This was changed in the second sari. • After the weaver got the hang of the patterning, this was one of the relatively easier saris to weave.

Fig 12.1.13

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CENTRAL PALLU EXPLORATIONS

WARP

Inspired by the “bouquet” sari from the Ballad of Blossoms, a central pallu layout was decided to be worked on

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WARP

Too static

The lines and rhythms flowing would be negligible because of float control

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Where did the diamond come from?

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WARP

Prachi Gor • Graduation Project • 2017 • The Collection

10.

WARP

Since a central pallu would involve a lot of handpicking, the patterning should justify the price.

11.

12.

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GRADIENT PALLU

WARP

The idea of a central pallu was then put aside and warp wise gradient pallus were experimented with where the pallu could be handpicked. Here again, not the concept but it was the scale where i was going wrong. I mistook bold for big but didn’t realise bold could be delicate too.

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WARP

Too thick, too bold, with so many weaves and yarn, pallu would be extremely heavy.

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BACK TO SQUARE 1

WARP

With central pallu layouts and gradient pallu layouts going wrong, I was back to square one. The initial paper explorations done were then re-looked at. The image on the right was picked up and scanned. The concept of organic uneven lines creating a rhythm as though they are moving up and down was taken further and explorations were made digitally.

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DIGITALIZED ARTWORK

WARP

While converting these digitally and putting them in repeat, there was a flow of lines in the entire pallu which was made more pronounced.

However, on printing the first two explorations in actual size, it was relaized that the thick lines were way too thick and had to be made thinner. However, since the vertical lines would have weaves put in them, the smallest line thicnkess should have been atleast 0.1 cm

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BOTTOM BORDER OPTIONS

WARP

Bottom border as warp stripes to look as if the lines are emerging from the pallu 1.

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WARP Too much happening. Feedback

The big bottom border was

was given that bigger borders are

interfering with the pallu as all

usually preferred by older women

the options were too busy.

so scrapped. 3.

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This exploration was sitting in sync with the pallu so different line weights were

Trial of checks in

experimented with the same layout and

body as if they are

different smaller borders were tried for

emerging from the

the top border. Cards would be cut

pallu and border.

according to the first sari 5.

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Too much happening. No

Side borders would be explored

coordination between top

separately, these minimal lines

border, bottom border,

would be woven as body buttas

pallu and body butta.

after the bottom border after the

Border simplified to plain

pallu gets over.

satin striped borders.

WARP

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SUGGESTED COLOR OPTIONS

FINAL LAYOUT WITH COLOR ON LOOM

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Fig 12.1.14

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Fig 12.1.15

Fig 12.1.16

Prachi Gor • Graduation Project • 2017 • The Collection

Fig 12.1.17

Fig 12.1.18

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SARI 04

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THE DAY NIGHT SARI • After putting the three saris together, there was a question of a new layout again. An intention of doing another bigger border led to doing a divided warp sari. • A few pictures were studied with the big color blocked saris with divided warps and what length the color blocking went upto was noted. • Within the office, average knee height was calculated by measuring the short, tall and middle heighted women in the office. A width of 17” as average knee height was decided and thus the warp division would be done at 17”. • Since the idea was to have a yin yang layout, the pallu patterning wih extra weft would also have to be done in half and half. It was checked with the weaver if there is a possibility of interlocking of extra wefts of two different colors. • While weaving, there was a little confusion in which weft would sit on which side and how the interlocking would happen. This increased the time of weaving since at the interlock point the weaver would have to roughly estimate 17” on the width of the warp before he changed the weft.

Fig 12.1.19

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LAYOUT OPTIONS

OMBRE TEXTURE EXPLORATIONS FOR PALLU

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SIDE BORDER

WARP

While observing the weaves of a sari in the previous collection, I wanted to try the gradient weave in this sari as an entire body since the pallu had a gradient in it too. However, the cards for this border had to be re-piunched while weaving since the parts that were extremely light or extremely dark had heavy floats. So manual punching for the same had to be done while weaving. 3.

Each of these graded patterns would be made by applying the bitmap greyscale dotted weave shown above where each black dot represents intersection of warp and weft.

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FINALIZED PALLU AND BORDER

WARP

17”

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WEAVING TECHNIQUE

FLOAT PROBLEM THAT AROSE IN THE BORDER CARD

1,2,3,4,5 = WEFT SEQUENCE

Fig 1.1

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FINAL LAYOUT WITH SUGGESTED COLOR

FINAL LAYOUT WITH COLOR ON LOOM

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Fig 12.1.20

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Fig 12.1.21

Fig 12.1.22

Prachi Gor • Graduation Project • 2017 • The Collection

Fig 12.1.23

Fig 12.1.24

Fig 12.1.25

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SARI 05

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THE MAT SARI • Color and weave was one of the weave structures that was studied during the weaving module at NID. The idea of the color and weave structure out of such fine yarns had really got me excited to experiment with. • However, I wasn’t aware that the color and weave is a commonly used structure in quite a few traditional kanjeevaram saris. • So, drawing from the color and weave structure, the pallu jacquard pattern was made and the body was later changed. • This design allowed for the body to be plain, have checks as well as only stripes in the body since the warp and weft stripes would be extra warp and extra weft. • The unevenly spaced weft and warp stripes weren’t given as exact measurements to the weaver but were done through approximation by them. • The sampling of the pallu cards was done on a warp stripe with alot of colors. This failed to show the pattern in the pallu since there wasn’t much color or weight difference in the stripes. • The first sari on this loom was made with a plain body and the extra warp was added in the second sari. The checks formed through weft and warp stripes gave a completely different look to the body even though it took more time to make than the plain body.

Fig 12.1.26

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COLOR AND WEAVE OPTIONS

WARP

Various scales, sizes, regular and irregular color and weave structures were explored for the body. These were also discussed with the weaver since Ethicus hadn’t worked with this structure before

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SQUARE LAYOUTS IN PALLU

WARP

In sync with the color and weave, pallu repeats for 120 V were made to look as though there is a gradation in the checks from big to small. 3.

The uneven lines in the centre would be obtained with a meena card which would be filled with accent colors

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SQUARE LAYOUTS IN PALLU

WARP

Explorations using uneven rectangles to break the rigiditty of the previous repeats. This ended up looking similar to the first sari’s big border.

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SIDE BORDER OPTIONS

WARP

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BODY LAYOUT OPTIONS

WARP

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A 48” repeat of unevenly spaced

WARP

warp stripes was made. The same was used as a repeat of weft stripes also for this exploration

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FINAL LAYOUT WITH SUGGESTED COLOR

FINAL LAYOUT WITH COLOR ON LOOM

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Fig 12.1.27

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Fig 12.1.28

Fig 12.1.29

Prachi Gor • Graduation Project • 2017 • The Collection

Fig 12.1.30

Fig 12.1.31

Fig 12.1.32

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SARI 06

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THE POLKA SARI • Looking back at the layouts, there was a need for a contemporary butta layout. Using basic brush strokes as a butta and a texture as the pallu, explorations were done. However, there wasn’t a need for a typical butta in the entire body and that’s how the buttas at the bottom border were arrived at. • Meanwhile, the texture like pattern in the pallu seemed flat and boring so it was suggested to mix the texture like pallu with geometric shapes and lines to see what happens. • Since this sari went onto a loom with a previous simple border, the production happened with the same setting. However, the extra weft for the buttas had to be handpicked. • The coloring sequence given to the weaver for the pallu and butta was same in order for less confusion. • This design too was carried out on a warp stripe in it’s first sari for sampling. That didn’t work out too well either because the texture in the buttas was hidden because of the warp stripes and the work done in the sari wasn’t visible at all. The pallu also had too many stripes and was bigger than needed, so after the first sari that was edited too.

Fig 12.1.33

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INITIAL TEXTURE LIKE PATTERNS In this sari, like the first sari, the different shades of grey and black would be brought about by changing the density of weaves

Explorations were started with simple brush strokes forming textures and simple buttas fragmenting into the body. However, it was looking quite similar to the traditional saris that Ethicus already has.

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SIDE BORDER EXPLORATIONS

WARP

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BUTTA EXPLORATIONS Using the same style such as the border and the pallu, bigger contemporary buttas were explored for the body. The bigger buttas in the previous ‘rose’ sari of Ballad of Blossoms really worked for Ethicus but the constraint was that the butta had to look delicate even from a distance. A few explorations using different density of weaves were sketched but none seemed to sit right and hence they were all scrapped.

201

WARP

Prachi Gor • Graduation Project • 2017 • The Collection

WARP

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PALLU EXPLORATIONS

WARP 1. 2.

The next idea was to simplify the pallu using the same texture but in a different way. The texture was then put into rounded squares and the squares were used in the pallu as well as the buttas. Weft stripes were played with to break the monotony of the shape and texture like pattern.

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WARP

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PALLU EXPLORATIONS

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WARP

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The same texture was put into rounded squares while playing with the density of weaves and different placements

WARP

of buttas near the bottom border was tried. Since the buttas would be handpicked, there was a possibility of picking buttas selectively and not entire repeats. 9.

10.

11.

Different heights of buttas where 1, 2, 3 repeats would be woven were printed and placed in actual size. The layout with 2 repeats of buttas was chosen where in the 2nd repeat few buttas would be skipped while weaving

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FINAL LAYOUT WITH SUGGESTED COLOR

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Fig 12.1.34

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Fig 12.1.35

Fig 12.1.36

Prachi Gor • Graduation Project • 2017 • The Collection

Fig 12.1.37

Fig 12.1.38

Fig 12.1.39

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SARI 07

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THE KORVAI SARI • Up until now the saris made had complicated ways of representing lines and squares, so the next sari could be a minimal basic sari. • Picking up from the simplest of artworks, explorations were made where the korvai technique would be used. • This design could fit on any loom since it didn’t use the main body jacquard box for patterning. The dobby and border jacquard box would still be used. • A few explorations were done with weft stripes, but it has been noted that not a lot of Ethicus women prefer to wear weft stripes because if the stripes are not in proportion with their body then they feel they look absurd. • This sari hasn’t been made on the loom yet but explaining the pallu with dimensions has been easy. However, weaving of the same will not be easy.

Fig 12.1.40

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ARTWORK AS START POINT

Fig 12.1.42

Fig 12.1.41

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LAYOUT EXPLORATIONS

WARP Since this was a korvai sari with warp stripes

Trial with different

as borders, the price of this sari would be really

weights of lines using

high. Wasn’t sure if two bunches of lines running

the same basic idea

in opposite directions would justify the price 1.

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LAYOUT EXPLORATIONS WITH WARP AND WEFT STRIPES

215

WARP

Prachi Gor • Graduation Project • 2017 • The Collection

PALLU EXPLORATIONS

With the few lines not doing enough justice to the price and effort behind the sari, an uneven composition of lines was experimented with. But,

WARP

from far this pattern seemed to be of a haphazard shape instead of looking organic. Also, explaining this to the weavers and the weaving process itself would be very complicated. 7.

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ACTUAL SIZE PALLU ON PAPER

WARP

Lines are too thin, where before the weaver gets a hang of the measurement, he has to change the weft measurement. Also won’t be visible from a distance.

Fig 12.1.43

The edges are kept unfinished to not make it look static. A reduced photocopy of this was given to the weavers where the length of each line and the vertical distance between each line was written.

Fig 12.1.44

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BODY AND BORDER OPTIONS WITH FIXED PALLU

WARP

The warp stripes in the border would be with extra warp as twill ribbons and would reduce in width and become part of the ground warp in the body

In this pallu, it was suggested that the ends of the line should be less rigid where the weaver skips or adds 5-8 ends with every extra weft to give it an unfinished look

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FINAL LAYOUT WITH SUGGESTED COLOR

219

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LAYOUTS DONE UPTIL NOW

7 saris and Lakme Fashion Week down, there were 3 more saris to complete the collection. A rough sketch of the saris done uptil now was done to put together with the layouts and techniques explored up until now. All of these were turning out to be expensive saris because of the techniques and work involved in them. It was hence decided that the next three saris would be simple plain body saris with patterning only in the pallu and border to make it cheaper. This would ensure that within one collection there is a price range for everyone to buy.

Fig 12.1.45

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LAYOUT IDEATION

Fig 12.1.46

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SARI 08

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THE MUSIC SARI • Picking from the sketches of layouts made above, another simple striped sari was ideated on. • Then again, the cost factor was realized and a simpler fragmentation concept was worked on. There was still a wish to do tiny body buttas so explorations were made according to that. • The loom restrictions was only that it had to be woven on a 120 ST loom. • This sari hasn’t been woven yet but is a simple sari to weave where extra weft change in pallu and multiple extra warp colors in the border give this sari it’s interesting factor.

Fig 12.1.47

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INITIAL IDEA The initial idea was picked up from the layout possibilities sketched. With a striped border and weft stripes in the pallu happening irregularly, explorations were made for the sari that would drape as sketched. However, weft stripes was a dicey game to be played and would anyway take the sari on the higher range so the layouts on the right were scrapped out.

layout based on which further ideation was done

225

Fig 12.1.48

Prachi Gor • Graduation Project • 2017 • The Collection

WARP

226

Textile Design • B. Des • National Institute of Design Initial fragmentation ideas with

PALLU EXPLORATIONS

squares and diamonds. Nothing interesting. Looks similar to existing Ethicus saris

227

WARP

Prachi Gor • Graduation Project • 2017 • The Collection

WARP

From the very beginning there was a will to do fragmentation and dispersion in atleast one sari but it was either too expensive or just not working out. Few more pallu repeat using the square form were explored. Upon checking the actual size, one of these pallu repeat made for an interesting border instead of a boring pallu repeat. Using this border as the start point, explorations for the pallu and body were done.

In scale, looks better as a border instead. But the ombre in color can’t come weft wise since extra warp gradation is possible only. Looks similar to

Need to make slight changes.

pallu of Sari 1

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PALLU AND BODY EXPLORATIONS IN SYNC WITH FINAL BORDER

229

WARP

Prachi Gor • Graduation Project • 2017 • The Collection

WARP

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PALLU EXPLORATIONS WITH SQUARES

WARP

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Prachi Gor • Graduation Project • 2017 • The Collection

WARP

Interesting as a repeat, but after the first step, it will need hand picking. Or else float control will ruin the entire pattern. Also, the smallest squares are too small to even be noticed and woven in actual size

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FINAL LAYOUT WITH SUGGESTED COLOR

233

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SARI 09

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THE ISOMETRIC SARI • When the color palette was decided, there was a beautiful gradient emerging out of the neighbouring colors. With all the colors blending so beautifully and the fact that gradient warp stripes was a no-brainer, the body was ideated to be a gradient warp stripe. • The later stage of the sari led to experimenting motifs on the isometric grid. Meanwhile, I was told by my guide at Ethicus, that it wasn’t necessary to bring in complicated patterns to make a good looking sari. There were simple things that could be played with like color and weave densities (which I had done in a few saris before) • Following this guideline, the 9th sari was made with a gradient extra weft patterning instead, in the pallu.

Fig 12.1.49

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WARP

The start point was to have a gradient warp stripe as the main focus point to which a simple co-ordinate pallu would be made. However, since some of the saris are also given out in the village for weaving, the sari should be such that even without an attractive body stripe, the sari should look good. Therefore, the pallus were then worked on more. After a point, I felt restricted with the form limitations. While trying to play with the square, I experimented with the form on the isometric grid.

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WARP

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ISOMETRIC PALLU EXPLORATIONS

WARP

Different sizes of isometric grids were played with to obtain these pallu repeats

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WARP

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WARP

The same repeats were placed on the gradient warp stripe. However, this would involve more work and restrict the warp and patterns possible on it.

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WARP

So instead, a change of weft in the pallu could create the gradation wanted and would allow for different color schemes to be done for each new sari

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FINAL LAYOUT WITH SUGGESTED COLOR

243

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SARI 10

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THE BANGLE LOOM SARI • With some issue or the other, the warp stripe layout wasn’t just working out until now. Therefore this time around the start point was the pallu and patterning was done for the same. • Once the pallu got finalized, body explorations combining buttas and warp stripes were carried out for a loom with a 120 ST draft. • It was then realized that one of the looms with a warp stripe setting could be used with this pallu patterning. The ‘bangle loom’ was where the bangle sari had been made which sold like hot cakes for Ethicus. • The bangle loom had warp stripes in the ground warp as well as extra warp. Having an extra warp in the body and cutting cards for the same meant that patterning was possible without picking. • Using this and the existing pallu to my advantage, a pattern for the warp stripes using existing measurements was made. • In a warp stripe, since knotting is done for a new warp of a new color, it becomes easier and cheaper to use the existing setting so that counting doesn’t have to be done again and colors can be matched with colors.

Fig 12.1.50

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PALLU EXPLORATIONS

WARP

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WARP 1.

Looks similar to pallu of first sari

Chosen repeat for

Weft stripes with extra weft weaves

pallu

would make the body heavy and the pattern looks as if it has been cut

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LAYOUT OPTIONS IN SYNC WITH PALLU 1.

The border came from just making the pallu

The motif idea was scrapped

lines vertical and roughly re-arranging them

since like the 6th sari, these motifs were too small to be noticed and would take alot of efforts to weave

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WARP

Too much heavy weft in the body makes the sari heavy

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WARP

The same repeat of the pallu was put as extra warp in the warp stripes to make an interesting layout and patterning in the body of the sari without handpicking

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WARP

COLOR AND PALLU OPTIONS 1.

The pallu repeat was put in different combinations with weft stripes.

For such extra warp patterning, the loom setting is done such that the hooks of the border box are divided into multiple parts. These parts are tied to threads going to the ends where the pattern is wanted.

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FINAL LAYOUT WITH SUGGESTED COLOR

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COSTING

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SARI COSTING Calculations done where : 1) Yarn bulk cost is assumed to be 6000/kg which is approximately enough for 20 warps which means per sari 50/2) Dyeing cost is assumed to be 2000/kg which is enough for 20 warps which means per sari 30/3) Card material cost is assumed to be 500/- for 2000 cards 4) Weaver’s wage per day is assumed to be 800/5) Designer fee is assumed to be 3000/- per design 6) Warping, sizing and knotting costs are divided by total no. of saris per warp

Yarn (in bulk)

Dyeing (in bulk)

Factors considered 1) Material cost 2) Weaver’s wage 3) Designer Fee 4) Overheads 5) Profit Percentage

Warping (per warp)

Sizing (per warp)

Knotting (per warp)

No of cards in design

Lacing (per design)

Tasseling (per sari)

Weaver’s Wage * no. of days

Designer fee

TOTAL

Sari 1

150/7

200/7

150

1700

350

50 800*6

9,000/-

Sari 2

150/7

200/7

150

450

100

50 800*20

19,600/-

Sari 3

150/7

200/7

150

800

250

50 800*4

7,000/-

Sari 4

180/7

200/7

160

900

250

50 800*5

7,900/-

Sari 5

150/7

200/7

200

500

100

50 800*6

8,500/-

Sari 6

150/7

200/7

150

1200

350

50 800*5

8,500/-

Sari 7

150/7

200/7

150

50 800*8

9,800/-

Sari 8

150/7

200/7

150

1000

300

50 800*4

7,000/-

Sari 9

150/7

200/7

150

1000

300

50 800*4

7,000/-

Sari 10

150/7

200/7

200

500

100

50 800*4

7,000/-

*All the costing is based on approximation and might not be very close to the actual cost

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LAKME FASHION WEEK

Fig 13.1 258 The line up at Lakme Fashion Week

Textile Design • B. Des • National Institute of Design

RESEARCH Towards the start of my project, Ethicus was invited to showcase at Lakme Fashion Week. Meanwhile, the brief was changing due to multiple product possibilities on the theme of lines and squares. The new brief now included 4 blouse and 2 garments. Since Ethicus had a garment unit and has done a collection of garments long back, it was decided to work with simple silhouettes and play with the fabric and textures. The color palette of the garments and blouses would remain the same so they could all be paired with each other. Also since time was less for production, all the focus was to plan economic warps with multiple product possibilities. Since Ethicus was going back into garments by showcasing at Lakme Fashion Week, the warp planning and production at the back end had to be planned well and wisely.

259

There were a few points kept in mind while researching about the garments. • Study existing patterns and sizes of Ethicus • Revisit pattern making with master tailor • USP of garment? • Size guide • Muslin trials • Figuring out the standard sizes for the brand, depending on the customer base • Understand proportions and measurements of garments in order to add details • The garments should appeal to the customer base therefore a study of simple dress and blouse silhouettes for Ethicus’s particular target group was done

Prachi Gor • Graduation Project • 2017 • Lakme Fashion Week

Fig 13.1.1

Fig 13.1.2

Fig 13.1.3

Contemporary blouses with smart cuts and details that could be worn daily by working professionals were studied before sketching. How the mix and match of blouses and sarees could be styled was also noted

Fig 13.1.4

Fig 13.1.5

Fig 13.1.6

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BLOUSE IDEATION SKETCHES

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Fig 13.1.7

Prachi Gor • Graduation Project • 2017 • Lakme Fashion Week

Fig 13.1.8

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BLOUSE IDEATION SKETCHES

263

Fig 13.1.9

Prachi Gor • Graduation Project • 2017 • Lakme Fashion Week

UNDERSTANDING PATTERN OF BASIC A-LINE DRESS

Fig 13.1.10

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GARMENT SILHOUETTE STYLE

Fig 13.1.11

Fig 13.1.12

Fig 13.1.13

Loose not so structured silhouettes which would suit women of a wider age group were looked at while sketching

265

Fig 13.1.14

Prachi Gor • Graduation Project • 2017 • Lakme Fashion Week

Fig 13.1.15

Fig 13.1.16

Fig 13.1.17

Fig 13.1.18

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INITIAL PLAN

Post research, few weeks before Lakme Fashion Week, the sketching and planning of garments began. The idea was to economically use the warps to create patterns that go with the theme. For example, a warp stripe in the ground warp or a color division in the warp could create color blocking, checks, an ombre dress, etc. There were ample possibilities to design the base fabric while keeping the silhouettes simple. Post basic sketching of silhouettes, I sat down with Mohammad anna (master tailor) and got certain muslin pattern trials of garments and blouses made. Since I didn’t know much about pattern making, these needed to be improvised upon till it’s finishing details. However, there was a shortage of time, weavers and the correct palette within the time frame before Lakme Fashion Week. Meanwhile, I fell ill and had to go back home for a week before the show. Although I got to see and be a part of all the saris being made, I missed the action that happened at the studio with respect to the garments and blouses.

Fig 13.1.19 Mohammad anna stitching test fits

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GARMENT SILHOUETTE SKETCHES

Fig 13.1.20

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FINAL GARMENTS I missed the action that took place in the making of garments and blouses that were showcased along with the saris from the collection Matchmaker. However, while I was at home getting better, I got the opportunity to illustrate the entire collection and the garments. These illustrations were used in the press kit to give a preview of the collection being showcased. Also, after the show, since Ethicus was plunging back into garments and blouses, a documentation of those showcased was to be done. Apart from the 10 saris, an illustrated documentation of the garments and blouses, its size guides, measurements, fabric consumption etc. basically anything needed to replicate the patterns was done. For this purpose, I sat down with the tailor and understood details of cutting and finishing of each of the garments, got the cardboard flat patterns made and recorded the same.

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Fig 13.1.21

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FLAT PATTERN SPECIFICATIONS FOR BELL SLEEVE STYLE BLOUSE

Fig 13.2.1

271

Approximate cost : 1500/-

Prachi Gor • Graduation Project • 2017 • Lakme Fashion Week

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FLAT PATTERN SPECIFICATIONS FOR KIMONO SLEEVE BLOUSE STYLE

Fig 13.2.2

275

Approximate cost : 2000/-

Prachi Gor • Graduation Project • 2017 • Lakme Fashion Week

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FLAT PATTERN SPECIFICATIONS FOR COLLAR STYLE BLOUSE

Fig 13.2.3

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Approximate cost : 1300/-

Prachi Gor • Graduation Project • 2017 • Lakme Fashion Week

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Prachi Gor • Graduation Project • 2017 • Lakme Fashion Week

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ANGRAKHA BLOUSE

Fig 13.2.4

Fig 13.2.5

Fig 13.2.6 Approximate cost : 1700/-

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Prachi Gor • Graduation Project • 2017 • Lakme Fashion Week

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Prachi Gor • Graduation Project • 2017 • Lakme Fashion Week

FLAT PATTERN SPECIFICATION OF KIMONO DRESS

Fig 13.2.7 Approximate cost : 3000/-

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Prachi Gor • Graduation Project • 2017 • Lakme Fashion Week

FLAT PATTERN SPECIFICATION OF KURTA DRESS

Approximate cost : 2500/-

Fig 13.2.8

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PRODUCTION PLANNING I was able to experience what production planning felt like. With Lakme Fashion Week coming up, there was a lot of production to be done in a very short period. Also, with proper planning as mentioned earlier, the back end after the show should be strong.Being a part of production made me realize the many things that you don’t realize while designing such as : • The weavers live on the daily wages so many of them are enthusiastic to weave more daily. There were times when due to rain sizing wouldn’t happen or absence of certain yarns wouldn’t allow the weaver to put up a new warp. It was important to keep the next warp, design and colors ready for the weavers.

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• At a time, many saris from the old collection, and the entire new collection were being produced. This meant that according to the loom settings, designs had to be distributed to the suitable looms and new designs had to be planned for the empty looms. • Certain weavers had worked on certain heavy saris for a long time and have set their hands to work on that sari. It wasn’t possible to shift weavers onto new looms where they would have to get a grip of a completely new pattern. That would infact, make their work slow. • The stock of each sari in different was also checked to understand what sells better and what warps to give on repeat. • The designs should be such that they are easily understandable by many since all the weavers don’t have the same level of skill.

Prachi Gor • Graduation Project • 2017 • Lakme Fashion Week

Fig 13.2.9

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TRANSFORMATION OF SARI JACQUARD CARDS

After the weaving of the ruler saris, there was extra 4 m warp left since there were no blouses being woven with the saris. Using the same cards as the pallu of the 3rd sari, this garment was made by the design team at Ethicus for the

After weaving the saris on

Lakme Fashion Week

the color blocked warp, the same pallu card was used for weaving yardage of 3m that was extra on the warp. The dress was engineered in a way that the cutting happened while folding along the length

Fig 13.2.10

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Fig 13.2.11

Prachi Gor • Graduation Project • 2017 • Lakme Fashion Week

After weaving one ‘pleat’ sari that took almost 20 days to weave, it was realized that the price was going out of the collection range and production was difficult. The design team then engineered this sari using the same pallu card

Fig 13.2.12

Fig 13.2.13

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EXPERIENCE AT LAKME FASHION WEEK For Lakme Fashion Week Winter Festive ‘17, Ethicus showcased for the very first time it’s collection, Matchmaker. Alongside, Ethicus was also given a stall to exhibit their other products along with the showcased collection. Since bits of pre and post Lakme Fashion Week work was done as a part of the graduation project, it was a wonderful experience to witness the show. It was also enriching to listen, talk and receive feedback from the extremely experienced people in the industry. To be a part of the fittings was another experience, to notice how stylists made the entire look of the fabric and garments so different. I got the opportunity to witness how an entire show is put up right from the fittings, the music, the props to the choreography and finally showcasing the products. I am grateful to Ethicus for letting me be a part of this.

Fig 13.2.14

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Prachi Gor • Graduation Project • 2017 • Lakme Fashion Week

Fig 13.2.15

Fig 13.2.16

Fig 13.2.17

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REFLECTIONS

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To sum it all up, this graduation project has been one roller coaster ride. What I experienced in these 6 months was way more than what I had planned and expected from this project. As a student, under the mentorship of Mrs. Vijayalakshmi and the design team at Ethicus, I got to understand how to analyze and critique your own work. I realized how to look at your own work and detach from it. Also, how to look at it from the customerâ&#x20AC;&#x2122;s view - and make the best of what youâ&#x20AC;&#x2122;ve got. Being a bit of a part of everything in the office - packing for exhibitions, selling saris to the customers at exhibitions, taking guests around the office, being in front of and behind the camera, production, etc. etc. has made me find out a little about the way things are done in the real industry. Being a part of the Ethicus studio meant being a part of the family. The presence of a loom shed heightened the level of learning because when you see certain things, they become clearer. Having a loom shed and skilled weavers around me taught me a lot just by looking. From witnessing the cotton trail to becoming part of it, there have been one too many learnings. During the course of my project in the real industry, I was exposed to my flaws and strengths when certain situations called for decision making. As a person, I have taken back home an entire journey. From learning how to speak Tamil to appreciating the culture and nature, it has been something different. I feel satisfied that I have met some of the kindest people and learnt new things because of this project.

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ANNEXURE

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A collection of bits and pieces of the wonderful six months I spent in Tamil Nadu as a part of my graduation project that I did at Ethicus, Pollachi. Every single thing that happened around me was worthy to be documented even if in snippets. Here are a few of those snippets which can be viewed by using any QR code scanner on a phone. These are put as an annexure to my document since a lot of the customers view the documents to see the entire design process at the studio. They can also get a gist of the processes happening in the neighbouring villages even if they are not able to visit them.

1. Warping at Kunjipallyam

2. Preparation of rice paste called ‘kanji’ before sizing

3. Sizing at Kulakkapallyam

4. Preparation of extra warp

5. Warp spreading and counting

6. Handpicking of the ‘pleat’ sari from Matchmaker

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7. Cutting of the floats if any before cutting the sari

8. Tasseling of the sari after cutting

9. Opening and checking of sari

10. Making of pixel sari

11. The color blanket scarf

12. Making of kolam

13. First Ethicus solo show attended by me at Raintree, Bangalore

14. Fun day at Ethicus

15. Tamil puthandu valtukal (Tamil new year)

16. Addressing the real contributors of â&#x20AC;&#x2DC;Pride of Tamil Naduâ&#x20AC;&#x2122; award

17. Junior

18. The final line up at Lakme Fashion Week

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• Images from team Ethicus : 0.1, 4.1.1, 5.3.1, 5.4.2, 5.5.1, 5.10.10, 5.10.11, 5.10.11, 5.10.12, 5.10.13, 5.10.14, 5.10.15, 5.10.16, 5.10.19, 5.10.20, 5.10.21, 8.1, 8.3.1, 8.3.7, 8.3.8, 11.1, 12.1.2, 12.1.3, 12.1.6, 12.1.8, 12.1.9, 12.1.10, 12.1.12, 12.1.20, 12.1.21, 12.1.22, 12.1.27, 12.1.28, 12.1.29, 12.1.31, 12.1.32, 12.1.34, 12.1.35, 12.1.36, 12.1.39, 13.2.1, 13.2.2, 13.2.3, 13.2.7, 13.2.8, 13.2.10, 13.2.11, 13.2.12, 13.2.13 • Illustrations from team Ethicus : 12.1, 13.2.14 • Illustrations from Appachi cotton website : 4.2.1 • Images from Chris (photographer who exchanged photos with Ethicus for the experience) : 4.1, 4.1.2, 4.1.3, 4.2, 4.2.17, 4.2.18, 4.2.19 • Images from Amanda : 4.2.13, 4.2.14, 4.2.15, 4.2.16, 4.2.21, 4.2.22, 5.10.18 • Images of Lakme Fashion Week from IMG Reliance : 12.1.5, 12.1.23, 12.1.24, 12.1.25, 12.1.37, 12.1.38, 13.1 • Images of Lakme Fashion Week from website of Vogue : 12.1.4, 12.1.11, 12.1.30 • Images from Google : 1.1.1, 7..1, 7.2.1, 7.2.3, 7.2.4, 7.4.1, 7.4.2, 7.4.3,

IMAGE CREDITS

7.4.4, 7.4.5, 7.4.6, 7.4.7, 7.4.8, 7.4.9, 7.4.10, 7.4.11, 7.4.12, 7.5.1, 7.5.3, 8.2.3 • Images from Pinterest : 10.1.4, 10.1.5, 10.1.6, 10.1.7, 10.1.8, 10.1.9, 10.1.10, 10.1.11, 10.1.12, 10.1.13, 10.1.14, 10.1.15, 10.1.16, 10.1.17, 10.1.18, 10.1.19, 10.2.2, 10.2.3, 10.2.4, 10.2.5, 10.2.6, 10.2.7, 10.2.8, 10.2.9, 10.2.10, 10.2.11, 10.2.13, 10.2.14, 10.2.15, 10.2.17, 13.1.1, 13.1.2, 13.1.3, 13.1.4, 13.1.5, 13.1.6, 13.1.11, 13.1.12, 13.1.13, 13.1.14, 13.1.15, 13.1.16, 13.1.17, 13.1.18, • Images from Facebook : Collage 5.6.1 from Ethicus Facebook page, 5.9.1, 5.9.2, 5.9.3, 5.9.4, 5.9.5, 5.9.6, 5.9.7, 5.9.8, 5.9.9, 5.9.10, 5.9.11, 5.9.12, 5.9.13, 5.9.14, 5.9.15, 5.9.16, 5.9.17, 5.9.18, 5.9.19, 5.9.20, 5.9.21, 5.9.22 • Images from Selvedge magazine : 10.2.12, 10.2.16 • Images clicked by author : 1.2.1, 2.1, 2.3, 2.4, 2.5, 2.6, 4.2.3, 4.2.3, 4.2.5, 4.2.6, 4.2.7, 4.2.8, 4.2.9, 4.2.10, 4.2.11, 4.2.12, 4.2.20, 4.2.23, 5.1, 5.1.1, 5.4.1, 5.4.3, 5.4.4, 5.10.1, 5.10.2, 5.10.3, 5.10.4, 5.10.5, 5.10.6, 5.10.7, 5.10.8, 5.10.9, 5.10.17, 5.10.22, 7.1.1, 8.2.1, 8.2.2, 8.3.2, 8.3.9, 8.3.10, 8.3.11, 8.3.14, 8.3.15, 10.2.1, 13.1.19, 13.1.7, 13.2.4, 13.2.5, 13.2.6, 13.2.15, 13.2.16, 13.2.16 • Illustrations by author : 4.2.2, 7.3.1, 7.5.2, 7.5.4, 8.1.1, 8.3.3, 8.3.4, 8.3.5, 8.3.6, 10.3.1, 11.2, 11.3, 11.4, 11.5, 11.6, 11.7, 11.8, 11.9, 12.1.1., 12.1.7, 12.1.13, 12.1.19, 12.1.26, 12.1.33, 12.1.40, 12.1.41, 12.1.42, 12.1.43, 12.1.44, 12.1.45, 12.1.46, 12.1.47, 12.1.48, 12.1.49, 12.1.50, 13.1.7, 13.1.8 • Charts and tables by author : 10.1.1, 10.1.2, 10.1.3, 10.2.18, 13.2.9

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BOOK REFERENCES • Saris of India, by Rta Kapur Chishti • Selvedge magazine, Issue 33, • Selvedge magazine, Issue 39 • Selvedge magazine, Issue 72 • Sari (Styles, Patterns, History, Techniques) by Linda Lynton • The Whole 9 Yards: How To Wear An Indian Sari by Kalpana Shah • Jacquard’s Web by James Essengier

REFERENCES

GRADUATION PROJECT REFERENCES • Isfahan by Amishi Vadgama • Ballad of Blossoms by Binoli Shah • Gond by Ann Cherian • Lovestory by Bandana Matharu • Athangudi by Tanvi Kareer • Contemporary calicoes by Sahaj Khetrapal

SOFTWARES USED • Adobe Photoshop • Adobe Indesign • Adobe Illustrator • Pages by Apple Inc. • Numbers by Apple Inc.

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WEBSITE REFERENCES • http://www.esamskriti.com/e/Culture/Indian-Culture/The-Origin-Of-The-Saree-1.aspx • www.ethicus.in • www.rawmango.in • www.abrahamandthakore.com • https://en.wikipedia.org/wiki/Sari www.byloom.co.in • www.goodearth.in • www.appachicotton.com • http://www.parisera.com/ethicus • http://thesariseries.com/about/ • http://www.exoticindiaart.com/article/theindiansari/ • https://me.amarramesh.com/places-to-visit-in-pollachi/ • http://scholar.valpo.edu/cgi/viewcontent.cgi?article=1040&context=jvbl • https://www.gounesco.com/periya-negamam-weavers/ • http://textilescommittee.nic.in/writereaddata/files/Jacquard%20Handloom%20Weaver.pdf • http://www.anandakhadi.com/ • https://www.eiseverywhere.com/file_uploads/88f6646c7bf50a81418d64df8bee7b88_AppachiCottonTourFactSheet.pdf • negamam&source=lnt&tbs=isz:l&sa=X&ved=0ahUKEwjyponepa_XAhVMvo8KHW8mDMYQpwUIHQ&biw=1280&bih=634&dpr=2#imgrc=5ZUshtrf9hbk2M: https://www. google.co.in/search?q=jacquard+loom+diagrams&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjY9PSEwqzXAhUiOsAKHSkNDAUQ_AUICigB#imgrc=6veVR4a5Y1ObWM: • https://www.jaypore.com/ivory-black-hand-block-printed-cotton-saree-100-p359933 • http://www.thehindubusinessline.com/multimedia/dynamic/03143/textiles_3143025f.jpg From google.com • https://www.google.co.in/search?ei=8msLWsOIAuecgAbG4r-QDA&q=taneira&oq=taneira&gs_l=psy-ab.3.. 0l10.13322.14360.0.15352.7.7.0.0.0.0.703.703.6-1.1.0....0...1.1.64.psy-ab..6.1.702....0.lPsaVQYp-Sw • https://www.google.co.in/search?q=raw+mango&oq=raw+mango&aqs=chrome..69i57j0l5.19500j0j4&sourceid=chrome&ie=UTF-8 • https://www.google.co.in/search?q=structure+of+a+sari&oq=structure+of+a+sari&aqs=chrome..69i57j0l5.5705j0j7&sourceid=chrome&ie=UTF-8 • https://www.google.co.in/search?biw=1280&bih=590&tbm=isch&sa=1&ei=C5b5WZyxN4v6vgSpn4nQDQ&q=ancient+indian+dhoti&oq=ancient+dhoti+&gs_l=psyab.3.0.0i8i30k1.153696.165197.0.166067.24.21.3.0.0.0.356.2954.0j9j4j1.15.0....0...1.1.64.psy-ab..6.16.2769.0..0j0i10k1j0i67k1j0i30k1j0i10i24k1j0i24k1.225. YNHxwMIQoQg#imgrc=ZUEkxccd-Tx-pM: • https://www.google.co.in/search?q=negamam+sarees&tbm=isch&chips=q:negamam%20sarees,online_chips:periya%20 • https://www.google.co.in/search?q=national+institute+of+design&tbm=isch&source=lnt&tbs=isz:l&sa=X&ved=0ahUKEwje7a-e6pHXAhXDQ48KHdwRCy0QpwUIHQ&biw=1 280&bih=590&dpr=2#imgrc=WAVGCYJaGaGE9M: From facebook • https://www.facebook.com/NegamamCollections/photos/a.658942884121000.1073741825.658933864121902/658942944120994/?type=3&theater • A lot of images were taken from the Ethicus page on Facebook whose link is : https://www.facebook.com/pg/Ethicus.in/photos/?tab=album&album_id=10154987861162705 From pinterest • A board created on pinterest with images from google and pinterest whose links : https://in.pinterest.com/prachi12346/linelineline/ https://in.pinterest.com/ethicusIndia/next-collection/

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https://in.pinterest.com/prachi12346/all-the-stories-that-we-are/