Goan Crochet - Craft based Graduation Project

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Preeti Singh

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ACKNOWLEDGMENT

This project or endeavour as I would rather call it, has been a significant process of learning for me. I have been very lucky to be able to access this expanse of resources and knowledge in the short span. I am using this opportunity to express my gratitude to everyone who supported me throughout the course of this project. I am thankful for their inspiring guidance, invaluable constructive criticism and friendly advice during the project work.

First and foremost, I’d began by acknowledging my mentor in this venture without whom this project won’t be manifested, Mr. Jayadeep R.S. Also, a sincere thank you to the entire faculty member of the knitwear department who has always shown encouragement and support with my work and vision. A big thank you to my batch-mates at NIFT. A special mention to my very own textile batch for being the most enriching group of people which formed a perfect dynamic for a creative to grow This project would definitely not have been possible without the artisans of the craft. Without their active participation and their enthusiasm to teach and learn, I would have not been able to execute the vision of co-creating with them. Through their eyes, I was able to see this handicraft from a whole different perspective. Thank you for being the pillars in this project, and sharing the vast experience and knowledge about the craft.

I show great gratitude to Wool India (Bikaner), Jiju Silk Mills for yarn procurement and being a part of my journey . A special thanks to team of Sodhani Boutique for instilling in me the joys of dyeing which led me to this project and helping me in the dyeing and winding process. Also , sourcing and dyeing of eri silk wouldn’t be possible without Fabricplus (Assam) , Thank you to the team of fabric plus .

A special mention to Kalliasseri Weavers Co Operative Society for helping in the yarn winding process

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ABSTRACT

If I had to describe this Graduation project in one line it would be “Every craft tells a story”. This Document is a part of a Handicraft based graduation project for the development of the goan crochet craft cluster of Goa .

India has a huge craft heritage, the crafts of India are diverse, and have rich history and traditional value.

The craft of each state in India reflects the influence of different empires that had ruled their lands. It shows us the change in eras. Throughout centuries, crafts have been embedded as a culture and tradition within rural communities. These crafts are the cultural heritage of India. This Documentation is just a small contribution made to keep preserving and reviving these crafts, entrust this heritage to coming generations.

The key significance of the project is to how sustainability can be incorporated within crochet and also how unique combination of simplicity and craftsmanship, producing elegant, meaningful and ever in-vogue clothing gleefully acceptable within various market segments across ages and gender.

The end products from this project are going to be high end ready to wear range of garments which are designed for the categories: women’s wear and accessories/ kids wear.

Garments and accessories have a use to traditional craft combined with modern aesthetics. Documentation of the product development process and the training of the artisans.

I have been fortunate enough to come across such a beautiful craft and work towards development of it. I met some wonderful people throughout this journey without whom this project won’t be possible.

However, due to Covid-19 I was not able to complete the entire project. The second collection is not entirely completed and doesn’t include prototype development.

But I am glad to present you this document for the design and development of the craft.

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CONTENT INTRODUCTION STATE OF GOA

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INTRODUCTION CROCHET THE CRAFT

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SOCIETIES

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ARTISAN PROFILE

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ISSUES AND CHALLENGES

...... 37

METHODOLOGY

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A GUIDE TO SUSTAINABLE FASHION

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RAW MATERIALS

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COLLECTION 1 – KIDSWEAR

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COLLECTION 1 – WOMENSWEAR

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MARKET PLACE STUDY

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CONCLUSION

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DATABASE OF ARTISAN

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GLOSSARY

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BIBLIOGRAPHY

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INTRODUCTION STATE OF GOA

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ABOUT GOA Located on the Western Ghats of Konkan, Goa is understood as the fourth smallest inhabited state of India . Goa is delimited by Maharashtrato its north, and southern boundaries were shaped by province, while the western coast is made by the Arabian Sea. it’s conjointly thought of because the richest Indian state.

The largest town of Goa is Vasco Da Gama whereas Panaji is that the capital. Margao is known because the historic town of Goa that reflects the Portuguese culture. It is because the Portuguese landed here as merchants initial and conquered the land within the early sixteenth century.

International and domestic tourists visit this little state once a year, in a large number. Tourists area unit interested in its golden beaches, design, and places of worship. it’s a diverseness hotspot and is wealthy in flora and fauna.

Goa is understood for sharing harmonious relationships among its numerous non secular communities, living peacefully for generations. Goa is considered one in every of the best states of Bharat in terms of investment surroundings and infrastructure

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HISTORICAL BACKGROUND Goa is that the smallest Republic of Indian state that lies on the western coast of India. It has a powerful historical background. It attracted the powerful traders, merchants, seafarers, dynasties, monks, and missionaries because it was one among the main commerce centres in Republic of India. Through speedy and continuous transformation in its cultural and socio-economic development, Goa has left a daunting impression.

According ancient Hindu mythology, Goa is coupled with Dasavathar of Lord Vishnu. Lord Vishnu in his Parasurama birth created the region of Goa. He won the war against the someone caste, Kshatriyas, and declared Goa because the land of Brahmins. Since then to the ordinal century, Goa had been a significant Hindu spiritual website. At the start of the 14th century, monotheism invaders took management of Goa however, failed to rule it for long. Since Goa was a port region, it attracted the Vijayanagar reign to require management of the realm at the top of the century. Throughout the height of Vijayanagar’s reign’s prosperity, Goa and its coastal areas were utilized by merchants to import Arabian horses from the center East.At the start of the 16th century, European forces began to reach Republic of India and it had been shortly before Goa was underneath the management of Portuguese and within the same year, Christianity missionaries semiconductor diode by Saint Francis Saint Francis Xavier entered Republic of India. His sublunary remains as preserved in Basilica of Bom Son and it’s displayed each decade. Goa was underneath the management of Portuguese for four centuries and a lot of. throughout now, the Goan culture disintegrated to adapt to civilisation and a singular modus vivendi was born.

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By the top of 1961, the Indian Army took entire management of Goa and also the Portuguese left the country.

Goa was formally declared because the twenty fifth state of Republic of India within the year 1987. After some years, Konkani- the native language of Goa was thought of one among the twenty-two official regional languages of Republic of India. At present, it’s famed for having India’s highest per-capita incomes with fishing, farming, tourism, and iron-ore mining that as the main sources of its economy.

Fig 1.1 Old Goa Church

CLIMATE Goa features a tropical monsoon climate . Goa, being within the tropics and close to the sea, includes a hot and wet climate for most of the year. The month of could is typically the most well liked, seeing daytime temperatures of over 35 °C in addition to high wetness. The state’s 3 seasons are: monsoon amount (June – September), post-monsoon amount (October – January) and weather condition amount (February – May). Over ninetieth of the common annual rain is received throughout the monsoon season.

FLORA AND FAUNA Goa is acknowledged on the planet zoology circuit because it has over 400 bird species. a number of the normally seen birds are cuckoos, pigeons, buzzards, eagles, ospreys, kites, doves, kestrels, kingfishers and woodpeckers. At some remote beaches of province in shallow waters one will see long beaklike dolphins. From September to March the famed Pacific ridley ocean turtles lay eggs on the Agonda beach and Morjim beach. province conjointly has twenty three species of snakes and 4 species of bonkers close to recent province the Cumbarjua Canal is legendary for ‘crocodile safari’. Over 3000 totally different species of plants and flowering trees square measure found in province. The foremost famed tree seen everywhere is that the Cocos nucifera that’s conjointly very helpful for the Goans. Vast trees like Banyan and Ficus religiosa are found everywhere the state. Even plantations like betel nut, jackfruits, mango and cashew unfold everywhere.

Fig 1.2 The road at Para

RELIGION Goa is a secular state with varied religions being practiced freely. Hinduism, Islam, and Christianity area unit the highest religions here. the bulk of the population follows Hinduism. There’s alittle zero.1% of Buddhists, Jains, and Sikhs living during this region. Ancient province was a Hindu region.

Throughout the rule of Portuguese, Christianity was imposed on the population. Roman Catholic was quite common throughout the rule of Portuguese. several churches were in-built Renaissance styled architecture in province. You’ll conjointly realize a number of mosques round the region. Today, all the religions are thriving harmonic in Goa

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PEOPLE

The folks of state are called ‘Goans’. They’re peaceful, friendly and fun captivated folks . The life vogue in province reflects a singular mix of East and West and also the Goans sometimes comprise of a predominantly Hindu and a Christian population and atiny low Muslim community. The provincens speak Konkani that is that the mother tongue of individuals in every and each a part of Goa and is extremely answerable for the unification of the Goan population.

Many people additionally speak English, Marathi, Hindi, and even Portuguese. Portuguese names also are common among the folks in goa thanks to sturdy Portuguese influence. The most occupation of the folks of province is fishing and most of the Goans ar fishermen. Today many people in province additionally contribute to the business trade by promoting their hotels, beach resorts, and giving homes for rent to the tourists in province. Some folks additionally run restaurants that serve a number of the simplest Goan cooking.

OCCUPATION Since it is a coastal area, many communities have fishing as their main occupation. The fertile regions of Goa have many farmers. Top crops cultivated in this region are paddy, banana, pulses, cashew, mango, coconut, ragi, pineapple, maize, jackfruit, and others.A major part of the population has indulged in the tourism industry due to the increasing number of tourists. Apart from these, with the development of the IT field, there is a rise in computer based workers in goa

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Fig 1.3 Fisherman

ARCHITECTURE The design of Goan Catholics has robust Portuguese, Mughal, and Indian influences. It developed over the long colonial Portuguese Asian country era (1500s–1961).

Many of the 16th and 17th colonial Catholic churches were in-built the Portuguese Baroque vogue.

Most of the historic houses still standing were designed between the eighteenth century and also the early a part of the twentieth century, during a mixture of classical and Gothic Revival designs.

Factors that influenced residential style in Goa include:•Protection from fierce seasonal monsoons.

The ancient Baroque design variety of Portuguese-built churches.A European aesthetic/lifestyle was inspired to separate fresh born-again Goan Catholics from their cultural roots. However, they adopted a european outlook but didn’t cut themselves faraway from their Indian roots fully, and resulting cultural fusion affected house style.

Fig 1.4 Fleamarket in goa

HANDICRAFTS OF GOA The native handicrafts of Goa really bring vibrant souvenirs. It’s simple to identify them from look windows and strident insect markets. From complex wood carving to colorful wood work, from durable bamboo craft to delicate paper-mâché, from fabulous terracotta and brassware to art items made of exotic seashells, from intricate crochet and embroidery to rustic jute macramé, from delicate fiber craft to unconventional coconut masks, Goa’s art forms are as varied and colorful because the land itself. The crafts of the state are in an elaborate way stunning, capturing the fancies of tourists and locals alike. These crafts are a mirror of Goa’s perennial beauty and they have won the important acclaim of the connoisseurs of the art world. Goan lace is found here, as are vibrant masks, cotton bags, wood toys, the excellent looking bags and table mats woven from sisal or banana, coconut or pineapple fiber.

The major art kinds of the state embrace bamboo craft, carving, brass metals, shell craft, paper, and wood work. other vital crafts are Jute Macramé, material Collage, Plaster of Paris, Crochet and embroidery, fibre stone carving, coconut shell carving, metal embossing, silver and imitation jewellery, cotton dolls, soft toys, woollen tapestry, and creative weaving. native artists build wonderful souvenirs from a large vary of materials. these items are crafted by skilled artisans within their ethnic atmosphere in the rural areas, and conjointly by artisans engaging at the humanities and crafts complexes go by the govt. The merchandise is sold-out through numerous handicraft emporia and at stalls in the least the most important traveller spots. The art and craft of Goa is the product of the aesthetic blend of Portuguese and Indian culture.

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POTTERY & TERRACOTTA : These are traditional crafts with utility-cum-decorative items produced by the potters with artistic perfection and realistic finish.

The items produced with this craft include flower garden pots, bowls with floral designs, figures of Saints, Gods’ and Goddesses’, animals, ashtrays and penholders, etc.

WOODEN LAQUERWARE/WOOD TURNING : Some of the most exquisite items produced in Goan woodcraft include cradles, baby carts, toys, corner stands, etc. which are used mostly by Hindu families on religious occasions

Fig 1.5 Terracotta and pottery

Fig 1.7 Wooden laquerware

BRASS METAL WARE :While utensils of utility are made of sheet metal (copper), brass metal casting is a craft passed on from one generation to another practiced on hereditary basis. The items produced include oil lamps in various designs, candle stands, temple towers, church bells, ashtrays, etc

CROCHET & EMBROIDERY : Works such as tablecloths, children and ladies garments, pillow, cushion covers and linen form a stunning apparel range

Fig 1.8 Crochet Fig 1.6 Brass metalware

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BAMBOO CRAFT : One of the major crafts industries of Goa is the bamboo craft. The lists of popular bamboo products include flower baskets, mats, letter-holders, pen stands, fans and other decorative items.

Fig 1.10 Macrame bag Fig 1.9 Bamboo Craft

FIBRE CRAFT: Shopping bags, ladies purses, coasters, wall hangings and other essential accessory items used in daily purposes are made of banana or sisal fibre. The major fibre craft centre is situated in Corlim.

COCONUT MASK CARVING & SEA SHELL CRAFT : Mask carving has got a whole new look in Goa as it is done on coconut shells. Sea shell craft produces ashtrays, lamp shades, coasters, chandeliers, curtains, pot hangers, table mats, clocks, mirror frames, etc.

JUTE MACRAME CRAFT: Jute craft is known to be one of the most unique crafts of India and items such as decorative bags, belts, wall hangings, lamp shades, flower pots, hangers, etc are popular Goan souvenirs.

Fig 1.11 Shell craft

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INTRODUCTIONCROCHET THE CRAFT

CROCHET - ORIGIN OF THE CRAFT The word comes from croc, or croche, the center French word for hook, and also the Germanic word for hook is ‘krokr’.

There are several stories regarding the origin of crochet. in line with American crochet knowledgeable and world traveler Annie Potter, “The modem art of true crochet as we all know it nowadays was developed throughout the 16th century. It became referred to as ‘crochet lace’ in France and ‘chain lace’ in England.”

There are some attention-grabbing theories regarding the origins of crochet: One - Crochet originated in Arabian Peninsula, unfold eastward to Tibet and westward to Kingdom of Spain, from wherever it followed the Arab trade routes to alternative Mediterranean countries.

Two: Earliest proof of crochet came from South America, wherever a primitive tribe Three: early examples were celebrated of three-dimensional dolls worked in crochet are seen in China Many sources conjointly state that traces of crochet are found as back as 1500s in European country, wherever nuns of the churches accustomed work, conjointly referred to as ‘nun’s lace’ Tambour gives Birth to Crochet Some of the researches additionally recommend that Crochet most likely developed most from Chinese needlework, a very ancient kind of embroidery noted in Turkey, India, Persia and North Africa, that reached Europe within the 1700s and was named as “tambouring,” from the French “tambour” or drum. At the tip of the eighteenth century, tambour evolved into what the French known as “crochet within the air,” once the background cloth was discarded and the sew worked on its own.

In the nineteenth century, as Ireland was facing the great Irish Famine, crochet lace work was introduced as a kind of famine relief. (the production of crocheted lace being another approach of creating cash for impoverished Irish workers). Men, women, kids joined a cooperative in order to crochet and turn out product to help with famine relief. when Irish people immigrated to dry land, they were ready to take with them crocheting. American ladies, busy with their spinning, weaving, knitting, and quilting, couldn’t help however be influenced to incorporate in their handcraft the crochet skills of their new neighbours Mademoiselle Riego de la Blanchardiere is generally credited with the invention of Irish Crochet, publishing the first book of patterns in 1846.Irish lace became popular in Europe and America, and was made in quantity until the first World War. What Kinds of Things Were Made?

In early centuries, man - and it absolutely was the duty of the men - created his work for sensible purposes. Hunters and fishermen created knotted strands of woven fibers, cords, or strips of material to lure animals and snare fish or birds. alternative uses included knotted game bags, fishing nets and open-worked change of state utensils. Handwork was distended to incorporate personal decoration for special occasions like non secular rites, celebrations, marriages or funerals. One may see ceremonial costumes with crochet-like ornamentation and ornamental trimmings for arms, ankles, and wrists.

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CROCHET AND FASHION – A HISTORY In 16th century Europe, Crochet was developed because the poor people’s imitation of the made man’s lace because the poor folks couldn’t afford lavish lace trimming, gowns, jackets and headpieces Fashions in crochet modified with the tip of the Victorian era within the 1890s. Crocheted laces within the new Edwardian era, peaking between 1910 and 1920, became even additional elaborate in texture and sophisticated sewing. during these times, women were additionally busy crocheting afghans, slumber rugs, traveling rugs, chaise lounge rugs, sleigh rugs, car rugs, cushions, coffee- and teapot cosies and receptacle covers.

There was a revitalization in interest in home crafts, significantly within the u. s., with several new and inventive crochet styles printed for vibrant doilies, potholders, and alternative home things, alongside updates of earlier publications when the II war.

Later in 60’s & 70’s crochet took off as a freeform suggests that of expression that may be seen these days in three-dimensional sculptures, articles of wear, or rugs and tapestries that depict abstract and realistic styles and scenes.

With 90’s coming in, New generation discovering on crochet and popularized granny squares, a motif worked within the spherical and incorporating bright colours.

Although crochet lost its quality, the early 21st century has seen a revival of interest in handcrafts and DIY, also as in improvement of the standard and types of yarn.

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Fig 2.1 Women doing crochet in early 20th century

CROCHET IN GOA Goa has witnessed multiple cultures, thus the land is blend of various cultures and heritage. This can be also seen in the art and craft of goa from Azulejos to Crochet Introduction of crochet to the life and times of the goan culture is majorly attributed to the Portuguese influence that is largely seen in all aspects of goanese society. The craft of crochet came to Goa with the arrival of the nuns and missionaries in the 15th century and from has been passed on from one generation to other. It was started as a craft for high class, the rich and the affluent Christian families. Later the craft was practised by the local women who practiced it in their homes to earn a little extra. Some women carried it further to make it more of a profession with taking large order intake and creating their own shops.

Crochet has become legacy in the goanese culture which has been followed by generations after generation. But with the advent of machineries, the interest in hand made crochet is losing a lot of people are looking for quick and alternative sources of income.

Fig 2.2 Crochet Necklace

Ritual Significance

The uniqueness of the craft lies in the fact that it has a lot of Portuguese influence as a local flavour of Goa. The designs that these artisans follow haven’t been listed or published anywhere and are often passed down generation to generation. It has become a way of life for the Goanese community and crochet is a legacy of their rich culture and heritage. Every household essentially has some items made of crochet and as the tradition suggests, the catholic brides used to bring a lot of crochet items in their dowry. It has ritual significance as every bride brings her crochet and embroidery work as dowry which is then displayed to demonstrate her expertise in the craft.

The craft is not a mere craft, it has emotional value as it passed down from a mother to their daughter and with it the great memories and experiences of womanhood

Fig 2.3 Crochet Toran

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TOOLS AND EQUIPMENTS Threads are intricately interwoven to create delicate patterns and a variety if elegant products.

The crochet pattern is generally woven by using a crochet hook and a thread (either cotton or wool).

Crochet Hook The Crochet hook comes in many sizes and materials, such as bone, bamboo, aluminium, plastic and steel. Steel crochet hooks range from 0.4 to 3.5 millimetres in the size of the hook, or from 00 to 16 in American sizing. These hooks are used for fine crochet work.

Aluminium, bamboo, and plastic crochet hooks are available from 2.5 to 19 millimetres in hook size, or from B to S in American sizing.

The commonly used sizes of the needles in the goan region are 00 to 14.

Texture

The thickness or weight of the yarn may be a vital consider crucial the gauge, i.e., what number stitches and rows are needed to hide a given space for a given stitch pattern. Thicker yarns usually need thicker crocheting hooks, whereas diluent yarns is also knit with thick or skinny needles. Hence, thicker yarns usually need fewer stitches, and so less time, to knit up a given garment. Patterns and motifs are coarser with thicker yarns; thicker yarns turn out bold visual effects, whereas diluent yarns are best for refined patterns

Yarn

Yarn for crochet is typically sold though it should even be wound on spools or cones. Skeins and balls are usually sold with a yarn the yarn’s weight, length, dye lot, fibre content, laundry directions, recommended needle size, like common apply to avoid wasting the yarn band for future reference, particularly if further skeins should be purchased. Crochets usually make sure that the yarn for a project comes from one dye ton.Yarn for crochet is typically sold as balls or skeins (hanks), though it should even be wound on spools or cones. Skeins and balls are usually sold with a yarn-band, a label that describes the yarn’s weight, length, dye lot, fiber content, laundry directions, recommended needle size, possible gauge, etc.

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Fig 2.4 Crochet hook and yarn

TYPES/TECHNIQUES OF CROCHET With the development of the craft worldwide , there are many different types of crochet techniques mainly being Tunisian , Irish , filet , broomstick and hairpin lace.

Tunisian Crochet Also called Afghan crochet may be a variety of crochet that uses an elongated hook, usually with a stopper on the handle finish, known as an Afghan hook. it’s typically thought of to be a combination of crocheting and knitting since some techniques employed in knitting are applicable in Tunisian crochet. For example, just like the intarsia technique. There are a range of stitches that may be created reckoning on how and where the hook is inserted and how the working yarn is control. Tunisian stitches embrace variations on

Fig 2.5 Tunisian Crochet

knit, purl, post stitch, and entrelac, to call some. the material created by Tunisian crochet is slightly less elastic than traditional crochet and additionally thicker. This makes it most fitted for blankets and winter knits, however unsuitable for finer things like babywear and socks.

Irish Crochet Irish crochet lace may be a form of Irish lace that is usually considered an alternate to a true lace.

Introduced as a style of famine relief in19th century, it absolutely was originally developed in Ireland as a technique of imitating overpriced laces. Crochet Lace was historically created with a really fine steel needle and fine crochet linen thread, although trendy Irish Crochet lace is created with mercerised thread. It begins with an overview of the pattern on a piece of fabric. every motif is then crocheted severally, using cotton wire for volume and shaping. The finished motifs ar then basted (sewn with a loose stitch for temporary tacking) onto a material within the form of the pattern. The motifs are then joined exploitation chains and picots.

Fig 2.6 Irish Crochet

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Filet Crochet Filet crochet is a sort of crocheted lace , grid like as a result of it uses solely 2 crochet stitches: the chain sew and also the double crochet stitch. Filet crochet is most frequently worked from a graph or an emblem diagram. Patterns square measure created by combining solid and open meshes, sometimes operating the planning in solid meshes and therefore the background in open meshes. the dimensions of the area is set by the amount of chain stitches between every double stitch.

scarves, shawls, and alternative things wherever an unusual lacy result could also be desired

Fig 2.8 Broomstick Crochet

Hairpin Crochet

Fig 2.7 Filet crochet

Broomstick Crochet

Broomstick lace, also better-known peacock eye crochet, may be a historic crochet technique from the 19th century that is completed employing a crochet needle and another long needle. historically a handle was used, thus the name, however the fashionable variant may be a light-weight plastic needle or smooth wood craft dowel pin. a bigger needle or dowel pin can lead to a lacier result, whereas a smaller can give a a lot of closely woven result. because the material created is soft nonetheless stable.It is well-suited for vesture and blankets. Typical things created using this method includes afghans, baby blankets, Graduation project 2020

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As the name suggests hairpin crochet was traditionally practiced on woman‘s hairpins in the Victorian era. Earlier used for trims, insertions, edgings, collars, or to form rosettes that were used for tablecloths or along the edge of shawls. Hairpin differs from most crochet methods in its use of a frame or loom

Fig 2.9 Hairpin Crochet

USE OF MOTIFS Granny motif A granny square is a piece of square produced in crochet by working in rounds from the center outward.

Granny squares are traditionally handmade. They resemble coarse lace. Although there is no theoretical limit to the maximum size of a granny square, Artisans usually create multiple small squares and assemble the pieces to make clothing, purses, Afghan blankets, and other household textiles. Left over yarns can be effectively used up for multicolour granny square.

The granny square is the most iconic and most used motif in the craft of crochet. However, the square is just the beginning of granny stitch. Artisans adapt the granny square to make granny circles, triangles, pentagons, hexagons, rectangles, hearts, and rows as per the design needs.

Fig 2.10 Granny Motif

Filet crochet Filet crochet is a simple technique which will have beautiful results.Filet crochet patterns are created from open meshes and solid meshes with patterns, so the patterns are crochet charts, not written directions.

The grid-like look of filet crochet is made with solely 2 basic stitches: the chain and double crochet .

The double crochet stitches are accustomed produce the grid and fill in areas, whereas the empty cells are created with chain stitches between 2 double crochets.Since the crochet done in goa is incredibly intricate and delicate, Filet crochet may be a very distinguished stitch.This type of crochet is often utilized in light-weight yarn .

Filet crochet may be a fashionable choice for tablecloths, place mats, curtains, bedspreads or a lace scarf

Fig 2.11 Filet Crochet

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Pineapple motif

Shell crochet

The pineapple may be a very ancient, utterly stunning, crocheted lace pattern.Pineapple patterns (both realistic and symbolic) are found in needlework books dating back to as early as the 1840s.The pineapple motif may be a terribly ancient motif found in Goan crochet signifying the craft’s connection with Portuguese culture.

The pineapple motif may be a very unremarkably used motif and is thought by all the artisans.Historically it had been worked in cotton crochet thread, however nowadays you’ll see it crocheted in any sort or weight of yarn.Today’s trendy crochet styles use the pineapple stitch in fun and attention-grabbing ways that, and there are many variations on the fundamental crochet pineapple motif. Pineapple lace is frequently used to create crocheted tablecloths, shawls, and skirts, however may be utilized in a range of alternative patterns as well.

The shell stitch is a stitch pattern in crochet that can be worked in a variety of different ways. In general, it refers to a pattern in which multiple stitches are worked into the same stitch from the row or round below to create the “shell” shape. For example, a very common form of the shell stitch seen in goa is to work five-six double crochet stitches into the same stitch. The stitches fan out so that they appear to be different heights at the edges, making that shell shape, even though they are actually all the same size. Shell Stitch can be used the Crochet for Bold Embellishment . Variation of shell stitch commonly in goan crochet are fantail stitch

Fig 2.13 Shell Crochet Fig 2.12 Pineapple Crochet Motif

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Irish Crochet

Mandala motif

Irish crochet is instantly recognizable. The common rose and leaf motifs, joined by delicate lace netting, make up a vintage style that dates back centuries — Irish women used to sell these crocheted items (doilies) often used during the potato famine of the 19th century. But the style has come a long way since the days of doilies. Traditionally it was done with thin cotton/silk yarn and was used a substitute of lace. Today, we can find modern spins on the tradition that take the classic motifs and crochets them into innovative patterns. With increasing admiration, it is now seen with a lot of variations. Major products seen include jewellery, handbags, separate attachments, household products etc.

The crochet mandala is a common crochet pattern to work. Mandalas, pronounced as Mon-Dah-Lah, simply means “circle�. They have significance in the meaning of life in relationship to the cosmos. It can be a simplistic design with only one colour and a textured stitch or full of vibrant and varying colours, sectioning off multiple other stitches in the circle pattern. It is very commonly found in Goan crochet.

The main reason could be its spiritual connection in the Hindu religion as well as in Christianity. The circle is about the idea of infinity and the never ending nature of how big a circle can get.

Fig 2.14 Irish Crochet

Fig 2.15 Mandala Crochet Motif

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SOCIETIES

LIST OF ASSOCIATIONS OF THE CRAFT A number of organizations and individuals associated with making and promoting the art of crochet. Two of them are listed here:

Fig 2.16 IHHCOS

INDUSTRIAL HANDICRAFT’S AND HANDLOOM CO-OPERATIVE SOCIETY LTD. Industrial Handicraft and handloom Co-operative Society Ltd. Was established on the fourteenth August 1980. the main objective of this institution was to get self-employment for women. particularly for those that are below the personal income and don’t have adequate qualification in order to be gainfully employed.

This society functions on the road of cottage industry system and initially the society provided training to the women curious about being a part of this society.

The training is provided within the crafts of Crochet, bobbin Lacing, Cross stitch, soft toys etc. Later the stuff for making the final product is supplied to the

participating artisans at their homes or preferred location of working. The artisans also are equipped with a style guide for their reference whereas creating a product. The organization maintains a strict quality control because the merchandise ought to be finally be sold-out within the market. The artisans are paid labour charges for the work done as shortly as they deliver the order.

The organization conjointly undertakes stitching of commercial clothes for factories and establishments. They professionally cut clothes and give them to be stitched, which the artisans pull in, complete it and return it back to the production unit.

The administration of the society is taken care by a board of directors which is spearheaded by Smt. Vijayadevi Rane and Dr. Damodar Bhonsule.

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GHRSSIDC AND APARANT The Goa Handicrafts Rural & small Scale Industries Development Corporation (GHRSSIDC LTD), a Government of state undertaking was established in 1980. GHRSSIDC is registered under the companies Act, 1956. the main objective of GHRSSIDC is to manufacture, sell merchandise of rural, cottage, handicrafts, village industries, and loom and textile merchandise. GHRSSIDC additionally works with aim to encourage, procure and build out there skilled recommendation and steering to undertake and supply all kinds of selling facilities together with export for merchandise of handicrafts, rural, little scale, village and bungalow industries. GHRSSIDC through 10 emporia in numerous locations in goa and one emporium in Dehli and sells and promotes the handicrafts created by the craftsman and thus providing a supply of financial gain to the artists.

The corporation provides impetus to little Scale Industries through its PPS or rate contract theme whereby numerous things like Electrical conductors, RCC pipes, Chemicals, Steel furnishings, wood furnishings etc. is equipped to numerous government departments/autonomous bodies under an annual rate contract from the varied SSI units registered in state. In one among the primary achievements of its kind within the history of the GHRSSIDC, the Central Government has hand-picked the corporation to showcase Goan handicrafts in two of the distinguished and also the biggest international trade fairs.

There is a massive scope to market traditional Goan crafts each in domestic and overseas markets because of distinctive ethnic bit and artistic style of the crafts. The corporation is additionally within the method of characteristic skilled styleers to undertake design development workshops thus on improve the general quality of ancient handicrafts.

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Fig 2.17 Logo of GHRSSIDC

The handicraft emporia originated by GHRSSIDC takes the traditional name of state – ‘Aparant’, which implies the “The land on the far side the end”.

“Aparant” showcases the fascinating vary of Goan handicraft – ‘Creativity beyond the end’. each piece is handcrafted and every piece is exclusive.

They keep various craft forms like: Terracotta Brassware Shell Craft Wood Craft Crochet Azulejos Cane and Bamboo art etc

ARTISAN PROFILE

MEET THE MAKERS Om sateri self-help group:

Mrs. Prema Kumari Shriguri

Mrs Devika D. Kalangutkar started Om sateri selfhelp group as a model trying to commercialise and popularize the craft and to earn a little extra along with their household chores. Mrs Siya vaigankar, Urvashhri U. Uskekar, Sufal kakodkar and Shalini Khandeparkar are the artisans working for the group.

Mrs Devika D. Kalangutkar is practising the craft nearly for 25 years and Mrs Siya for at least 16 years.

The craft is being passed down from generations and has become a part and parcel of their life. Apart from crochet, they also practise other crafts such as artificial flower making, hand and machine embroidery, macramé, applique works and fabric painting. Mrs Devika D. Kalangutkar and Mrs Siya vaigankar are registered artisans under GHRSSIDC and also have trained so many other artisans. In fact, NIFT Mumbai students visit them on annual basis for their Craft Cluster initiative.

Mrs. Prema kumari shriguri, is another artisan who have been practising the craft for at least 40 years.

She learnt the craft from her mother and grandmother. She owns a Shop in Mangueshi and her venture is also named as “Hand Made Crochet Goods”. Apart from that, Mrs. Prema takes participation in state and interstate exhibitions, at least 6 on yearly basis. She has taken part in exhibitions conducted in states such as Maharashtra, Rajasthan, Delhi, Karnataka. She is one of the registered artisan under GHRSSIDC and also have trained so many other artisans/students. Like Om sateri selfhelp group, NIFT Mumbai students visit her on annual basis for their Craft Cluster initiative.

Fig 9.1 Artisans of self help group working

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Fig 9.4 Prema Kumari

Nivedita Walke

Fig 9.2 Nivedita Walke

Learnt the craft from her mother in the age of 12 years, Mrs Nivedita Walke , an architect by profession has started an initiative “THREAD ARCHITECTURE GOA� in 2017 to revive the traditional craft of crochet by incorporating it in ARCHITECTURE n interiors in the form of installation, sculptures n frames.

She and her firm is trying their best to get the craft and artisans its true recognition. Their product range includes dollies , scarfs , coasters , bedsheets , wall hangings and many other house hold items .

Veena Desai

Fig 9.2 Veena Desai

Mrs. Veena Desai , has also learnt the craft from her mother in childhood .She has been practising the craft for more or less 20-22 years. She is being doing crochet as an extra activity and has a full time job in PWD, Fatorda . She is a good clientele and is often appreciated by the customers for her work.

Her product range include Crochet designer dresses, tops, shrugs, ponchos along with home decor products. Like all the other artisans, she takes part in most of the craft fairs organised in Goa.

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ISSUES AND CHALLENGES

ISSUES AND CHALLENGES Gender Classification

This craft is generally performed by women. there were only women registered for this craft. Our world is a male dominating society where selling in a one place with needle and thread wouldn’t really be a sufficient for living can be one of the main reason . Although there are some family members of the artisans who help them with the craft.. Also, considering the earlier history of it being a display of a bride’s skills it makes Crochet a very feminine craft.

designs were just passed down from generation to generations and nobody knows about the origin.

Feasibility

Most of these women would classify just above the poverty line, so for them this a way to make a lure earning and contribute to the family. A very feasible option as they don’t have to go outside their house and can be done along with the household chores.

However, Mrs. Prema one of the artisans we met had a full-fledged shop running in Mangueshi and also visit many craft exhibitions in goa and also other states of the country. Another exception is Mrs. Nivedita who runs a firm named “Thread architecture” and employs around 20 other artisans.

Communities

Crochet in the beginning was a popular craft among the Christians as it was passed down from the Portuguese families to their younger generations. Later as the times evolved. Started as a part-time earning hobby it spread to other religious communities and now mostly being practiced by the Hindus.

When asked the artisans, It was very evident that most of the artisans learned the craft from their mothers, aunts in their teens, and the patterns and

Fig 2.18 Artisan working on crochet

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Social Problem

It started off as a cultural activity which now is only done by the middle aged women as an extra earning source and to kill the time at home. Out of all the artisans few I met, only few turn into entrepreneurs or are being appreciated for their hard work. Due to lack of appreciation some of the artisans are the last in her family to be able to do crochet. With such statistics in mind, when asked if they are teaching crochet to their children most of them conveyed a loss of hope. This is due to the insufficient returns for the effort that they have to put into the making. the craft that requires hands on work is time taking and a very tedious process, mostly underpaid and undervalued.

This discourages the younger generation to continue the craft.

Also, the children are disinterested in learning for the same reason, as now they are educated and can get much more secured options to make their living.

Even the artisans believe that and why won’t they as that earning would surely be more than the average daily earning of Rs. 200-300.Due to such reasons, these artisans feel that this will be the last generation practicing this craft.

Lack of Awareness

Goa is among the most frequently visited tourist destinations in India. So, there is a lot of demand for Goan souvenirs in the state which are mostly the traditional handicrafts of Goa, and Crochet is one such craft.

But the problem arises when there is a lack of awareness among the consumers about the time, efforts, and money that goes into making crocheted products and they start bargaining. The consumer is ready to pay more for the same product that is bought from a particular brand for instance a Forever 21 crochet

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top but is not ready to pay even the actual cost of the product bought from the local markets. Some consumers even prefer machine-made crochet over handmade due to the price range difference. The artisans feel demotivated by such consumer behavior. Although crochet products are appreciated by tourists or visitors from other states, they are very less scope of sales in the state itself.

Design Inputs

Though the craft is tedious and intricate. There is very few design inputs by the artisans. The artisan is not aware of the progress which the world has made in the particular craft., and maybe that’s also a reason why they can’t design products that suited consumer needs and tastes. They keep on producing the same designs over and over and put no thought into being more creative.

S W O T

STRENGTH

Very unique craft Household craft. Doesn’t require to go out or work in a cluster/company on daily basis High Quality.

Products last long, atleast 20-30 years Modern and tourist appeal Require less raw materials No special degree is required by the artisans Goan culture is reflected

WEAKNESS

A N A L Y S I S

Time consuming Restricted to same design and patterns Not ready to explore into other range of products such as garments Not ready to experiment with different yarns Scattered nature of artisans Minimal government support

OPPURTUNITIES

Can be sold through Online platform Can employ many housewives on work from home basis Immense scope for growth in Products Market Design Many more products can be made Sustainable raw materials can be explored

THREATS

Lost craft Not very unique in terms of design Very limited number of artisans Very less wages compared to the time consumed Motifs used are very limited Probably the last generation practising the craft

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METHODOLOGY

METHODOLOGY The main aim of this project was to : To develop a high end fashion collection taking the craft and sustainability in account.

To reintroduce extinct designs and traditional methods in crochet which signify a generational return to this skill of hand.

To make the artisans aware of trend and the market before implementation.

Experimentation of new design and design intervention to create a new sense of value for the work of crochet garments.

Timeline of this project was Conceptualisation Helping in the conceptualisation process of the collections.From mind mapping, sensitising, ideation, colour study Adopting the value of sustainability and slow fashion.

Resource management Mapping availability of raw materials, sourcing Operation, dyeing and logistics.

Design/Prototype development Co creating -working in tangent with the artisans of Goa. Understanding their potential and helping them express their ideas/skills Design development will be based on the research and fieldwork conducted to sensitise the local artisans.

Maintaining a Design book Helping the local artisans to concise and document the different stitches/variations learnt during the project.

Documentation Documenting the different stages of making of the collections through illustrations and visual media.

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A GUIDE TO SUSTAINABLE FASHION

SUSTAINABLE FASHION Sustainable fashion, also know as eco fashion or ethical fashion, is part of the growing trend of sustainability. Processes consider the ethical and environmental impact on the planet and other human beings from creating and manufacturing a product.

Sustainable fashion aims to produce garments using fabrics that are sourced sustainably, produced within an ethical process and will last longer thanks to a higher quality. The entire cycle of a garment from its design to potential uses and lifespan is considered in order for it to be classified as sustainable fashion.

Eco-fashion refers to how the garment impacts the environment Slow fashion addresses slowing down the fashion seasons and refers to increasing the longevity of our clothing Ethical fashion addresses the ethical treatment, pay, and occupational health standards of garment workers and the effect that the making of the garment has on the community it is made in Sustainable fashion the umbrella term that can be used to encompass all of the other terms, and may change and shift with time

Slow fashion

Fig 4.1 Eco fashion

fewer clothes less often to slow the rate of fashion consumption.

Dyes-Natural

Natural dyes are coloured compounds that are sourced from natural resources. No chemical additives are needed to create the coloured dyes.

Multiple approaches to purchasing or owning clothing and fashion such as: rejecting Fast Fashion (mass produced clothing), purchasing Fair Trade or locally made products, buying second hand or vintage garments, choosing ethically made clothing or sustainable fabrics, choosing garments that will last longer and of higher quality, DIY fashion and buying 44 Graduation project 2020

“Buy less , choose well ,make it last�

CONSCIOUS CONSUMER

A conscious consumer is someone who is aware of the negative effects of purchasing items that are not produced sustainably or ethically. For this reason they choose to purchase items that adhere to certain guidelines of sustainability and avoid contributing to mass production and wasteful or harmful manufacture processes.

Transseasonal

Fashion and clothing that fit a timeless appeal and style. They do not follow trends but are transcendent of seasons. These are garments that with last longer and save money for the customers due to the classic design and attractive style.

Fig 4.2 conscious consumer

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-vivienne westwood

RAW MATERIALS

Yarn sourcing

Fig 5.1

100 % pure wool sourced fromBikaner , Rajasthan 32+ micron Courtesy : Wool India

Fig 5.2

Cotton/silk blend yarn , sourced from Bangalore 4nm Courtesy : Jiju silk Mills

DYEING Naturally dyed in Jaipur,Rajasthan Courtesy : Sodhani biotique

Fig 5.3 Natural dyed yarns

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Sodhani biotech Sodhani biotech is a company based in Jaipur, Rajasthan. Passionate about exploring the Natural way of Life; They stand for an idea of being eco-fabulous: With the environment as an inspiration and nature as our guide, a way of life which is the most in harmony with our natural ecosystem.

Why natural dyes?

Minimal Environmental Impact – Because they come from natural sources, natural dyes are not harmful to the environment, which makes it so appealing for consumers. Natural dyes are biodegradable and disposing of them doesn’t cause pollution. Renewable – Natural dyes are obtained from renewable sources that can be harnessed without imposing harm on the environment. Colour pay-off – If you’re going for a soft hue or soothing shade, natural dyes can help you achieve that look.

Safe – Some natural dyes, such as carmine found in lipsticks, will not cause harm or health problems when ingested.

Fig 5.4 logo

What are natural dyes? natural dyes are the colors extracted from plants, animals, and minerals. The majority of these colors are produced from plants. There are many pigments in plants that produce these colors for example chlorophyll in the leaves, carotenoids in the bark, flavonoids in the flowers, and betalains in the fungi. Nature has gifted us with more than 500 dye-yielding plant species. Coloring agents of these plants are derived from roots, leaves, barks, trunks, or fruits. Then there is lac which is extracted from leccifer leca an insect and a common example of mineral dyes would as ocher which is extracted from magnesium ore.

Fig 5.5 Raw materials used for natural dyeing

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Technicalities involved in natural dyes Pre dyeing treatment *Scouring *Mordanting Dyeing of Fabric/Yarn *pH *Material to Water ratio *Time *Temperature Post dyeing care *Washing *Drying

Fig.5.6 Mordanting was done with Alum

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Fig 5.7 DYI sachets

Fig 5.8 Indigo dye preparation

Fig 5.10 Firstly , water is boiled and dye is add for alteast 30 min at 90 degress F i.e (32.2°C ) and the dye solution is cooled

Fig 5.9 Indigo dyebath

Fig 5.11 After cooling again the dye is boiled and yarn is added at 180 degrees F i.e 82.2°C for 45-50 min

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Fig 5.12 After that, Rinse the dyed yarns once or twice to remove excess dye, then wash gently in a neutral liquid soap. Dry away from direct sunlight.

Fig 5.13 Silk yarns

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Fig 5.14 Wool yarns

Fig 5.15

Barn Red Botanical Name : (Pterocarpus santal) Comman Name :Red sandalwood

Indigo Blue Botanical Name : Indigofera Tinctoria Comman Name :Indigo

Fig 5.16

Cuttack Silver Botanical Name :(Onosma Hispidum) Comman Name :Ratanjot

Fig 5.18

Fig 5.17

Garnet Brown Botanical Name : Acacia Nilotica Comman Name : Babul

Fig 5.19

Jaipur Pink Botanical Name :Caesalpinia sappan Comman Name :Sappanwood

Marrakech Red Botanical Name : (Rubia tinctorum) Comman Name :Madder Mallow Gold Botanical Name : (Tagetes) Comman Name :Marigold Wine Red Botanical Name : (Kerria lacca) Comman Name :Lac Candy Orange Botanical Name : (Annatto Bixa Orellana) Comman Name :Lipstick tree, Annatto, Arnatto

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Fabricplus Venturing into the textile sector in 2003, Fabric Plus is the largest commercial producer of Eri & Muga Silk. They specialize in Eri Silk, hand-loom fabrics, finished apparel, and home furnishing. It features as one of the most organized hand-loom setups in India and has played a pioneering role in the promotion of traditional hand-loom fabrics of North East India.

properties, It’s warm in winter and cool in summer which makes it transeasonal

Fig 5.21 The yarn used for the collection are : 60/6 eri silk and 60/9 eri silk Fig 5.20 logo

About Eri Silk Eri silk comes from the caterpillar of Samia ricini, found in northeast India and some parts of China, Japan . The name “eri” is derived from the Assamese word “era”, which means “castor”, as the silkworm feeds on castor plants. Eri silk is also known as endi or errandi in India. The woolly white silk is often referred to as the fabric of peace when it is processed without killing the silkworm. This process results in a silk called Ahimsa silk. The wild silk worm called Samia cynthia ricini is covered by its food, castor leaves in a tribal area of Assam. Before spinning the eri silk cocoons, the moth needs to leave the cocoon and a hole remains. Eri silk could be a staple fiber, in contrast to alternative silks, that are continuous filament. The feel of the material is coarse, fine, and dense. It’s very strong , durable, and elastic. Eri silk is darker and heavier than alternative silks and blends well with wools and cotton. because of its thermal Graduation project 2020

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Yarn dyeing : Organic Dyes such as turmeric , indigo, lac, madder, teak leaf, tea, onion peel, and more along with Azo-Free dyes (chemical free & environment friendly).

Fig 5.22 Dyed eri silk yarns

COLLECTION 1 - KIDSWEAR

DESIGN BRIEF COLLECTION 1 SEASON- A/W 20-21 CATEGORY - Kidswear SUB CATEGORY - Outerwear AGE GROUP- 6-10 years TARGET MARKET - Across the globe TECHNIQUE - Crochet RAW MATERIALS - Naturally dyed chunky sheep wool COLORS USED - Indigo , Lac , Marrakech red , Cuttak silver , Mallow gold , Candy orange SILHOUETTE - Boxy , Loose , Empire STITCHES USED- Moroccon , Popcorn , Afghan , Double crochet, Granny square , Sunburst motif

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FORECAST STUDY

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TREND Large-gauge knits appear via an array of methods, from looped and bouclÊ yarns to oversized cables and exaggerated openwork qualities. Wool, alpaca, cashmere and cotton fibres get interesting in extreme proportions, fitting with the ever-important cosiness theme seen at Playtime Paris and the New York trade shows Also look to tweedy artisan knit details and distressed yarns that have a second-hand feel. Soft pink tones resonate for girls’ early autumn deliveries, while Lurex-infused yams surface for Holiday drops.

Guess

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CLIENT BOARD

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THEME BOARD

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NARRATIVE “Casa de Grandma” is an outerwear kids-wear collection with target market across the globe. The collection pays homage to our ancestral house and cherishes the sweet memories and the togetherness. The collection reinforces the notion of heritage with inspiration stemming from multigenerational dressing. The collection takes you back to nostalgia and steps the inspiration from the objects which are found in the ancestral house such as the antic windows, kilims and grandma’s sunflower “Casa de” is translated as “House of” which is seen in most of the Goan houses name plates. Thus the collection is named as “Casa de Grandma” which means House of Grandma.

I have used chunky sheep wool naturally dyed in organic dyes for this collection For motifs as I said, I have taken inspiration from the nostalgic object and try to derive crochet motifs from it. I have tried different variations of the traditional crochet motifs and introduced some new motifs for the collection.

For the market place, I have chosen an online platform Etsy, about which I have mentioned in this document further.

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MOOD BOARD

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DESIGN PROCESS

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MOTIF DERIVATION

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DIGITAL ILLUSTRATIONS

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IN THE MAKING

Fig. 6.1 Artisan of om sateri self help group working on sweater 1

Fig. 6.2 Artisan of om sateri self help group working on sweater 4

Fig. 6.3 Making of sweater 3

Fig. 6.4 Making of sweater 4

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Fig. 6.5 seperate crochet flower ready for attachment done by Prema mam

Fig. 6.7 making of sweater 1

Fig. 6.6 making of Poncho 3

Fig. 6.8 making of poncho upper part

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PROTOTYPE DEVELOPMENT

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COSTING

SWEATER 1

SWEATER 2

Yarn (550 g)

330

Yarn (550 g)

330

Dyeing charges

600

Dyeing charges

600

Winding

150

Winding

150

Crochet charges

900

Crochet charges

900

Cost of operation

400

Cost of operation

400

2380 Mark up x 50% of profit

5950

SWEATER 3

2380 Mark up x 50% of profit

5950

SWEATER 4

Yarn (550 g)

330

Yarn (550 g)

330

Dyeing charges

600

Dyeing charges

600

Winding

150

Winding

150

Crochet charges

900

Crochet charges

900

Cost of operation

400

Cost of operation

400

2380 Mark up x 50% of profit

5950

2380 Mark up x 50% of profit

5950

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SWEATER 5 (YELLOW) Yarn (550 g)

330

Dyeing charges

600

Winding

150

Crochet charges

1200

Cost of operation

400 2680

Mark up x 50% of profit

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COLLECTION 2 - WOMENSWEAR

DESIGN BRIEF COLLECTION 2 SEASON- Transeasonal CATEGORY - Womenswear SUB CATEGORY - Haute couture TARGET MARKET - Across the globe TECHNIQUE - Crochet RAW MATERIALS - Naturally dyed Cotton/silk blend , Eri sik COLORS USED - Indigo , Lac , Marrakech red , Garnet brown, Candy orange , White SILHOUETTE - Flare, Bodyfit , Empire STITCHES USED- Shell , Crocodile Afghan ,Double crochet, Granny square .

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FORECAST BOARD

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CLIENT BOARD

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THEME BOARD

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NARRATIVE Working on this project, I had a very common word, ‘Indo-Portuguese” and also about how there is blend of Portuguese culture in goa, So I thought of imbibing the roots of the goan culture into my collection and then I came across the historic event “Goa Inquisition”.

Goa inquisition was an extension of the Portuguese Inquisition in colonial-era Portuguese India. The Inquisition was established to enforce Catholic orthodoxy in the Indian dominions of the Portuguese Empire. It highly impacted the culture of goa .

Through this collection, what I am trying to portray is the transition from a pre modern /traditional to a modern society during the inquisition reimagined in the form of crochet. I have taken inspiration from the traditional costumes and stylized/modernised it according to the ongoing trends/taste of the consumers.

English Captain Alexander Hamilton declared Goa a ‘“Rome of the Orient” which means Rome of the East, he did not the compliment it is thought to be today. He derided the city of Goa, for he felt that it had been taken over by missionaries. So that’s how I came up with the name of the collection Raw materials: Since it is a haute couture collection, I have used a classic fibre: silk. The two yarns used in this collection are silk/cotton blend and Eri silk. Due to the properties of this yarns and the silhouettes, The garments are qualified to be trans seasonal. The yarns are naturally dyed using organic dyes.

While choosing the audience, I also kept in mind the demographics of goa and the neighboring cities like Mumbai, Hyderabad, Bangalore in mind because this cities do not experience extreme winters and hence Tran seasonal garments can be easier to popularize in such cities

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MOOD BOARD

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DIGITAL ILLUSTRATIONS

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IN THE MAKING

Fig 7.1 Swatch development for ensemble 2

Fig 7.3 Swatch development for ensemble 3

Fig 7.2 Swatch development for ensemble 2

Fig 7.4 Swatch development for ensemble 3

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Fig 7.5 Cuff part for emsemble 2

Fig 7.7 Upper part for emsemble 2

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Fig 7.6 bra for ensemble 1

Fig 7.8 Fabric development for emsemble 3

Fig 7.9 Making of Skirt of emsemble 4

Fig 7.10 Making of Skirt of emsemble 4

Fig 7.11 Making of Skirt of emsemble 4

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Fig 7.13 Making of Skirt of emsemble 4

Fig 7.12 Different swatches ready for attachment for Ensemble 2

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COSTING

EMSEMBLE 1 Yarn (1.5 kg)

EMSEMBLE 2 Yarn (per kg)

2100

1400

Dyeing charges

900

Dyeing charges

600

Winding

450

Winding

300

Crochet charges for skirt

3000

Crochet charges for the cloak

Crochet charges for bra

1000

Cost of operation

Cost of operation

600

Mark up x 50% of profit

12075

EMSEMBLE 3 Yarn(1.5kg) Dyeing charges

6750 900 720

Crochet charges for skirt

3000

Crochet charges for bra

1200

Crochet charges for scarf

1500

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Yarn (per kg)

15570

4500

Dyeing charges

600

Winding

480

Crochet charges for skirt

3000

Crochet charges for bra

1200

Cost of operation

600 10380

800 14870

Mark up x 50% of profit

8850

EMSEMBLE 4

Winding

Cost of operation

600 5900

8050 Mark up x 50% of profit

3000

Mark up x 50% of profit

15570

EMSEMBLE 5 Yarn (per kg) Dyeing charges Winding

4500 600 480

Crochet charges for skirt

2500

Crochet charges for bra

700

Crochet charges for jacket Cost of operation

1500 800 11080

Mark up x 50% of profit

16620

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MARKET PLACE STUDY

MARKET PLACE The main occupation of the people of goa is fishing. Apart from that, Tourism is also an income generating sector in goa. Apart from this, handicraft is a sector which employs many people. Despite of this, there is no good scope of market for goan handicraft products in goa because of lack of awareness among the consumers and low earning. Most of the products are about either by the elites or the tourists.

Some of the artisans even participate in exhibitions happening outside the state in metro cities like Mumbai, Delhi , Hyderabad. In such scenario, there is a need of a new market/ platform which can do justice to the craft and the craftsmen.

Fig 8.1 Etsy

ETSY

Selling Etsy is widespread as a side-business,as well as a place to shop for merchandise made from recycled and upcycled materials along with less expensive or strange versions of mass-produced things. The distinctive nature of many of the things available is part of their attractiveness to some shoppers. Product photos on Etsy tend to be editorial or artistic rather than commercial catalog vogue. Sellers will add tags to their product to assist patrons notice them, and patrons will prefer to look for things on the market regionally. Etsy staffers publish lists of featured things.

Creating a store on Etsy is free; but, every listing that’s denote within the look prices $0.20. every listing can stay on the shop’s page for a most of four months, or till somebody buys the merchandise. the costs of product are set by the shop owner, however Etsy claims five-hitter of the ultimate sale worth of each listing. shop owners are sent a bill at the top of each month description the fees Etsy has charged them, and that they have till the 15th of the subsequent month to pay the fees. Sellers will select that payment choices to offer consumers, including credit cards, debit cards, and PayPal, among others.

Etsy is an american e-commerce website targeted on hand-crafted or vintage things and craft supplies. these items be a good vary of classes, together with jewellery, bags, clothing, home ornamentation and furnishings, toys, art, as well as craft supplies and tools. All vintage things should be a minimum of twenty years previous

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Fig 8.2 About etsy

Fig 8.3 About etsy

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Fig 8.4 About etsy

SHOPIFY

AMAZON HANDMADE

Price: Monthly plans start at $29 USD plus transaction fees For many makers, the next step in growing their business is to scale their sales with a Shopify store.

Shopify is an all-in-one commerce platform that allows you to sell online, in a retail store or pop up shop, and through social media.

Shopify’s multi-channel solution is user-friendly, with hundreds of templates that can easily be customized to reflect your branding. Shopify also lives on your domain, which means you own your store and customer list, and it offers flexibility with plans and pricing tiers to support a variety of business needs. In addition, Shopify offers merchants powerful analytics and built-in marketing tools. In fact, many current Shopify merchants started on Etsy and migrated when they were ready to grow their businesses.

Price: Artists are charged a 15% referral fee with a $1.00 USD minimum Amazon dominates many areas of retail, and it might not be the first place a shopper would look when searching for something handmade and unique. However, that didn’t stop the retail giant from entering into the craft and artisan marketplace.

Handmade at Amazon offers a makers an Amazon storefront to sell their items.

Benefits include shipping through Fulfillment by Amazon as well as Amazon sponsored ads. The costs are higher than other marketplace platforms, though, with Amazon taking a 15% commission per transaction as well as a monthly membership fee, depending on the number of items listed.

Fig 8.5 Shopify Fig 8.6 Amazon

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CONCLUSION

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CONCLUDING THOUGHTS “What all the many thousands of beautiful and unique craft expressions in India have in common is that the weavers, potters, carvers, painters, embroiderers, goldsmiths, and others who create such beauty with consummate skills and knowledge enjoy few of the fruits of their labour. Protecting and preserving these skills and knowledge is a major challenge; ensuring that they provide viable livelihoods for their owners is an even greater one” -Maureen Liebl and Tirthankar Roy

India, a blend of extravagant cultures and tradition is a perfect place for one to experience the variety in craft culture. A craft to its state is a proudly come with stories and experiences with a rich tradition, I have been lucky enough to be a part of one such craft: Crochet of Goa. In today’s time, where we are constantly progressing towards tech-savvy consumerism such crafts remind us of our roots and how rich our heritage is.

The craftswomen have developed their craftsmanship over the years allowing them to do the beautiful work which has been presented in the document. I am glad to have experienced first-hand information to the insights to their craft, their skills, and their lives. What made this journey really special for us was the warm and welcoming nature of every artisan that I met in Goa. To read about them or the craft through books and the internet is one thing but to go out there and see them work is another.

The experience of documenting a craft is incredible. The craft has an admirable intricacy and the skill required is unimaginable. I cannot imagine ourselves stepping into the artisan’s shoes. Their skills and dedication towards the craft are phenomenal. By observing an artisan - a person with high skills and experience of many years, we get to learn how humans are capable of becoming a medium to create something so beautiful, all because of practice and passion towards their work.

This project was certainly a reminder for the efforts that go into this craft and still how lowly it is valued.

There have been numerous reasons cited responsible for the death of the craft, some being the requirement of high skills and interest by the younger generation. Mostly underpaid and undervalued is mainly one of the main reason that discourages the younger generation to continue the craft.

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By this project, I have tried to cover the crochet craft to show the possibilities that design intervention and integrating sustainable practices with the craft. It has been a challenge to put together this document together. Although I hope that all my endeavors would have somehow helped in reviving the craft or at least helped the future audiences to generate new concepts to help this craft evolve.

Fig 10.1 Crochet making process

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GLOSSARY

GLOSSARY Ahimsa - Ahimsa is an ancient Indian principle of nonviolence which applies to all living beings.

Assamese- An Indic language spoken mainly in Assam.

Azulejos - A form of Portuguese and Spanish painted tin-glazed ceramic tilework Dasavathar - The Dashavatara refers to the ten primary complete incarnations (avatars) of lord Vishnu Eri silk – Kind of silk which is obtained from caterpillar of Samia ricini Goan - A native or inhabitant of the Indian state of Goa. Goan Catholic - Goan Catholics are an ethno-religious community of Christians following the Roman Rite from the state of Goa on the west coast of India.

Konkan - Konkan is a part of India. It on the west coast of India. The coastal areas of Maharashtra, Goa and Karnataka are all part of Konkan region.

Kshatriyas – A member of the second of the four great Hindu castes, the military caste. The traditional function of the Kshatriyas is to protect society by fighting in wartime and governing in peacetime.

Parasurama - Parashurama is the sixth avatar of Vishnu in Hinduism

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Ratanjot - Ratanjot is an herb in the borage family.

Its main notability is its roots are used as a dye. It is found in western Himalayas from Kashmir and Kumaun at altitudes of 2,000-4,500m Toran - Toran, ‘Toranam, also known as Bandanwal, refer to a decorative door hanging in Hinduism, usually decorated with marigolds and mango leaves, or a string that is tied on the door with the flower on it as a part of traditional Hindu culture on the occasion of festivals and weddings.

Vijayanagar Empire - Vijayanagar, (Sanskrit: “City of Victory”) great ruined city in southern India (in present-day southwestern Andhra Pradesh state) between 1336 and about 1614.

BIBLIOGRAPHY

BIBLIOGRAPHY Article name: Goa https://en.wikipedia.org/wiki/Goa

Article name: Fabricplus https://www.fabricplus.in/home/yarns/

Article name: Brief history of Goa URL: http://www.goachamber.org/item/brief-historyof-goa/

Article name: Eri silk https://en.wikipedia.org/wiki/Eri_silk

Article name: Handicrafts of Goa URL:https://goa-tourism.com/handicrafts Article name: History of crochet Author: Ruthie Marks URL:https://www.crochet.org/page/CrochetHistory Article name: Crochet Knitting Author: Prof. Bibhudutta Baral, Divyadarshan C. S. and Sandhya B. URL http://www.dsource.in/resource/crochet-knitting-panaji-goa/introduction Article name: About IHHCOS https://www.facebook.com/ihhcos/?ref=py_c Article name: About GHRSSIDC https://www.goa.gov.in/department/goa-handicraftsrural-and-small-scale-industries/ Article name : COSSAC https://cossac.co/pages/ecohot-dictionary Article name: Sodhani biotech https://www.naturaldyes.in/

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Article name: Etsy sellers https://www.etsy.com/market/sellers Article name: Amazon sellers https://services.amazon.in/ Article name: Shopify sellers https://www.shopify.in/sell Book Reference Moda Goa Author: Wendell Rodricks

National Institute of Fashion Technology (NIFT) is an autonomous fashion design and technology institute with headquarters located in New Delhi, India. NIFT currently has 17 campuses spread across the country. National Institute of Fashion Technology Kannur also called as NIFT Kannur is one of the 17 campuses of NIFT. It is located on the outskirts of Kannur, Kerala. Knitwear design is understanding and creation of textiles under an exclusive category of fashion – Knitwear. The curriculum takes inspiration from both art as well as craft tradition and equally lays emphasis on craft

surveys, design and documentation. The end of the students’ academic tenure at the National Institute of Fashion Technology is marked by the culmination of a substantial investigation in the field of design on a topic closely allied to their discipline of study.

It is through the graduation project and subsequent documentation of the same that this investigation takes place.The book is the respective documention of graduation project of the author in a handicraft Goan Crochet.