GRADUATION PROJECT
Purva Bansal Deprtment of Fashion and Design (Batch of 2017-2021)
INDEX Connecting the dots Research Inspiration board Concept Note Mindmapping Moodboard keyword Color board Form exploration Silhouette Board Silhouette detail board Intial sketckets Ideation Fabric Board Final range Look Board
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Connecting the dots
ORGANIC
Taking forward this inspiration from previous project “oshadhi” and i start to dervire the keywords which i reflect from the project and take that forward .
NATURAL DYING
ECO-FRIENDLY . ECO-FRIENDLY ECO-FRIENDLY . ECO-FRIENDLY ECO-FRIENDLY . ECO-FRIENDLY ECO-FRIENDLY . ECO-FRIENDLY ECO-FRIENDLY . ECO-FRIENDLY ECO-FRIENDLY . ECO-FRIENDLY ECO-FRIENDLY . ECO-FRIENDLY ECO-FRIENDLY . ECO-FRIENDLY BOTENICAL ECO-FRIENDLY . ECO-FRIENDLY ECO-FRIENDLY . ECO-FRIENDLY ECO-FRIENDLY . ECO-FRIENDLY ECO-FRIENDLY . ECO-FRIENDLY ECO-FRIENDLY . ECO-FRIENDLY ECO-FRIENDLY . ECO-FRIENDLY ECO-FRIENDLY . ECO-FRIENDLY ECO-FRIENDLY . ECO-FRIENDLY
Self- Expression
Organic
Engaged
Authen�c Recycle/ upcycle
Transparency Identity
Freeflow
Connec�on
Focus on detailed Connecting the Dots
Natural color
Reference
Minimal Sustainable Pure Play with Color
Individuality
Soulful
Refressness
Brainstorming
Keywords which i want to take and reflect furture. After working with industry based project and take that project forward in MDP i derived these keywords which i connect with the project and reflect forward.
Things which I reflect from my industry based mdp and their are alots of things which i reflect from the process of the brief.
Initial concept development Taking forward the keywords the ini�al ideas comes with using the final keywords which represent Iden�ty , expression, play with colors and individuality.
colors Random thought
Art
I always belive fashion and architecture are Inter connected with each other so i though to take the architecture as my initial point.
Cra� Culture
Architecture
I always very fasinated about the mughal architecture and the royal architecture, their detailes are very integrated & detailed, even in my level 4, I worked with a mughal architecture, but this �me I wanted to explore the different part of the world and Extract something from them.
Bolivian Architecture Bolivian culture is very diverse, it includes people of Spanish origin, descendants of the colonizers, indigenous groups from the Andes and mes�zos. Bolivian culture is very diverse thanks to the differing origins of the Bolivian people
They used natural dyes in their textile to bring out the color
e images
Iden�ty expression play with colors individuality via These keywords reflect the boli . ture itec arch
Bolivia is a place where i found the Culture, craft, colors, art & archeicture.
Always fascination about the architecture once i read about this architecture and the architect which very exists me and connect with me and reflect me, these keywords with in it, so i thought to take this architecture as my inspiration, and more researched about the freddy mamani who is the creator of theses architecture and researched more about his culture, community and his work. Bolivia, the land where “the border between the heaven and earth” exists, is the reflection of a past that is rich in rituals, cultures and traditions.
Freddy Mamani Creator of Neo- Andean Architecture
INSPIRATIO
Andean icongraphy with Tiwanaku geometric mo�fs.
He belives Architecture has its - own language - own Identity - own Essence
Combining all of those geometr Ancestors n the interier and ext
He want to express their "With my architecture I w
Freddy Mamani Silvestre is a Bolivian architect noted for his development of the Neo-Andean architectural style. His work is most associated with the city of El Alto and with the new social class of upwardly mobile indigenous Bolivians. Mamani, in his mid-40s, has established the dis�nc�ve New Andean architectural style, which is characterized by a design vernacular that both reclaims cultural mo�fs and sends them hurtling into the future on buildings that have been likened to spaceships.
In their c own cult fes�val,b defines t Mamani bricklaye this style more des sharply a green, an
Through Arcgeicture he’s showing who they are, what they want, what they have
ON BEHIND THE WORK
Use of bright colors. ( Refer to their tex�le)
ric designs used by their terior parts of the building
culture and iden�ty through these buildings want the world to know that Bolivia has its own identity," - Freddy mamani
community he belives they have their ture, customes, art, music, dance and but they don’t their archeicture which their culture so in 2002 ,Freddy professionally, got his start as a er and completed his first building in e in 2005 and has since created dozens sign that incorporate circular windows, angled rooflines and vibrant pink, nd orange facades.
e
What is Architecture Identity ? The identity of architecture is often conceptualised and portrayed as an immutable or historically continuous entity within certain existing areas of architectural design, heritage conservation, architectural history and literature.
Why identity is important ? It is an important element to identify perspective, represents the thoughts of its own people, thereby creating distinctive architecture in various periods and locations
Architecture shold speak of its time and place, but yean for timelessness -Frank Gehry
History
The Aymara is a na�ve culture of about 3 million people who live mostly in Bolivia, Southern Peru, & Northern Chile. Their tradi�onal language is the Aymara. They have dis�nct tradi�ons in colorful tex�les and music that they've developed over thousands of years. They're called the Aymara tribe. The Aymara culture has many tradi�onal aspects.It’s indigenous to a plateau called the al�plano in the towering Andes Mountains.The aymara culture is a pre-inca culture which gave birth to the Tihuanacota empire which extended over the al�plano from the 5th century BC to the 12th century AD, before being invaded by the Incas and then Spanish. In spite of these invasions an aymara iden�ty, with tradi�ons, language and religion, survived and cons�tutes even today a strong iden�ty of the inhabitants of the al�plano; par�cularly of the departments of La Paz and Oruro.
Rich indigenous color pallete of derived from amayara community
Textile
AYMARA CULTURE Freddy Mamani who belongs to Ayamara culture and take inspiration from it. Researched more about his culture and community.
The Aymara are known for excellent weaving skills. Using wool from l alpacas, and fibers from plants like co�on, the Aymara create beau�f with bold geometric pa�erns and colors. Colors come from natural d include bright blues, greens and pinks, as well as rich dark tones.behin prac�ce they use it as a way to tell stories & art expression. The way and the colours are used varies depending on the landscape the comm are surrounded by. The tex�les are called "mantas" or "aguayos" the in their everyday life to go to markets, carry food, carry babies, or use blankets and rugs.
llamas and ful tex�les dyes and nd the they weave muni�es ey are used ed as
Music
Costumes
Music is very important to the Aymara people. For centuries, they've used it for rituals, in ceremonies and for fes�ve occasions. Prior to European contact, early Aymara instruments included several kinds of pipes and flutes, like the zampoña or panpipe. It's some�mes also called a siku. Women wear their tradi�onal polleras (skirts) made of fine materials, such as velvet and brocade.They wear embroidered shawls & bowler hats. Women wear long, homespun skirts & sweaters.The skirts are worn in layers. For fes�vals or important occasions, women wear as many as five or six skirts on top of each other. Brightly colored shawls are used to strap babies to their mothers' backs or to carry loads of goods. Aymara men in the wear long co�on trousers and woolen caps with ear flaps. In many regions, men also wear ponchos. Both sexes may wear sandals or shoes, but many go barefoot despite the cold.
Symbols
The Wiphala (from the Aymara word meaning “flag”) is a square shaped flag consis�ng of forty-nine small squares in a seven by seven grid, in the colors of the rainbow gradua�ng from the brightest to the palest, which also derived from thier indeginous symbol. The “chacana” or Andean cross is a recurrent symbol in the original cultures of the Andes. Its shape is that of a square and stepped cross, with twelve points.
The indigenous Aymara women have centuries of experience of knitting and weaving distinctive woollen hats, sweaters and blankets. Now, they are
People, iden�ty, and indigenous Art
Indigenous Presence in Bolivian Folk Art. Folk art in Bolivia: Celebration of everyday life, they influence their indigenous tradi�ons in diffferent expressions of the bolivian life, such as tex�le, basketweaving, wood and silver and community celebra�on. It is es�mated that there are more than 370 million indigenous people spread across 70 countries worldwide.Prac�cing unique tradi�ons, they retain social, cultural, economic and poli�cal characteris�cs that are dis�nct from those of the dominant socie�es in which they live.
Textre and weave using to create the pattern
applying their expertise to a hi-tech medical product - which is used to seal up a "hole in the heart" which some babies are born with.
El Alto is the largest city in Latin America with an indigenous majority population. Throughout Bolivia’s history, El Alto and its cholitas have been known for their revolutionary spirit. The term “cholita” is derived from “chola,” a phrase used to refer to indigenous or mixed-race women in a derogatory manner. The word “cholita” is now used in a positive light when referring to indigenous women throughout Bolivia. Centuries ago, Spanish colonizers forced their Bolivian servants to wear the puffy skirts that have come to symbolize the country's "cholitas," or indigenous women. The costume as a symbol of "identity and pride." Bolivia is home to a unique style of art and architecture known as Mestizo Baroque, created when the traditional religious art brought by the Spaniards was combined with the styles of the indigenous Bolivian people. Bolivian art demonstrates itself through a variety of mediums, including painting, sculpture and pottery, to name a few. The diversity of the country and its people, as well as the colorfulness of everyday life in Bolivia makes for great pieces of artwork.
Architecture
The el alto Architecture before the neo andean Architec
Futuristic Mantion
- Showing & unhold the identity of archeicture - Exuberant act of self expression - Functionality - Bold Departure
The level of the cholets as represent three realms that Aymar Alaxpacha - The world Above Akapacha - The world we inhabit Manqhapacha - The world below
Building Of a stylevthat some might describe as psyc
Cholets , El Alto, Bolivia
Freddy Mamani Silvestre's buildings in Bolivia feature a similar setup—there's commercial space on the first floor, a ballroom on the second, and apartments above that, and all of it is crowned by the owner's living space. They also happen to be designed with the most vividly colorful façades and interiors that, before Mamani came along, had never before been seen in the world of architecture, let alone in his predominantly brick and adobe hometown of El Alto, Bolivia. buildings are so dis�nc�ve that they've got their own nickname: "cholets," a portmanteau of the ethnic slur "cholo" and the Alpine architectural style "chalet."
Inside you'll find dizzying shapes formed with plaster Technicolor with oil paints, adorned with LED lights an and visually mul�plied with mirrors.
it incorporates lines and mo�fs from a very ancient architecture, from the imperial capital of Tiwanaku, which he visited the archeological s school. "he wanted to rescue these lines and mo�fs from Tiwanaku, and imbue contemporary architecture with these ancient forms."
the geometric shapes found among the ruins – which include depic�ons of condors, pumas and other natural forms – and blends them into l organic designs that also reference elements like mountains, lightning, animals and flowers. "All of these elements from Tiwanaku can be t symmetrical forms in contemporary architecture," hei belives. "This architecture has its own language, its own culture, its own iden�ty, and these ancient ideas into the contemporary city."
ra belive in
chedelic Baraque
site during high
o more figura translated into d translates
These are the basic elements which reflect the idea of inspira�on of andean iconography from �ahuanaco culture and the bright colors in freddy mamani work, pacement of the form, color and the iden�ty of his culture.
and rendered in nd chandeliers,
Built rapidly over the past three decades to accommodate this influx, the city's urban sprawl is predominantly constructed from traditional adobe mud bricks and similarly hued modern versions.
cture ( the brick house)
Form of thermocol which blend with POP
Similar type of work of freddy Mamani in El-Alto So their is alot of similar work that resemble the freddy mamani work, his work is more asymmetrical And the use of color is very prominent which catches your eyes. So the differenciate in their work is Glass( Not play with the reflec�on of the class- Not in Sixze,nor in space) Color(Freddy Mamani love to explore with the unique color style and play with shade of it) form & shapes are also very different from mamani’s work
Similar work of freddy Mamani
But he always belive that if somebody is using this tpes of archeictre, they are also represent their culture and community.
The biggest impact the different cultures had upon the Cuban capital can be seen in Havana's colonial architecture, with a strong Moorish and Spanish influence, including Italian, Greek and Roman styles.
Similar types of indeginious colorful ci�es around the world
havana cuba
The architecture of only by Dutch colon climate and archite the Caribbean regio in trade
W
At the conclusion when i start reseach about these similar type of architecture, i feel like these are colorful a neo- andean architecture reflect their own identity with a modern approch.
Similar type of modern and colonist architecture
f Willemstad has been influenced not nial concepts but also by the tropical ectural styles from towns throughout on, with which the se�lement engaged
Willemstad, Curaçao
Pelourinho retains a vibrant repertoire of colonial Portuguese architecture, exemplified by the Mannerist decora�on of the Cathedral of Salvador, the Baroque intricacy of the Church and Convent of São Francisco and the Church of the Third Order of Our Lady of the Rosary
Pelourinho, Salvador, Brazil
The colonial architecture includes some of the best Baroque and Churrigueresque examples in the New World—such as the Valenciana, Cata, and La Compañía (Jesuit) Churches, and the Basilica of Our Lady of Guanajuato. Most construc�ons from this �me are of pink or green sandstone.
Guanajuato, Mexico
architecture which reflect their own identity and culture and their ansesters, but which is also very familier, but the
Both fashion and architecture do the following similarities i.e, shelter hum beings and are designed around their proportions. they are composed of skin and structure [needle, threads, materials, columns, paneling etc.], and entrances and exits [zippers, holes, doors, windows etc.]
Textures, colors, Layers, Combination, contrast, what is stle, what is need
Identity- architecture - fashion
Reflect - individuality/
A�er researching about their History, culture and Indigenous Art Prac�ces i felt like i want use the visual language of the buildings strongly to showcase this hidden community. such community hold a value for their art and It is seen all over. it has influenced architecture deeply and that i wanted to show the visual identrity of the building in garment.
Inspira�on Board
Geome red
yellow
green
orange
blue
Colors
etric pa�ern
thickness
Forms
Am ho Fre be no mo
Ma pu de an str arr pa All Sym
Iw sim str Ma Eac of
Pic source: Pintrest
CONCEPT
mong its unpainted brick houses, the Bolivian city of El Alto is also ome to the eye-catching and irrelevant buildings designed by eddy mamani. These buildings that also called "cholets", were the eginning of a dis�nc�ve style that emerged in the early 2000s ow called Neo- Andrian architecture. it defies colonialist and odern architecture, and reclaims Aymara culture and heritage.
amani uses tradi�onal indigenous symbols, like the Condor, umas , natural forms – and blends them into more figural organic esigns that also reference elements like mountains, lightning, nimals and flowers, the Andean cross, & his construc�ons feature raight lines, diagonal rangement and geometric shapes, and incorporate the rich color ale�e of indigenous tex�le. l of these elements from Tiwanaku can be translated into mmetrical forms in contemporary architecture.
was fascinated by the unique geometry of his work as well as the milari�es between the construc�on of these buildings and the inner ructure of tailored Garment. This collec�on itself a transla�on of amani's new andrean style, colors ,and shapes in wearable form. ch garment features a head-to-toe look, demonstra�ng a wealth color and texture.
Struc Edgy Lines
Repetation
Functionality
symme
Story-telling
Transparency
Variation
Balance Individuality
Neo-Andrea Connection
Futuristic Joineries
Bright Colors Shapes
Sgni
Perspective
Color blocking
Articulated
Par
Mindmapping
ctured
Impactful
Reflection
etrical
Impression Unique
Identity
Fenestration Layering
Geometry
an Architecture Culturally
ificant Minimal
d
rellel
Redefined Representation two - dimention
Transformation
Spacing
Mood Board
Keywords Individuality Futuristic Bright Colors symmetrical Structured Identity
Color Story Now, i reflect back to the concept, and Tried to understand it, these reminiscent colors help to derives my color story forward. In this color story i tried to derive the color palle�e from my inspira�on of bolivian Architecture and the ayamara culture and the the bright colors from their tex�le and their costumes of women in the bolivian city. To extract the color, from architecture i a�empted a color ac�vity, in which i collect different architecture of freddy mamani in each color to keep all the architecture in one color together and start extrac�ng the color in variety of shades.
Pic source: Pintrest
PANT
TONE 2028 C
PANTONE 348 C
PANTONE 2387 C
PANTONE 218 C
PANTONE 348 C
PANTONE 2347 C
Pic source: Pintrest
Extract colors from Architecture
Monologous, analologous, complimentry color tone
PANTONE 2028 C
PANTONE 348 C
PANTONE 2028 C
PANTONE 2387 C
PANTONE 2347 C
2D Form Explora�on A�er Derived the color palle�e, i look forward to explore the 2d- form in which i segregate each group of Architecture and start bisect the lines, forms, shapes and the geometric pa�ern.
A�er derived the 2d form and shapes of the archiect I stated looking moreover to covert thes sh 3d, but when i start more research about thes get to know the interes�ng fact about these bu art work which freddy mamani did is breaking the Architecture”. He convert all those artwork into 2both outside and inside.other then the front side of remaining were into just in bricks.
So i thought to take his two-dimen�on aspect and conv on into the garment.
So i start looking forward to the silhoue�e which inspired and reflect the derived forms and shapes.
ture, hapes into se building i uilding that the e “law of - dimen�on even in the architecture
very those two dimen�-
d these futuris�c element
Silhouette Board
STRUCTURED
Layering
Panelling
Asymmetrical
tailored fit
In this Board, I took silhouette inspiration from tailored fit garment in autumn winter collection which basically reflects the idea of neo- andean architecture in the foam of shapes, forms and arrangements.
Detail board
Pleats
neckline
POCKETS
e In this Silhouette detailed board i tried to drive the detailed construcion part which i want to expore and take that forward , so their are different parts of silhouette which i will explore that is, sleeves, neck/ collar,pockets,
PIPING
EYELETS
HEM LINE
Initial sketches
Looking forward the silhoue�e inspira�on and the form deriva�on i started the rough sketches to explore into garment, and convert those 2d forms and shapes into rhe construc�on detail and the form of silhoue�e.
Idea�ons Taking forward the idea of ini�al sketches and the 2d forms and shapes, i start making the idea�on for the men’s collec�on to translate those forms and shapes into the garment.
Fabric board
In this fabric board I tried to used available material like Co�on, Blends, linen, and some kni�ed fabric which is available to me and Dyed colors according to the color palla�e because of the pendamics I was not Able to go to market and explored the fabrics, so i thought to work with a available material and expore with the dye. even this thing os also connected to their tex�le
Final Range
Final range
Look 1
Sleeves patch pocket
Fabrics patch piping
PANTONE Rubine Red C
Middle attatch pocket
PANTONE 508 C
PANTONE 214 C
Colors
Flat Sketch
Hoodie with front long zip
Double stand collar Removeble pannel Removeble pannel collar
excess pannel attactch button
Double layering sleeves
excess pannel attactch button
middle cuff with attatch string to create gatther
Cut out hemp
Double went pocket using pocket square
patch pannel pocket
side zip
patch with piping
patch with piping highlight with stitch line
middle cuff with attatch string to create gatther
Front
Bank
Look 2
Fabrics
placket
PANTONE 2410 C
Square button
PANTONE 4216 C
PANTONE 7488 C valcrow flap
Unsymmetrical pocket
PANTONE 387 C
Colors
Flat Sketch
excess layer
Band collar
elastic pleatted sleeves
flap with zip
elastic flaps
zip pouch pannel with patch
Eyeleds with string
Unsymmetrical Hemp
Front
Bank
Look 3
Fabrics
PANTONE 504 C
PANTONE 4010 C
PANTONE 1525 C
PANTONE 151 C pocket
PANTONE 143 C
pannel with piping
PANTONE 2016 C
Colors
Flat Sketch
stand up collar
double layered pannel double layered pannel layered pannel layered pannel
pannel with piping Loop
Double went pocket using pocket square elastic waist band
Front placket rollup
Front
Bank
Look 4
middle cuff with attatch string to create gatther
Fabrics
PANTONE 533 C
PANTONE 4154 C
m
PANTONE 647 C
PANTONE 542 C
waist double bely
iseam pannel
PANTONE 544 C
Colors
Flat Sketch
Layered pannel
High neck
cold shulder with patch
Panel patch pocket
over pannel with pannels
middle panel with piping unsymmetrical hemp Broad cuff
Elastic back
patch panel
pannel with piping
unsymmetrical hemp
Look 5
Higligh�ng inside detail
Fabrics
Notch La
PANTONE 1805 C
PANTONE 2347 C
PANTONE 1555 C
Excess holder pannel
PANTONE 533 C
Top laye
PANTONE 170 C
Colors
Flat Sketch
Y- shape seam line Peter pan collar
apel Back patch with a�atch pannel
Patch pocket with weld and a�atch with excess fabric
Excess pointed a�ach pannel
Welt pocket
overlapp a�atch pannel
overlapp a�atch pannel
Roller up sleeves with cuff
Front
Contrast pannel
Welt pocket Bu�on hole cu� out patch with patch weld pocket
er Blazer a�atch Pannel with Cut out Contrast side line
pannels
Front
Bank
weld pocket with pocket square