‘A Hand Towards Indian Handicrafts’ -Tanishq A Graduation Project Report submitted to Department of Fashion Communication NIFT-Bengaluru In partial fulfillment of the degree of Bachelor’s of Design in Fashion Communication Guided By Mr Sanjeev C. M. (College Mentor) Mr Chitti Babu (Industry Mentor)
Submitted by Saloni Gautam FC -VIII Roll No-BD/14/978
Department of Fashion Communication National Institute of Fashion Technology Bengaluru - 560102
‘A Hand Towards Indian Handicrafts” A Graduation Project Report
Acknowledgemnt My Internship at TANISHQ, was in its truest means,a journey in itself that has influenced my life and helped me grow in many ways. Due to which I am here to express my deepest gratitude towards all those who have been an eternal part of it. First of all, I would like to express my deepest gratitude towards my Industry mentor Mr Chitti Babu for his faith and support throughout the project, my senior team member,Mr Yakshit Goel for his constant guidance, support and encouragement and my other team member, Mr Shankara for his guidance on production process. I would also like to thank all the other members in theVisual Merchandising team, my H.R manager, my co-interns, colleageus and other staff for all their support and help during the course of my internship.They all have helped me learn and grow each and every day and has contributed to this project in some or the other way. I would also like to thank National Institute of Fashion Technology for including Graduation project in the curriculam. A special gratitude goes out to my college mentor Mr Sanjeev C. M. for his tremendous support and constant guidance throughout the project, and last but not the least, my family for their mental and financial support, without which, this wouldn’t have been possible.W
Declaration I Saloni Gautam, hereby declare that the Graduation Project, titled ‘A Hand Towards Indian Handicrafts’ - Tanishq, is a record of original work undertaken by me for the award of the degree of B.Des in Fashion Communication. I have completed this study under the supervision of my college mentor, Mr Sanjeev C.M. and my industry mentor, Mr Chitti Babu. I also declare that this graduation project thesis has not been submitted for the award of any degree, diploma, associateship, fellowship or other title. I hereby confirm the originality of the work and that there is no plagiarism in any part of the dissertation. Place: Bengaluru Date: 1st May, 2018
Saloni Gautam Reg No BD/14/978
Certificate This is to certify that the Graduation project titled “A Hand Towards Indian Handicrafts-Tanishq� is a record of work done by Saloni Gautam, (Roll Number-BD/14/978) as a Regular student for the degree of B.Des Fashion Communication during the period of Dec 2017 to May 2018, which represents as independent work and does not form the base for any previous work.. PLACE: Bengaluru DATE : 1st May, 2018
Under the Guidance Mr Sanjeev C.M. Assistant Professor Department of Fashion Communication National Institute of Fashion Technology Bengaluru - 560102. ------------------------ (External Jury Member)
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Joining Letter
Relieving Letter
Contents 1. About the Brand..............................................................14 2. About the Project..............................................................16 3. Organizational Structure....................................................18 4. Project 1-Latur Store Craft wall Design.............................18-55 (i) Project Brief........................................................................21 (ii) Location Study....................................................................23 (iii) Craft wall Details...............................................................25 (iv) Research work....................................................................28 (v) Brainstorming.....................................................................30 (vi) Stories and Concepts............................................................33 (vii) Sketches...........................................................................40 (viii) Final Design....................................................................42 (ix) Design Specification.............................................................47 (x) Prototype Sampling..............................................................50 (xi) Final Outcome....................................................................55
5. Project 2- Kalyan Store Craft wall Design...............................57 (i) Concepts............................................................................58 (ii) Explorations.......................................................................61 (iii) Final DesignVariations........................................................69( iv) Project Status......................................................................77
6. My Learning...................................................................81 7. Bibliography...................................................................82
The Brand
Coined by the company’s founder Mr Xerxes Desai, by marrying the words ‘Tan’ meaning body and ‘Nishk’ meaning a gold ornament, Tanishq is a name synonymous with superior craftsmanship, exclusive designs and superlative product quality.The journey started as a joint venture with J. R. D.Tata in 1986, with support from the Tamil Nadu Industrial Development Corporation, It started with the launch of 18K gold watches studded with precious stones, which soon grew into a 22K gold jeweller. .A blend of traditional values coupled with a modern outlook, Tanishq caters to the women of today, who knows her mettle, takes pride in her roots and do not shy away from dressing up and accessorising the Indian way.
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Organizational Structure Visual Merchandising Team Graphics
Visual display
RVM (RegionalVisual merchandiser)
Event
Audit
Execution
BTL (Below the Line)
ATL (Above the Line)
ABM-Area Business Manager
Marketing
RBM-Regional Business Manager
Marketing Agency Ad Agency
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Craft Integration Sequence of Project IRSG Internal Retail and Space Group (New Stores)
RVM Regional Visual merchandiser (Existing Stores)
Visual Display Stylists (Special Cases)
Chitti Babu
Anoop
Events Hoardings
Yakshit
Shankar
ROM (Retail Operational Material) AV Graphics Installations
Quality Check
Craft Project
Bill Packaging
Saloni Craft Project
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The Project
The project aims towards inducing a local flavour in Tanishq retail environment, through innovative use of regional handicrafts in the form of different elements in space, to create a welcoming experience, closer to the cultural and geographic context of the store, helping consumers relate and appreciate the interior environment and have a deeper connect to the brand. The idea is to work directly with the artisans and craft clusters and bridge the gap between the traditional and contemporary, urban and rural, raw and finished, while working towards sustaining/promoting and reviving the handicrafts of India.
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Project Latur The Project was to design a craft-wall for Latur’s store space, in Maharashtra, taking inspiration from the regional handicrafts, with wedding as a theme, to help customers connect to the brand at a deeper level.
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Planning and Procedure Understanding the location Understanding the store space Market research Regional craft research Research on jewelleries Wedding rituals and beliefs Research on architecture Ppt. presentation Feedback Brainsorming Concept generaton and ideation Craft selection Initial sketches Presentation Feedback Finalization of Design Concept Sketches (options) Approval of design Final design-detailing Design specification Prototype Sampling Final Design
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Latur- Location Study
Location and Cultural Influence- Located near the Maharashtra–Karnataka state boundary, Latur is a city in the district of Latur in the state of Maharashtra. Latur is well connected and majorly influenced by several major cities like Hyderabad at a distance of 297 km and Pune at a distance of 327 km.The place has a cultural influence from both Karnataka and Andhra Pradesh region. Dance and music are important to the people of Latur.The most popular dance forms practised in Latur are Dhangari Gaja, Lavani and Povadas Language-The primary language is Marathi, but Urdu, Telugu, Gujarati, Kannada are also spoken. The people of Latur comprise mainly of Hindus, Muslims, Christians and Jains (Jain Marwaris).There are also smaller groups of Sikhs, Buddhists, Zoroastrians, and Jews as well.The district is primarily agricultural with an urban population of 25.47% . Potential customers- Govt. officials (district headquarters), professors (there are approximately 90-100 higher secondary educational institutes), service class people, Small traders etc. Industries: Oil mills, nutcrackers, locks, stoves, brassware, milk powder, ginning and pressing Industrial centres: Latur, Udgir, Halli, Handarguli, Devni, Murud, Ahmadpur Main markets: Latur, Udgir, Ahmadpur
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Craft Wall Details The Craft wall is just above the staircase, next to the store’s entrance and is approximately about 7 by 10 feet in width and height respectively. There were several concerns regarding the design because of the staircase in the area.
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SOLITAIRES
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BEAM BOTTOM - 6'-8"
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billing 2
SDP
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DOUBLE HEIGHT AREA
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billing 1
LVL +3"
POS
HIGH VALUE/ STUDDED ZONE
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BEAM BOTTOM - 6'-8"
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BEAM BOTTOM - 6'-8"
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PLAIN GOLD
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SOLITAIRES SIGNAGE
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meter
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karat
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STUDDED 1
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08 BUST DISPLAY
WEDDING ZONE
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UP
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ENTRANCE
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DWG NO.
DRAWN BY
REV NO.
AK CHECKED BY SCALE
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TRANSACTION
KARIGAR ROOM
karigar table
CCTV ROOM
LADIES TOILET
IRSG
DATE
NTS
PUGAL
O-MIRROR
MR
GENTS TOILET
PROJECT : TANISHQ LATUR DRAWING TITLE : FIXTURE PLAN
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TITAN COMPANY LIMITED 132/133 DIVYASREE TECHNOPOLIS, YAMALUR POST, OFF OLD AIRPORT ROAD, YAMALUR, BENGALURU-560037
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BEAM BOTTOM - 6'-8"
BEAM BOTTOM - 6'-8"
TU
ELECTRICAL PANEL
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BEAM BOTTOM - 6'-8"
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fridge
Water Dispenser
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CCTV/ SERVER
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PANTRY & LUNCH ROOM
B.O.S ROOM
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LOCKER
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Latur Store, Plan
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PROJECT : TANISHQ LATUR
DWG NO.
DRAWN BY
DRAWING TITLE :
REV NO.
AK CHECKED BY SCALE
FIXTURE PLAN
PUGAL
IRSG
DATE
NTS
TITAN COMPANY LIMITED 132/133 DIVYASREE TECHNOPOLIS, YAMALUR POST, OFF OLD AIRPORT ROAD, YAMALUR, BENGALURU-560037
5'-11"
artwall 5" 9'-18
W-P
Craft Wall ELevation
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ResearchWork The Project required a detailed research on a number of topics which was the basis for the concept development stage of the design process. It included research on the regional handicrafts, festivals, history, architecture, wedding rituals and ornamentation.
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Mundavlaya
Ambada Veni Phool
Nath
Mohanmala
Chooda
KolhapuriS aaj
Jodvi
Belpaan
Tode
Thushi
Kudya
Putli Haar
Wedding ‘Marathi Weddingand and‘Saaj’ Saaj Marathi (Ornamentation) Marathi Wedding (ornamentation)
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Brainstorming After the research work was done, brainstorming on ‘Marathi Wedding’ helped in the initial concept development and idea generation stage. Following are a few visual elements that have been extracted out of the brainstorming sessions.
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Stories/Concepts Following are a few concepts that came up after the research work and brainstorming. Concept development part was a major part of the design process along with being the most time taking one, as each and every concept went through several changes after subsequent feedback.
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Concept 1
The Royal Bride The design is inspired by Jharokhaas, found in palaces, temples and wadas across Pune to give a Royal touch to the space, denoting that the bride is no less than a princess.The main highlight of the design is the ‘Jharokhaas’, whereas the whole wall is divided into two parts by using two contrasting colours, as in the picture below. (Picture reference- Handmade In India)
Feedback- Too much architectural element taken as inspiration. Design could be more abstract and not so direct.
Pic. reference-Trishund Ganapati temple, Somwar peth, Pune.
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Concept 2
The Flower of Marriage
Based on a very important ritual in Marathi wedding called ‘Saptapadi’, in which the bride takes7 steps and touches 7 heaps of rice one after the other, which depicts the 7 vows of marriage, where each leaf has a description on each vow or there’s a decription of the ritual at the centre (an infographical design). Also, the shape of the leaf could be similar to that of beetel leaves as it is considered very auspicious and is used in many rituals.
Craft Options:Himroo, Paithani, Banjara Embroidery, Metal casting, pottery , Patua Kaam, Bidriware, Kolhapuri Jewelleries. Feedback-A circular design would leave a lot of negative space on the huge rectangular wall.
‘Saptapadi’ is translated from Sanskrit, meaning ‘seven steps’. Saptapadi, or the taking of seven steps by the bride and the bridegroom before the sacred fire, is considered to be the rite of prime importance in solemnizing a marriage.
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Concept 3 TheWedding Invitation The design is inspired by the ancient way of sendng wedding invitations, called ‘Patras’ or scrolls, where the whole design is to be scaled up to the size of the craft wall, with two men with ‘Tutaris’,an instrument whcih has its connections with the Marathi royal traditions. .
Craft Options:Himroo, Paithani, Banjara Embroidery, Patua Kaam, metal casting, pottery , Bidriware, Kolhapuri Craft Feedback-Too much space for infographics area.
Tutari: The Tutari in Maharashtra, a bugle-like instrument, has its connections to royal traditions.Basically, tutari was used to making or announcing of arrival of kings or lords and has been a major part in the old Marathi tradition..In the tradition of Palkhi in Maharshtra, people used to play Tutari to indicate march of saints or their deities.
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Concept 4 Griha Pravesh The design is inspired by the ritual ‘Griha Pravesh’ which is welcoming of the bride at groom’s place after marriage and the ritual Saptapadi (7 leaves in the 2nd figure which represents the 7 vows of marriage). .
Craft Options:Metal embossing, metal casting or Bidriware for the frame, Banjara embroidery for Kalash, Feedback- Too much empty space inside the frame, too direct depiction of the concept.
Vadhu Griha Pravesh is a very important post-wedding ceremony which signifies welcoming of the bride by the groom’s family.The bride turns over a vessel filled with rice, which signifies that her arrival has increased the house’s wealth and prosperity manifold, resulting in overflowing of the vessel.
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Concept 5
The ‘Framed Palki’ (Approved Concept).
The design is inspired from‘Palkis’ or Palanquins, which have long been associated with the royal and the powerful, were a major part of the ancient Indian history, and were the basic mode of transporattion back then. It has also been associated with weddings, where it’s used to carry the bride to the groom’s house.
Craft Options- Jaali work inspired from the local architecture. (Material -wood or MDF) Feedback- The design looks too geometric and closed.
Layout Samples (Evolution of the final layout)
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Layout Samples (Hand sketched)
Final Approved Layout 41
Final Layout (Digital sketch)
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Design Details (Hand sketched)
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Starting Afresh After working on the design details, and having a discussion with the team, we concluded that the wall would look very heavy in terms of design, compared to all the other walls in the space. So, we decided to pick an element from the design and come up with something more simple, adding to the aesthetics of the space. So, after a little brainstorming, we came up with the idea of a frame, taking Peacock as an element from Paithani sarees. (frame for a life size visual of a Marathi Bride).
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The design is inspired from the motifs and patterns used in Paithani sarees, which is considered to be very auspicious and an integral part of a Maharashtrian bride’s trousseau. ‘Bangadi mor’-The peacock motif The meaning of the word‘Bangadi’ is bangle and ‘mor’ is peacock. It is one of the most important motif that is used in Paithani sarees, which is usually woven onto the ‘Pallu’. Peacock is symbolic of the qualities such as royalty, grace, pride and mysticism, and is also consiered as an icon of beauty, love and romance in ancient literature. History suggests that the Peacock has been considered a symbol of royalty and had been adopted by both Rajputs and Muslims in their royal courts.
Step by step illustration of the final design (hand-sketched).
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Final Frame
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Design Specification After the design got approved, there were other details that needed to be specified before sennding it to the store frainchisee and then the vendor, such as the dimensions, placement of the frame on the wall, material specification, costing, installation details etc.
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Final Approved Design With Dimension Details Dimensions Installation Details
Peacock54 by 84 Inches Dimensions Peacock-54 Outer oval- 40byby8468inches inches Outer Oval- 40 by by 62.5 68 inches Inner oval-33.78 inchess Inner oval- 33.78 by 62.5 inches Brackets-12 by 20 inches Brackets -12 by 20 inches Suggested Material-TeakWood or MDF
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(On the wall)
Dimension 2.5 by 2.5 inches Square box
5’’
WALL
6’’
2’’
41.6’’
12 mm space for 10 mm sunboard
13’’
Dimension Details (in Inches)
Installation Details
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Prototype Sampling After the design got approved by the store franchisee, there were several discussions on costing and material, and then the design details were sent to the vendor for making the prototype in MDF. To cut cost, the whole design was scaled down and the thickness of the MDF was kept minimum.
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Version 1
3d renders (from the vendor) Final Approved Version (picture below)
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Version 2
Final Prototype
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Final Execution in Store
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Location : Panvel,Mumbai, Maharashtra
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Project Kalyan The Project was to design a number of craft walls for Kalyan’s store space, in Mahrashtra, taking inspiration from the regional art and craft. Since, a big part of the research was already done in the previous project, this project didn’t require much research work, and the project started with the concept building stage.
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Concept 1
TheWarli Peacock
The idea was to use the peacock motif and come up with a design for the wall, with Warli as our craft inspiration, adding a more subtle and sophisticated touch to the tribal art form of Mumbai.
Craft Options:Warli, Paithani, Metal casting, Metal Strings, pottery , Patua Kaam, Bidriware, Kolhapuri Jewelleries,. Feedback-Warli is too tribal for the brand.Could explore with more crafts
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Concept 2
The Stringed Peacock
The idea was to use peacock motif and come up with a design for the wall, taking stringed musical instruments as our inspiration , trying to represent Warli in a subtle, non-tribal and 3-dimensional way.
Craft Options:Warli, Paithani, Metal casting, Metal Strings, pottery, Patua Kaam, Bidriware, Kolhapuri Jewelleries,. Feedback-Execution part may not work out.
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Explorations Taking inspiration from the a few stringed, musical instruments like ‘Mayur Veena’, keeping peacock as the main element, following are a few explorations.
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Starting Afresh The concept got rejected with the feedback that the visual representation of the design in 3-D form could be hard to execute.The project demanded a design/concept, more in terms of space design,compared to the previous project,as there were 2 symmetrical space that had to be designed, rather than designing a stand-alone craft wall.
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Concept Building Initial Explorations (Hand sketched)
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Concept 3
Himroo Mirror wall The idea was to take inspiration from Himroo craft and come up with a wall-mirror for the store craft wall. Since, the idea got selected, I did not have to explore much on the design elements as I have directly taken motifs from Himroo shawls.
Design Reference
Craft Options:Himroo, Paithani, Metal casting, pottery, Patua Kaam, Bidriware, Kolhapuri Jewelleries,. Feedback :Concept got selected. Asked to work on variations.
(Design reference- motif from Himroo Shawls and mirror wall).
Himroo is a fabric made of silk and cotton, which is grown locally in Aurangabad, Maharashtra.The word ‘Himroo’ originated from the word ‘hum-ruh’ which means similar. Himroo is a replication of Kum-Khwaab, which was woven with pure golden and silver threads in olden days and was meant for royal families.
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CraftWall Details:Central square wall for picture - 10 by 10 feet Sqaure wall at sides- 9 by 10 feet Feedback:Place the actual visual at the centre to have a better idea.The whole space as a whole including the aisle area and the surrounding space, would look a little too empty for a 9 by 10 feet wall. Need to work on more variations for the design.
A variation of the final design, as per the demand of the space. 71
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Variations Following are a few variations for the placement and design of the craft wall mirror, with the visual placed at centre for better understanding of the actual output.
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Visual
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Project Status The project is still going on and the design hasn’t been finalised yet. Once the design is approved, it will be sent to the store franchisee and then the vendor for prototype making.
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My Learning and Experience Having a huge respect and love for all the Indian traditional art and craft, and being fortunate enough to study a number of craft clusters in detail (in our course curriculam), I had an amazing time working on this project, related to craft and space design. Browsing through books like ‘Handmade in India’ and other books on handicrafts, during the course of my Graduation Project, not only helped me increase my knowledge, but also my love and respect for these wonderful crafts and art forms all across India. Talking in terms of design, I have improved my knowledge on concept building, research work, aesthetics and design sensibility, software skills (digital illustrations) and understanding of space on how to add a craft element ino a space, in a subtle way, keeping both the craft and the space alive.
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Bibliography Websites
Gatha.com https://www.craftscouncilofindia.org/indian-crafts-map/maharashtra/ https://www.maharashtratourism.net/art-craft/index.html https://www.itokri.com/collections/crafts-of-india https://www.globalhandicrafts.org/collections/accessories craftsvilla.com http://grandeurmaharashtra.com/paithani-saree/ http://handlooms.nic.in/writereaddata/Paithani%20sarees%20and%20 Dress%20Materials635701517283000941.pdf https://www.craftsvilla.com/blog/paithani-saree-the-story-of-the-queenof-heirlooms/ http://www.handicrafts.nic.in/ThemeCrafts/Home.aspx https://blogvirasatehind.com/2016/12/30/peacock-in-indian-art-depiction-in-different-cultures/ https://www.speakingtree.in/allslides/peacock-the-national-and-sacredbird-of-india/52216 https://issuu.com/estd97/docs/cluster_document.compressed https://issuu.com/akritijain1992/docs/koyilandy_hookah_-_draft_1 https://issuu.com/varunkp/docs/binder1 https://issuu.com/krishnendhuak/docs/applique Picture References -Wikipedia.com
Books
Roots of Indian Art- S.P. Gupta The Ajanta Caves- Benoy K Behl Handmade in India-M.P. Ranjan, Aditi Ranjan Crafts Atlas of India-Jaya Jaitley Bombay Art Deco Architecture-Navin Ramani The Art of ancient India-Susan L Hurlington Pattern and Ornaments in the Arts of India- HenryWilson Crafting the Indian- Kalshoven Asian Paints Colour Next’17-Asian Paints Limited
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