CRAFT CLUSTER PROJECT O22.11.19-07.02.20
CRAFT INTERNSHIP with rangsutra
IIAD X RANGSUTRA CRAFT CLUSTER PROJECT
Nurturing fabrics and embroideries closely with their heart and soul in it,, Photography - Sanya mangal Artisan - Shabana Banu
COLLABORATION & PROJECT BRIEF The project broadly aims at familiarising us with the indigenous crafts retained in Indians rich cultural heritage. The craft project is live industry brief in collaboration with Rangsutra Crafts India Limited. Limited Rangsutra is a company started in 2006 , owned by a community of artisans across rural India. It acts as a bridge between rural artisans and global consumers in order to develop sustainable livelihoods and revive India’s rich craft heritage. It believes that our communities of artisans, particularly women, deserve economic opportunities, and it aims to keep alive the rich tradition of their craftsmanship in a rapidly changing urban market. It is an opportunity for us to work as design consultants and create outcomes targeting Ransutra’s Spring Summer 2021 collection . The Project started with field-visit to Sandhila district in Hardoi, Lucknow to understand and appreciate the finer nuances of various cultures and craft practices in their village. It was an hans-on experience for learning the traditional craft of Chikankari along with empowering women artisans. The project also serves an opportunity for the students to analyse the Indian and East Asian approach to clothing, clothing focusing on the textiles, patterns, drapes, forms and details. Further, the primary research & documentation of chikankari craft in Hardoi has to be taken forward to design a thematic collection which is as per the guidelines provided by Rangsutra. The project includes: 1. Documentation of culture, lifestyle and crafts practices from hardoi. 2. Hands-on experience on Chikankari craft from Hardoi 3. Rangsutra design brief for Retail 4. Studying the Indian and East Asian clothing traditions through research and technical inputs 5. Concept development inspired from the field-visit 6. Market and Trend research for Spring Summer 2021. 7. A group collection prepared for Rangsutra.
ABOUT Rangsutra is a company started in 2006 by Sumita Ghose, owned by a community of artisansacross rural India. It acts as a bridge between rural artisans and global consumers in order todevelop sustainable livelihoods and revive India’s rich craft heritage. It is a company of artisans from remote regions of India – the deserts of Rajasthan, hill regions of Uttaranchal and Assam. It believes that our communities of artisans, particularly women, deserve economic opportunities, and it aims tokeep alive the rich tradition of their craftsmanship in a rapidly changing urban market. Their goal is to ensure sustainable livelihoods for artisans and farmers, by creating top quality hand made products based on the principles of fair trade and a celebration of India’s rich craft heritage. Envisaged as a bridge between – Artisans and customers – tradition and the contemporary – change and continuity Rangsutra’s core value is respect for both the producer and customer. They ensure a fair price to the producer as well as quality products to the customer. Profits earned from sales go back to ensure a better life for the communities, as producers are shareholders in Rangsutra. Fabindia and IKEA are Rangsutra’s retail partners. It has its office in Rajasthan, Varanasi and Delhi.
Older artisans said crafting with needle brings them closer to their ancestors and history. It reminds them of their cultural identity. It is a form of expression which also helped them earn a livelihood and empower.
PHILOSOPHY For many artisans, craft is not only limited to a source of income. It is sort of an expression that is closely interweaved into to their history and identity. These crafts and their lifetales These crafts become a form of the foundation of each Rangsutra handcrafted product. Each one may be a celebration of the distinctive andlongstanding tradition of Indian style.
WHAT YOU WEAR HAS A VOICE
Rangsutra store in Dastkar
Few interesting silhouettes and details of Rangsutra garments.
Their product range includes womenswear, menswear and soft furnishings. Their color palette and theme volves around the commjunities crafts come from. They use variety pure cottons such as khadi, slubs , mangalgiri etc. for their collection. Their products price range from Rs 12,50 to Rs 7,000.
Dessert Embroidery
HANDLOOM
A social enterprise owned by over 1800 artisans most of whom are women artisans. Each of their products are handcrafted using regional and generalised crafts rooted within the traditions of various communities in India. Crafts likeApplique, Tie and Dye, Handloom, Desert Embroideries, Kashmiri Embroidery, Ralli and Chikankari embroidery are the pillars of Rangsutra.
TIE & DYE
applique
CHIKANK
Chikankari also known as ‘shadow work’ is an ancient form of embroidery that is intricately worked with needle and untwisted thread of cotton on sheer fabric. The word ‘chikan’ is a derived from the persion word ‘chikin’ or ‘chikeen’ which means a embroidered fabric. It is mainly known for its fineness, delicacy sheer excellence of skill, play of textures and even for its subtle appearance. ORIGIN The art of Chikankari has been practiced in Lucknow for almost more than two hundred years. However, it did not originate in Lucknow rather it flourished in the Mughal Court at Delhi in the 16th and 17th centuries.The origins of chikan are shrouded in mystery and legend. According to few historians chikan is a Persian craft that evolved in the Mughal Court of the Emperor lahangir by his beautiful and talented consort Nur lahan. The queen was a talented embroiderer. The king was pleased with this ethereal, white floral embroidery that it was soon given recognition and royal patronage. Workshops were established wherein this embroidery was practiced. Chikankari was traditionally done tone-on-tone embroidery i.e. only on pure, un–dyed white shazaada cotton or Dhaka ki mulmul, both sourced from Dhaka, Bangladesh. The katcha daagha, the thread used for the embroidery, was also white and procured from Calcutta or Dhaka. After the decline of the Mughal Dynasty, the artisans and craftsmen scattered across the length and breadth of India. Some settled in West Bengal, so for some time chikan flourished in Kolkata, though it is no longer practiced there. Some fled to the Northern state of Awadh and settled in the royal courts of the descendents of Burhan ul Mulk a Persian nobleman, who had found favour with the last Mughal king, Bahadur Shah I and was appointed as the governor of Awadh. EVOLUTION Due to contemporarising, there was an evolution on the types of fabrics being used due to the market demads. Cotton fabrics like mulmul, slubs are commonly used. Use of georgette, silk and other blends arfe also explored. Embroidery threads of cotton, polyester, blends of cotton and polyester, and silk have been introduced in the craft of Chikankari. Also, embellishments like sequins, mukaish and other beads are also explored creatively now byt the brands and designers. In the modern period the art of Chikankari has survived the loss of royal patronage and has suffered deeply at the hands of commercialization, yet it has managed to stay alive as a tribute to the skill and will of the crafts persons who have handed down this technique from one generation to another.
KARI
LUCKN
THE CITY OF NAWABS The project started with a vistito lucknow, heart of chikankari craft. The trip really helped us understand the traces of the culture, roots, traditions, people architecture and the craft in the city. Lucknow is the largest city of Uttar pradesh and has retained a rich nawabi cultural heritage since 18th and 19th centuries. Historically, the capital of Awadh was controlled by the Delhi Sultanate which later came under the Mughal rule.It is a multicultured city but mostly dominated with the beautiful Islamicand persian culture.. The roots of the city are interlaced within the Hindu and Muslim cultures representing the intense history it has been through. Even after witnessing tremendous modernization, Lucknow has managed to retain its age-old charm and glory. Hindi and Urdu is still considered the prime language. people are polite, humble and soft spoken i.e. Tehzeeb - the mannerism ‘pahle aap’. They also have a worm for poems and most of them are quite poetic even when they talk. They also give a lot of importance to dance, music and literature and are likely to appreciate perfection in everything. The cuisine of Lucknow has its own distinct individuality and identity. The true sense of Lucknow also lies in its busy markets and galiyas such as Aminabad, Hazratganj and Old Chowk. The traditional food of Lucknow was highly patronized by the Mughals thus giving it a very royal touch. The royal chefs and cooks were trained to give that distinct royal touch and regal look to anything they cooked. The Awadhi cuisine of Lucknow is known for multiple varieties of biryani, kebab and bread. In the little lanes and bylanes of Chowk and Hazratganj you can also find artisans working away on chikan work garments and zardozi embroidery. In between you will also find tiny establishments which specialise in perfumes, known as ittar locally.
NOW
A
Photography by Sanya Mangal Reflecting upon the journey...
ARCHITECTURE REFLECTION OF LUCKNOW
Through the visit i observed how with time , the nawabi culture have been dimishing and the city is losing it’s cultural essence. But even today, the city’s magnificent architecture still retains the history and culture in itself. The palette, jali work, motifs, the rustic texture, broken bricks talks about the generations it has touched through. Each and every every detail communicates it’s significance of that time is what fascinated me the most. Like jali work was done in reference to ventialtion amongst the tombs but still carried geomtric pattern following through it’s islamic culture (derived from sacred geometry). And we could reflect on how the motifs engraved within the walls translated onto the fabric as a n embroidery. The minarets, walls and gates witnessed the use of calligraphy as an ornamentation.
LUCKNOW TO HARDOI For learning chikankari craft, we used to travel 2 hours locally everyday back and forth from lucknow to hardoi. We experienced the contrast of urban and rural atmosphere. The Rangsutra centre was in Rithala village of Sandhila district. It was a small village and artisans from neighbouring villages used to come to teach us theembroidery. The centre had arranged each individualcraftsperson for each one of us to teach the embroidery.
HARDOI LUCKNOW
SANDHILA
Map of Uttar pradesh spotting lucknow
Map of hardoi, highlighting sandhila district
Visual representation of location and travel series
HARDOI In order to engage with artisans and learn the craft, we used to travel 90kms to sandhila district in Hardoi village. It was a native place to all the artisans. Our perspective towards their lifestyle and about the craft changed as we engaged with them. We could witness the transition, the contrast of people, culture and tradition as we moved back and forth from city to village. I had always heared people talking about people living in villages are closely knitted and we could witness their bond with one another, their bond with the craft. we visited their houses and saw how they offered us everything they had.. their places, their craft , their hearts.. which felt very heart warming and welcoming. We learned about their stories and the power of needle alongside. It is was beautiful to see how they preserved their needles from generations with care and not leaving any strand of thread unused. Even in their homes, they cherished every small little thing they have and make the best use out of it, which was negligible to our eyes. This was reflected in their work as well, how even a single mistake in embroidery was delicately opened back and redone again. Showed me how they had a lot of respect and patience towards the craft. Due to lack of resources, there are no proper centres for craft practices. It was a house of these people who gave a portion of their house for the centre. They were very welcoming and offered us everything with a big heart.
What was surprising was that there was no differentiation between the Hindu and Muslim community as the ladies came from both the religions but were still well connected. They were well skilled and could work on a single motif in a few minutes whereas we took hours for it to be done. The craft we practiced wasn’t easy at first and it might still not be that easy for most of us, but after learning the techniques and applying them to the fabric the end results were very satisfying. We were all struggling in understanding the techniques and applying them number of times but still it was a good experience. We also somewhere learned the value of a single piece of cloth, the amount of hard work that goes into it. Especially Indian craft work, it’s very precious and at the same time extremely tedious.
Insights and visual reflections from village
STAGE 1 :
The solution is kept in a tray,he glue is first soaked in water in the tray for few hours and then Neel is mixed in it. and then, a brush is used to evenly spread and mix the solution on the upper layer of cotton fabric (sooti). After that block is pressed on the ink surface so that the solution get evenly spread on the block.
SHADES OF IMPRINTS LEFT BEHIND....
CHIKANKARI : PROCESS AND TECHNIQUE THE JOURNEY A PIECE OF CLOTH GOES THROUGH AND ALL THE HANDS THAT GETS INVOLVED IN MAKING ONE PIECE OF CRAFT WORK.
BLOCK PRINTING In this stage, various types of carved wooden blocks are used to transfer the designs on the fabric. . The block is traditionally as “Chhaapa Chhaapa” meaning impressions by the block printers. Traditionally, ‘Gerua’ a natural pigment that comes from earth was used for printing. Nowadays It is done with done with synthetic indigo andemulsion of synthetic gum. There are 2 types of printing solutions: 1. Neel Neel, a blue color used on white/light shade fabrics. 2. Safeda Safeda, a white colored solution used on darker fabrics. Gond is a glue made out of baboon tree. It is an ingredient mixed with both the solutions as a binder due to which the colour sticks to the fabric.
MOTIFS AND BLOCKS The Source of Inspiration for motifs and patterns used in Chikankari comes from Mughal Architecture. Floral patterns and chikankari go hand-in-hand. Majorly paisleys, flowers, fish (mahi) peacocks, creepers, animals, peepal leaf and jaali patterns are used as motifs in chikankari. Motifs are then taken forward to be carved on wooden blocks.Traditionally, There are also some commonly carved block patterns by the craftsperson like Bael, Buta, jaal and borders.
JAAL
Borders
BUTA
TYPES OF STITCHES MURRI (raised stitch) stitch)
TEPCHI (Flat, running stitches) stitches) PECHNI
STAGE 2 : EMBROIDERY For embroidery, The fabric is set within small frames as theneedle work begins to trace the ink printed patterns. According to the motifs, The artisan then further proceeds with the types of stitches which would suit best for a design. Chikankari is a very delicate and intricate form of embroidery. it is mainly known for it shadow work and most of the stiches can be donw fronyty and ack of the fabric. There are over 40 types of stitches but majorly 5 stitches are commonly practiced, all these come under 3 main categories : 1. Flat stiches 2. raised stitches 3. Jaali work. BAKHIYA (raised stitch) stitch)
SEEDHA BAKHIYA
ULTA BAKHIYA
PHAnDA (raised stitch) stitch)
ghas patti (raised stitch) stitch)
KANGAN (raised stitch) stitch)
KAAJ (raised stitch) stitch)
STRUGGLING HANDS..
Worker’s hand and skin are damaged due to ingredients used in washing which are also polutting for the land and water around when released.
STAGE 3 : WASHING
After the fabric is embroidered, It is being washed in order to removethe block print from it. Traditionally, It was done using Goat dung , Reetha and Rehu ( acidic salt extracted from the earth). But now, Ingredients like Bleaching powder, caustic soda, baking soda and washing powder are used. After this, fabric is starched to obtain the right stiffness depending on the fabric. The whole process of washing takes minimum of 3-4 days.
Learning chikankari stitches and developing samples along with artisan Shabana Banu
Incorporating variation of stitches in 1 embroidery sample.
SAMPLES DEVELOPED
MARKET COMPETITION STUDY For understanding the market, we were required to do primary research by visiting experiential stores of variouscompeting brands and observe silhouettes, price range, material, techniques and details. Further secondary research and analysis of market competition and brand study is being done on the basis of contemporary approach, traditional craft practices, sustainable practices and experimenting silhouettes and details of the brands.
• Largest private platform for the product that are made from traditional technique, skills and hand based product. • blend indigenous craft techniques with contemporary designs. • Products are atural, craft based, contemporary, and affordable. • The brand’s target audience is of age 18-35 years. • The price range varies from 1700 to 23000.
• One of the most creative textile brands in India. • Its uniqueness lies in the texturing of fabrics, the coordination and contrasting of colours, • The inventive, unexpected use of surface treatment. • Combines contemporary design with the inspiring workmanship of traditional craft. • The price range varies from 1500 to 20000.
Unique hemlines and cuts, tied belts of the same or contrasting fabric dresses.
Contrasting faces , lining and trims Quilted jacket
Angarakh inspired silhouettes, toneon-tone chikankari
Angarakh inspired silhouettes with contrasting crafted scarves
Combining weaves with chikankari emroidery
Contemporary Multiple layers fused, various shades. trims and techniques styled together
• A LUZURY RETAILER • bridging the gap between craft and luxury, a platform for craftspeople to connect with global craft enthusiasts • Philosophy- to offer the richnes of Indian textiles in contemporary silhouettes • The price range varies from Rs 4000 to Rs 30,000+
• Functional and timeless • bridges the east and west sensi- bilities has been the guiding design outline. • draws from indigenous skills whereby natural materials are developed from India’s regional craft belts. • garments are versatile: fluid in shape, evolved in textiles and texture, and seen as essential to timeless wardrobes
• Sustainable practices • Depicting stories of craftsmanship, the beauty of authenticity and charm of nostalgia. • Bridges the gap between past and present. • Handcrafted, Homegrown, Progressive and Nostalgic
Drop shoulder, Drawstring detail
Fluidity and oversized silhouettes
Smocking detail
interosculate
INSPIRATION {RESEARCH AND REFLECTION} I got Inspired from indo-islamic architecture on a broader level as to how it is an amalgamation of persian, mughal and indian cultures in itself and it has evolved over the time in representing cultures through various silhouettes and shapes. The roots and legacy of mughal architecture are still preserved in the modern time. The chief characteristics of the Mughals buildings was the bulbous graceful dome, the cupolas at the corners standing on slender pillars, magnificent palace hall and the lofty vaulted gateway. In order to narrow down,some of the prominent features which inspired me were conture and shapes of domes and arches. The types and forms of large buildings required by Muslim elites, with mosques and tombs much the most common, were very different from those previously built in India. The exteriors of both were very often topped by large domes, and made extensive use of arches. Also, Jaali perforated stone with an ornamental pattern constructed through the use of calligraphy and geometry. The use of jaali work reflects upon ventilation which is represented through interlaced, repetitive geometric patternsinfluenced from sacred geometry. The geometric or floral, interlaced forms, taken together, constitute a fusion timeless pattern creating a negative and positive space. Symmetry and balance between the parts of a building were always stressed, while the delicacy of detail and decorative work has seldom been surpassed. also, prominent elaborate calligraphic inscriptions as an ornamentation engraved on the walls, floors and windows representing history of it’s own too. The walls reflecting past are raw and rustic creating an endless texture.
TIMELESS
CONTRAST POSITIVE AND NEGATIVE SPACE
PRESERVED
INTERlaced forms
Togetherness
ALGAMATION OF CULTURES
INDIVIDUAL RESEARCH, CONCEPT AND INSPIRATION
INSPIRATION BOARD
COLLECTIVE INSPIRATION BOARD
The Indo-islamic architecture solely focuses on the traditional engravings protected on the walls, floors and windows representing history of it’s own. The Indo-Islamic architecture makes use of specific forms and structure like arches and domes along with traditional geometric and interlace patterns , floral motifs like the arabesque, and elaborate calligraphic inscriptions as an ornamentation engraved on the walls, floors and windows representing history of it’s own too . The geometric or floral, interlaced forms, taken together, constitute a fusion timeless pattern. The essence of Hindus, mughals , persians , even britishers are still captured in the culture, vernacular spaces, and galis of the lucknow. Even after witnessing tremendous modernization, Lucknow has managed to retain its age-old charm and glory. The warmth, the hospitality and the formality of the city is still preserved in the hands of traditional heritage, culture and architecture. This sublime cultural richness famous as Lakhnawi tehzeeb blends.
CONCEPT Lucknow is a city which has been emerged combining emotional warmth, a high degree of sophistication, courtesy, and a love for gracious living. The roots of the city are interlaced within the Hindu and Muslim cultures representing the intense history it has been through. The essence of Hindus, mughals , persians , even britishers are still captured in the culture, vernacular spaces, and galis of the lucknow. Even after witnessing tremendous modernization, Lucknow has managed to retain its age-old charm and glory. The warmth, the hospitality and the formality of the city is still preserved in the hands of traditional heritage, culture and architecture. This sublime cultural richness famous as Lakhnawi tehzeeb blends the cultures of two communities living side by side for centuries, sharing similar interests and speaking a common language. It is also home to extraordinary monuments depicting a fascinating blend of ancient, colonial and oriental architecture. The Indo-islamic architecture solely focuses on the traditional engravings protected on the walls, floors and windows representing history of it’s own. The Indo-Islamic architecture makes use of specific forms and structure like arches and domes along with traditional geometric and interlace patterns , floral motifs like the arabesque, and elaborate calligraphic inscriptions as an ornamentation engraved on the walls, floors and windows representing history of it’s own too . The geometric or floral, interlaced forms, taken together, constitute a fusion timeless pattern.
AMAlGAMATION OF CULTURE CONTRAST OF POSTIOVE & NEGATIVE SPACE
INTERLACED FORMS
TIMELESS
PRESERVED (passing onto generations)
MOOD BOARD
CONNECTION BETWEEN PAST AND FUTURE
COLLECTIVE MOOD BOARD AND CONCEPT
COLOR EXTRACTION & ANALYSIS
Taking references from our primary and inspiration images, a color palette was extracted collectively in the group. It was mix of pastels and subduedcolors including ivory, beige , light blue , grey, olive , blush , rose, mustard, navy blue and bronze. For SS21 collection, These colorss were then further refined and evolved along the process.
This was reference palette given to us by Rangsutra Crafts India Ltd. It could be moulded or fused acorgiung to our inspiration. So we merged our palette with this by eliminaing one or two colors and redefining some according to our story, also keeping in mind the Spring/Summer season.
FINAL COLLECTION SS21 PALETTE
BLUSH IVORY BEIGE
OLIVE
ICE BLUE
ROSE NAVY BLUE
The Amalgamtion of bloth the palettes led into a new palette. Further, we had to define the anchor colors and the accent colors. Colours which were mainly used in the collection and colors which were only used in embroideries and trims. Also, further this color palette is experimented through various dyes on various types of fabrics.
SPRING/SUMMER 2021
TREND AND MARKET RESEARCH
WOMEN’S WESTERN wear & bottoms
SILHOUETTEs Minimal voluminous and relaxed silhouettes gives an essence of non-chalant and delicate approach. Timeless, Comforable and versatile shapes and silhouettes are the key. Resurgence of classics like A-line silhouettes and drapes are used for modern shirts, dresses and even bottoms. Embracing vintage through traditional angrakhas, kedia and kalidar are comtemporarised in the forms of dresses, tunics, tops, overlays, bottomwears and other formal wears too. Asymmetrical cuts, mutiple layerings, transparency and baggy fits are prominently seen. Other unisex and experimental fusions are explored and looked upon too. Featuring : pegged tops, shirts, T-shaped dresses, droped bottomwear, dhoti pants angarakha styled jacket, A - line silhouettes with 3-tier gathers , handkerchief falls, draped-stitched dresses, layered kedia and others.
SPRING/SUMMER 2021
TREND AND MARKET RESEARCH
DETAILS
WOMEN’S WESTERN wear & bottoms
DETAILS Minimal voluminous and relaxed silhouettes gives an essence of non-chalant and delicate approach. Timeless, Comforable and versatile shapes and silhouettes are the key. Resurgence of classics like A-line silhouettes and drapes are used for modern shirts, dresses and even bottoms. Embracing vintage through traditional angrakhas, kedia and kalidar are comtemporarised in the forms of dresses, tunics, tops, overlays, bottomwears and other formal wears too. Asymmetrical cuts, mutiple layerings, transparency and baggy fits are prominently seen. Other unisex and experimental fusions are explored and looked upon too. Featuring : pegged tops, shirts, T-shaped dresses, droped bottomwear, dhoti pants angarakha styled jacket, A - line silhouettes with 3-tier gathers , handkerchief falls, draped-stitched dresses, layered kedia and others.
SPRING/SUMMER 2021
TREND AND MARKET RESEARCH
DETAILS
WOMEN’S WESTERN wear & bottoms
SILHOUETTEs Sustainable fashion is an approach towards creating a concious effort and providing creating solutions along with contemporary aesthetic. Zero waste designs are seen take inspiration from traditional zero waste garments like kimonos, kaftaans, ponchos and sarees to create contemorarised versions of dresses, tops and overlays. Techniques such as traditional draping, origami folding, zero waste pattern cutting and upcycling fabric are used as a medium to experiment. Mainly, a square shaped fabric is usually used fully in an oversized , voluminous silhouettes with a sense of fluidity and delicacy with asymmetrical cuts with are fit to all sizes Featuring : kaftaans, ponchos, zero-waste dresses, zero-waste tops, draped skirts and pants , origami folded dresses, oversized capes.
SPRING/SUMMER 2021
TREND AND MARKET RESEARCH
DETAILS
WOMEN’S WESTERN wear & bottoms
DETAILs Sustainable fashion is an approach towards creating a concious effort and providing creating solutions along with contemporary aesthetic. Zero waste designs are seen take inspiration from traditional zero waste garments like kimonos, kaftaans, ponchos and sarees to create contemorarised versions of dresses, tops and overlays. Techniques such as traditional draping, origami folding, zero waste pattern cutting and upcycling fabric are used as a medium to experiment. Mainly, a square shaped fabric is usually used fully in an oversized , voluminous silhouettes with a sense of fluidity and delicacy with asymmetrical cuts with are fit to all sizes
MOtIF DIRECTION The Indo-islamic architecture solely focuses on the traditional engravings protected on the walls, floors and windows representing history of it’s own. The Indo-Islamic architecture makes use of specific forms and structure like arches and domes along with traditional geometric and interlace patterns , floral motifs like the arabesque, and elaborate calligraphic inscriptions as an ornamentation engraved on the walls, floors and windows representing history of it’s own too .
Minimalistic Fusion of geometry & delicate traditional motifs Creating timeless patterns i.e. no starting or end point Play of Positive and negative space (shadow effect through embroidery) Endless Jali work Proportion and balance
The geometric or floral, interlaced forms, taken together, constitute a fusion timeless pattern.
INDIVIDUAL MOtIF BOARD
Refernce images from primary and secondary research for motif development
MOTIF
Motifs sketches extracts from journal
DEVELOPMENT
We derived motif from the delicate traditional embroideries of chikankari and then fused it with our concept.
TIMELESS PATTERN
some of our primary images became sources of inspiration and some other secondary visuals used as an inpiration.
The motifs were designed in such a manner that they are contemporarised and timeless but also retains it;s identity as chikankari, so that along with evolution of motifs, the authenticity of craft remains intact.
FABRICS SOURCED
EMBROIDERY SWATCHES
INDIVIDUAL DESIGN ITERATIONS Brainstorming sheets and sketches
WOMEN’S WESTERNWEAR DESIGNS
Bottomwear
ZERO WASTE DESIGNS
PRESENTATION TO RANGSUTRA TEAM
Presenting fabrics sourced, color palette, key action points for ideations, motif development, embroidery sampling , anchor threads range.
Our team pitching our concept , inspiration, ideations, motifs, colors and fabrics to our external mentors from rangsutra. They reviewed on the basis of brand’s design philosophy and guided us further for final range development.
DESIGN DEVELOPMENT SElected designs on the basis of review from industry mentors.
ZERO WASTE IDEATIONS (individual)
RANGE DEVELOPMENT
GROUP SELECTED IDEAS
SELECTED IDEA FOR WOMEN’S WESTERN WEAR
EVOLVING DESIGN, EMBROIDERY AND DETAILS, ACCORDING TO THE COLLECTION
FINAL IDEA FOR WOMEN’S WESTERN WEAR (INDIVIDUAL)
. PLACEMENT LAYER 2 - collar and sleeve hem . Maximum Length 1/2’’ . Stitches - phand used . PLACEMENT Front and back yoke, LAYER 1 . Maximum Length 5’’ . Stitches - Ghas patti, phanda and bakhiya, tepchi used
LAYER1 - In between gathers, 1/2’’ each, phanda used . PLACEMENT . Layer 2 - Front, No definite ending, ends where embroidery on 1st layer touches it. . Bakhiya and phanda are used.
MOTIF PLACEMENT AND DETAILS
Cooton slub 40s
Kota fabric
Total length 20’’ PLacket width 1’’
Stand collar 3/4’’ Back yoke 5’’ Inverted box pleats 1/2’’each
Embroidered Buttons 1/2’’ Sleeve Length 19’’
Gathers like pleats 1/2’’ intake
Total length 36’’
3/4’’ width cuff Sleeve hem 10’’
Total strap length 14’’
Neck depth 4. 1/2’’
Upper yoke length 9’’ Lower panel length 19’’
Waist width - 28’’ Gathers intake X3
FINAL ZERO WASTE GARMENT By sharyn dourado & sanya mangal
42’’
42’’
Draped and contoured on to the body.
Stitch lines at design detail using anchor
Waist band 3/4’’
Wooden button 1’’ 2’’ intake both sides Inseam pocket 6’’ 8’’ pocket bag
FRONT
BACK
FINAL RANGE SPRING/SUMMER2021
WOMEN’S ETHNIC WEAR
WOMEN’S WESTERN WEAR MENSWEAR