I would like to extend my most sincere gratitude to Mr. Kulkarni, Guest Professor and Prof. Sanjeev Kumar, Associate Professor, Department of Fashion and Lifestyle Accessories, NIFT, New Delhi for their scholarly guidance and constant constructive criticism which has been instrumental in developing this report. I would also like to thank my friends and family for their constant support. I hope this report does justice to the time and energy that everybody has put in. Thank you. Shalvi Sharma Fashion and Lifestyle Accessories Semester VII 2012-2016 NIFT, New Delhi
Contents
Introduction to KACHCHH
1-10
Crafts of the region
11-20
Metaphors of Identity
21-26
A blend of Textures
27-34
Revelry of Seams
35-40
Hide and Sleek
41-44
Design Process
45-62
Conclusion & References
63-64
Introduction to Kachchh
Kutch district (also spelled as Kachchh) is a district of Gujarat state in western India. Covering an area of 45,652 km², it is the largest district of India. Kutch literally means something which intermittently becomes wet and dry; a large part of this district is known as Rann of Kutch which is shallow wetland which submerges in water during the rainy season and becomes dry during other seasons. The Rann is famous for its marshy salt flats which become snow white after the shallow water dries up each season before the monsoon rains. The district is also famous for ecologically important Banni grasslands with their seasonal marshy wetlands which form the outer belt of the Rann of Kutch. Kutch District is surrounded by the Gulf of Kutch and the Arabian Sea in south and west, while northern and eastern parts are surrounded by the Great and Little Rann (seasonal wetlands) of Kutch. When there were not many dams built on its rivers, the Rann of Kutch remained wetlands for a large part of the year.
History The history of Kutch can be traced back to prehistorical times. For thousand years, the people migrated in and out of Kutch to countries like Sindh, Afghanistan, Britain and Africa. At the start of Christian era, this region situated between Saurashtra and Sindh was described as Abhari. There are several sites related to Indus valley civilization in region and is mentioned in Hindu mythology. In historical times, Kutch is mentioned in Greek writings during Alexander. It was ruled by Menander I of Greco-Bactrian Kingdom which was overthrown by Indo-Scythians followed by Maurya 3
Empire and Sakas. in the first century, it was under Western Satraps followed by Gupta Empire. By fifth century, Maitraka of Valabhi took over from which its close association with ruling clans of Gujarat started. Chavdas ruled the eastern and central parts by sevnth century but were came under Solankis by tenth century. After fall of Solanki, Vaghelas ruled the state. Following conquest of Sindh by Muslim rulers, Rajput Samma started moving southwards to Kutch and ruled western regions initially. By tenth century, they controlled significant area of Kutch and by thirteenth century they controlled whole of Kutch and adopted a new dynastic identity, Jadeja. Upon the independence of India in 1947, Kutch acceded unto the dominion of India and was constituted an independent commissionaire. It was created a state within the union of India in 1950. The state witnessed an earthquake in 1956. On 1 November 1956, Kutch State was merged with Bombay state, which in 1960 was divided into the new linguistic states of Gujarat and Maharashtra, with Kutch becoming part of Gujarat state as Kutch district. The district was affected by tropical cyclone in 1998 and the earthquake in 2001. The state saw rapid industrialization and growth in tourism in subsequent years.
Geography Kutch is virtually an island, as it is surrounded by the Arabian Sea in the west; the Gulf of Kutch in south and southeast and Rann of Kutch in north and northeast. The border with Pakistan lies along the northern edge of the Rann of Kutch, of the disputed Kori Creek. The area has 969 villages. Under the Kutch princely state, Kutch was divided into Aani, Abdaso, Anjar, Banni, Bhuvad Chovisi, Garado, Halar Chovisi, Kand, Kantho, Khadir, Modaso, Pranthal, Prawar, and Vagad.
Culture The language spoken predominantly in the Kutch district is Kutchi language and Gujarati. The script of the Kutchi language has become extinct. It is now mainly written in the Gujarati script. Samples of Kutch script are available in the Kutch Museum. The increased use of Gujarati language is mainly because of its being a medium of instruction in schools. Kutch district is inhabited by various groups and communities. One can find various nomadic, semi nomadic and artisan groups living in Kutch. Gujarati Ahirs comprise a comparatively large group in Kutch. The culture of Kutchi tribes can be discussed broadly under People, Handicrafts, Jewellery, Music, Religion and Fairs & Festivals.
LEFT & ABOVE | Women and children from Kachchh
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LEFT & ABOVE | The village folk is always dressed in colourful clothes
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PREVIOUS PAGE | The interiors of a bhunga FROM LEFT TO RIGHT | Portraits of Kachchhi women and man
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CRAFTS
Crafts
ART OF CLAY WALL ART
of the region
BAMBOO AND CANE CRAFTS STONE CRAFTS
JEWELLERY
METAL OBJECTS OF DAILY USE
WOOD CRAFT LEATHER
BEADWORK
PRINTED ,DYED & WOVEN TEXTILES
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ONE SOUL FROM MANY PARTS Modern-day Gujarat is geographically located in the most ancient region of the sub-continent-the Indus Valley Civilization. This glorious lineage is visible even today in vessels, figurines and toys that are used in everyday lifefor agriculture, cooking, rituals and festivals. The clay objects of Gujarat demonstrate sophisticated forms, intricate pattern and ornament, and ergonomic functionality for daily use. The artisan behind this dazzling array of objects is the humble kumbhar from the Prajapati community, who is an integral part of every village. There are several differing stories from Hindu mythology as to the origin of the first prajapati and the first kumbh or pot that was a gift from the Gods.
Another speciality of Kachchh, in the districts around Ludiya, Gorewali, Banni and Baniari, is the unfired clay relief work embedded with mirrors in domestic architecture of the region. White clay known as chikni mati or babro mati from the Kaalo Dungar hills is mixed with dung to make lipan, a sticky mortar plaster, which is applied on the indigenous bhunga, the circular huts. These huts are built with a bamboo infrastructure and have straw thatched conical roofs on a wooden frame. The thick walls are an excellent insulation from the searing summer heat.
FACING PAGE | Terracotta horses LEFT | Scan copy from the book “Handloom and Handicrafts of Gujarat� BELOW | A Kachchhi woman busy making pots
Terminology:
Maati- terracotta clay Chaak- the wheel Matlu- water pot Geru- red slip Hando- a storage vessel Tavdi- open dish used to make rotlo Sakio, kunnu, taplo, kathrot, tabak, nani, patar, sanak- cooking and eating utensils Dhabu- dome-shaped container to house the spirit of the dead
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INTUITIVE STROKES Ever since the pre-historic times, walls have been a canvas for recording cultural expressions. Over time cave paintings of man and hunt gave way to traditions of tribal art showing evolutions of human race, going on to reach refinement at the hands of royal court painters.
Pithora Pithora paintings are ritual wall murals practised by the Rathwa, Bhil and Nayak tribes of Gujarat. These paintings mark the rits of passage, and they are always done by men. They signify the advent of auspicious occasions like weddings, childbirth and festivals in the family or community. The painting is an offering to Pithora, the God of foodgrains, installed to seek blessings before any auspicious occasion. The painting is usually done on a wall between the courtyard and the kitchen.
Kamangari A tradition of wall paintings existed in Kachchh, whose name comes from kamangar, which refers to the community of carpenters and house builders in the region. The craft was patronised by the royalty and rich families. The style is also found in Pakistan suggesting that the Mughals patronised the craft.
Warli Traditionally composed by the Warli community found in the southern border areas of the state adjoining Maharashtra, Warli painting is a wall art tradition. This style is rich in expression. They have a ritualistic significance and are done inside the house. The Warli use only white for their paintings; the pigment is made from rice paste and water and mixed with glue to bind it.
ABOVE | Bhunga exterior BELOW | Painted dome in Chandod
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CRAFTED OPULENCE Copper bells The Muslim Luhar community in Banni region of Kachchh produces cattle bellsmade of copper and iron. The craft has its origins in Sindh. The hand cast bells serve the needs of large pastoral community of the area. The entire family is involved in the making of these, and much of the raw material comes from scrap metal. The nomads also believe that the chimes os these bells ward off evil spirits. Made in different sizes, the craftspeople also produce them in an arrangement called jhummar. They also make a unique musical instrument with these bells, known as the morchang, which resembles a Jewish harp.
FACING PAGE, CLOCKWISE | Multi-purpose water basins and a pot, Kankavati, Copper bells, Dabado (dowry box) RIGHT | Kashi loto BELOW | A sheet metal box
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GLISTENING ELEGANCE Bead embroidery Women of pastoral tribes enjoy the glittering, colourful beads and also include them into their embroideries. They stitch the beads onto the fabric, in geometric designs or complex natural motifs, to create stunning interwoven textures. Gujarat is well-known for its strung beadwork technique, without using a fabric base. The beads are interwoven closely to produce tapestry-like products. Merchant communities like Bohras and Vaniyas are said to have introduced this craft and the designs are based on floral and geometric motifs.
Terminology:
Takiyo- A long cushion made of fabric and stuffed with saw dust or cotton Indoni- Circular bases for balancing water pots on the head Ghutaniyun- An object to support the knees when squatting on the floor
ABOVE | Takiyo BELOW | Beads and sequins that are used for the craft
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ABOVE | Placement mat and a pair of indoni BELOW | Scan copy from the book “Handlooms and Handicrafts of Gujarat�
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Metaphors Of Identity Jewellery & Ornaments
Gujarat is a cauldron of influences that are revealed magnificently in the traditional jewellery of each community. Cattle herding communities like Jat, Mutwa and Sindhi Muslims in Banni area of Kachchh; the nomadic Rabari and Bharvad; the farming communities like Ahir, Kanbi and Mer; the Jain traders, and the powerful Rajput, Lohana, Brahmin, and Soni communities, all use jewellery and costume as an expression of identity. Excavations in Lothal and the relics from Gandharan era show exquisite ornamentation, and these materials, forms and designs are seen in contemporary jewellery of Gujarat. Many nomadic communities entered the region through Central Asia and while settling in different parts of the state, each retained some distinct traits, but not without overlap of customs and culture across them. The jewellery also takes after all these movements. Predominantly made in silver, jewellery in Gujarat provided security for women and was an important part of the dowry system all over the country. Since there was no secure place to store the exquisite pieces, both women and men carried it with them by wearing them on their body. In a village, the metalsmith was one point of contact where all the tribes or clans converged for their jewellery. The Soni and Luhar castes have been involved in jewellery making traditionally. Jewellery worn by mena and women are distinctive to each community. The variety in earrings alone is fascinating. For example, the nagli worn by married women of the Dhebaria, Vaghadia and Kachchhi Rabari sects, are different even though they are all made in spiral form with gold wires. The nagli of Bharwad women is made with sheet metal and is worn in combination with the hanging threeclubbed vedhla in the helix of the ear.
ornament in sheet metal (thoriyo) or made of filigreed wire (ghok) is worn in the concha part of the ear. Earrings made of pendants, twisted wire rings and globules are also widely used. The akota is worn by married women of Ahir, Mer, Bharwad, Kanabi and Rabari communities. The vindho nose ring of the Dhaneti Jat community is a big, thick ring held up by woollen strings. The muthiya (armlet set) was earlier made of ivory and worn by women from the day they got married. The use of coins for amuletic jewellery is common in Gujarat, as in the rest of the country. The hulaar from Saurashtra is a good example of this type. It is constructed with coins and a central pendant in the shape of a leaf. Anklets known as kadla come in different shapes and sizes and many designs are unique to communities. Eastern Gujarat has a distinctive palette of its own. The Bhils from Panchmahal and the Rathwas from Chhota Udepur have favoured soft metals- like white metal and lead- for creating their ornaments. Tribal jewellery in Central Gujarat is characterised by a profusion of beads, cowrie shells and ghughari, tassels. Coins of Britain’s King George V were once a great fascination and came to be fondly called ‘Pancham George’. The pachchi kaari jewellery of Kachchh, in which the craftsmen encases uncut semiprecious stones and glasswork in simulated open claw workmanship, is dexterous work executed in kundan technique.
The bhungri or phul are spectacular circular ornaments for men, worn in the helix. A smaller circular 22
FACING PAGE | Dhaneti Jat woman wearing vindho Above, CLOCKWISE | Dhur worn by Sindhi Muslims, Chuda worn by Harijans, Sodas and Rabaris, Kalla are silver anklets worn by women FOLLOWING PAGE | Rabari woman, Ahir woman and Rabari girl
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BLOCK-PRINTING
A Blend of Textures
Khhadi
Saudagiri
Ajrakh
This printing is closely associated with ritual and ceremonial textiles. The process involves stamping the khhadi paste- a mixture of zinc oxide and glueon the cloth to provide an adhesive layer, on which gold or silver powder is sprinkled. The powder settles on the fabric permanently and creates a rich look.
It was the name given to block-printed cotton textiles that were exported to southeast Asia. The fine blocks are carved in wood by the Pethapur block-makers in Gandhinagar district.
The technique came from Sindh. Dhamadka village in Kachchh is the main centre for this fine art of resist-printing and mordant-dyeing. Textiles are treated with vegetable and mineral colours. The fabric goes through the washing cycle 8-10 times. A pattern of geometric motifs is printed, which requires atleast 20 blocks and takes upto three weeks to complete. The Khatri community are the artisans.
Dabu
Batik
Block-prints of Deesa are the best examples of mud-resist printing. The grey fabric is washed, and printed with mud paste and a local gum called baval. It is then put into vegetable pits and washed in running water, and dried in the sun. They are very popular with the tribal and rural communities for making ghaghara and odhanan.
Mundra and Bhuj in Kachchh are the main centres for wax-resist printing. The Khatri community, which is engaged in this craft, prints the fabric with a mixture of bee and paraffin wax, heated at a low temperature and liquidised. The wooden block is dipped in hot wax and stamped on the fabric repeatedly. The fabric is then dyed in natural or chemical colours. The surface where the wax has been resisted makes a pattern of fine cracked lines, to create batik.
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DYED
Bandhani
Patola
This technique was popular in many communitiesthe Jadejas, Lohanas, Khatris, Momins and Bohras. Historical accounts show that these textiles were traded since the medieval era. Many of the techniques came to Gujarat with communities that migrated from Sindh. The main centres of production are Jamnagar, Mandvi, Mudra and Bhuj.
The beautiful double-ikat textiles of Patan are traditionally resist-dyed with natural dyes and then woven. These textiles were an important commodity of trade between Gujarat and South-East Asia for over 500 years. The business communities in Gujarat, like the Jain Vaniya, Lohanas, Patidars and Bohra Muslims, were the patrons of patola and they used it as a ceremonial textile. The Salvi family of Patan is the only one that now practises the craft. It takes them six months to make a sari of six metres. The single-ikat replicas of patola are woven in Rajkot and Surendranagar.
It is created on silk, cotton and woollen fabrics. The tie process is always done by women. Some popular designs are sikhari bhat, ambaa dal, chakali popat and raas mandal. The most expressive design, seen in the gharchola of the Lohana community is bhavan bhat. The gharchola and panetar occupy a special place in wedding ceremonies of the Hindu Gujarati families.
ABOVE | Ajrakh dyed fabrics spread to dry BELOW, LEFT & RIGHT | Khhadi print, Batik print
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HANDWOVEN
Brocade
Tangalia
Mashroo
Under the royal patronage of Mughals, the brocades from Ahemdabad and Surat became famous. The use of zari, gold or silver thread wrapped around a silk core, was very popular and a range of textiles made of gold and silver were created in Gujarat.
The art of tangalia weaving is centred at Surendranagar and Chotila. The weavers in this region make black and off-white coloured shawls in thick coarse wool, for the Rabari and Ahir communities. The characteristic feature is the beaded look on the surface. Elaborate shawls are done for marriage shawls. Traditionally, men wear these on special occasions, while women wear them like a sarong.
The mashroo fabric has been woven in Kachchh and Patan for many centuries. The craft has its origins in the prohibition by Islam on the use of pure silk. The ground material, which touches the skin, is cotton. The port town of Mandvi produces mashroo with staple cotton yarn and fine dotted designs and bright colours.
The kinkhab fabric was made with matka silk and covered entirely by gold or silver zari.
Sujani
ABOVE, CLOCKWISE | Ahir women at a fair, Bandhani print, Patola sari, Dabu print
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A woven quilt-making craft, sujani originated in the ports of Bharuch. The surface of the quilt has a unique texture and the patterns are very geometric. The quilting with cotton is directly done on the looms. Two layers of warp are wrapped on the looms. The craft was practised by a few families only and the technique was kept a closely guarded secret, hampering the growth of the craft.
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SHAWLS
Namda The craft of felting and making of namda, felted rugs originated in Central Asia. The Pinjara and Mansuri families in Kachchh area are skilled in the technique of felting. Wool is easily available in Banni and Rapar regions as the communities there possess camels and goats. The most unique aspect of the Kachchhi namda is the beautiful inlay patterns. The namda pieces are embellished with pom poms and tassels. They are used as floor coverings and as saddles.
Dhabla, Pachhedi and Dhurrie The weavers of Kachchh and Saurashtra weave dhabla, a thick plied woollen textile used extensively by Rabari men. They also produce pachhedi, large shawl which is tied around the waist or draped over the shoulder. The borders of pachhedi are patterned with dobby weaving technique. The dhurries are floor coverings of the same designs, made in cotton and wool. Harijans are experts in braiding techniques.
Kharel The art of weaving kharel emerged from the demand for bags that could be hauled on donkeys and camels. The kharel is a tough, sustainable textile that allows for goods to be transported by the animals easily. The texture of the fabric is such that it easily drapes on the back of the animals. Khavda village in Kachchh is a major producer. They are made of natural hair, hence, attacked by moths.
LEFT | Shawl from Jamkhambalia and Dhurrie BELOW, LEFT & RIGHT | Camel trapping, Pachhedi pallu
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TECHNIQUES
Revelry of Seams
Pako
Sadu Bharat
Soof
This technique is known for its sturdiness and longevity and is practised by Sodha Rajput and Meghwal communities in Gujarat. The dense patterns are made with a combination of chain stitch and buttonhole stitch, and complemented with satin stitch and fly stitch. The most common motifs used are peacocks, parrots, scorpions, elephants and floral patterns.
Long satin stitch and running stitch covering the entire fabric surface, and done with staple yarns in bright colours, are characteristic of sadu bharat kaam. Mirrors are used to create focal points in the pattern. Pink, yellow and orange threads on dark surfaces like black, maroon, red and brown have been the traditional colour schemes. The bavaliyo stitch, created by twining threads and filling it on the surface without piercing the needle on the reverse side of the fabric, is widely used in this technique.
It is a finely executed style but often mistaken as machine embroidery. It is done by the Sodha Rajput in Anjar, Adhipur and Rapar in Kachchh. Its neatness and use of geometric motifs produce a beautiful effect on the textile. It is also known as Sindhi embroidery and resembles phulkari style.
Ari
Kharek
Ari is chain stitch embroidery done with hook needle, on a stretched frame. It was very popular in North Gujarat and Kachchh regions. The mochis, cobblers used this technique to fashion leather products.
This embroidery was done by the Sodha community and later by the Harijans to adorn their kanjara(tunic-like top)and choli (blouse). The colours used in this embroidery are vibrant and they stand out due to the outline of black created to frame a grid. The use of counted threadwork shows the influence of Central Asia. The design is created with satin stitch filling.
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Khudi and Gambhiro Tanka They are fabric counted thread stitches. This is practised by the Sodha, Meghwal and Harijan people. It originated in the Sindhi tribal community and are used to fuse layers of fabric together. Geometric patterns are created by repeating the stitches after evenly counting the fabric threads.
Kharek
Mukka
The zardosi embroidery is made with thin wires of gold and silver. It was used to decorate ceremonial regalia of emperors. In Gujarat it was adopted by the Jains for ornamenting ritual objects like yantra, pankha, pichchhawai and gaddi in the derasar.
A metal-thread embroidery style, mukka is unique to the pastoral Meghwal community of Banni region in Kachchh. The motifs are formed in circular patterns for which fine metallic threads are used with couching techniques. This technique has been popular is Syria and Iran to embellish covers of the Koran, prayer caps and mats.
ABOVE, LEFT & RIGHT | Ahir and Ari embroidery BELOW | A Rabari woman at work
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COMMUNITIES
Ahir
Rabari
Mutwa
It is a historical pastoral tribe of Idia spread across Kachchh and Saurashtra in Gujarat. Ahir women wear embroidered skirt and the kapada or kanjari, with a head veil. The kanjari is fully covered with mirror work. Known to be time-consuming, Ahir embroidery is identified by its superior design and aesthetic, and a good balance of motifs. The embroidery is outlined with the open chain stitch executed in yellow or white yarn.
The Rabari are nomadic tribes that migrated from Raajasthan centuries ago. The Rabari subgroups- Raika, Rana and Dhebaria- have settled around Kachchh and Saurashtra regions. The women are known for producing gorgeous and impressive embroidery, emblematic of their nomadic life. Each subgroup has a distinguishing hand embroidery vocabularycomposed of chain stitch, back stitch, herring-bone and satin-stitch. Mirrors of all shapes are used in liberal measurein their work. They use codis and thread fringes to edge corners. Even their cattle is decorated festively.
This style of embroidery is done by the Mutwa subgroup of Maldhari community. The women are highly skilled and they specialise in single-thread embroidery. They create geometric designs with combination of stitches like the paako, suf and ari along with mirrors, and create an aura effect with running back stitch, ususally in white which look like fine beads from a distance. They use tie and dye surfaces to complement their embroidery. Today, the finest Mutwa embroidery is found in Banni area of Kachchh.
LEFT | A Rabari woman at work
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Within the legacy of Gujarat’s handicraft tradition, leather crafts can boast of a rich and varied vocabulary. Each region has a distinct repertoire of functional use, forms, processes, techniques of construction and design with versatile surface ornamentation.
Hide and Sleek
The Meghwals of Banni in western Kachchh, who share a lineage with the Meghwals of Rajasthan and Sindh in Pakistan, are gifted artisans. There are Hindu as well as Muslim Meghwals and they are chiefly subsistence farmers, or sheep and goat herders. The women wear exquisitely embroidered costumes, which they make themselves with paako and kharek stitches. The men create exquisite cut-work; gold and silver laced and coloured-cotton embellished leather work.
The surface language and ornamentation of footwear from Wagad is also unique. In this area, leather is also used to make domestic products. The supadu, grain winnower is covered in leather and sewn with the ubiquitous cotton twine. Agrarian objects like the jotar, a bag to hold seeds attached to the plough, water bags in shape of the Ferris wheel, cattle eye shields and harness are made, patterned with rivets and eyelets. The aesthetics of the Banni Meghwal, the hand skills of the Gohil of Rapar and the Chavda of Sabarkantha and Banaskantha are slowly withering away due to the dearth of rural patronsin these globalised times.
The concept of ornamentation is so central that even the soles of the jhaalani juti and sapat have partnered cutwork. Colour is the soul of the Meghwal community. The cloth pieces are used extensively. They are pasted on the skin side of the cut-work leather, achieving a multi-coloured spectrum through the latticed pattern. The most elaborate ornamentation of this is seen in the horse saddles that are commissioned. For important ceremonial products such as the headgear of a bride or groom or for the horse’s ceremonial headgear, embroidery is done in silver and gold flat-yarn; the wire is beaten into strips and laced through the leather in geometric floral patterns. The leather footwear of Banni is unique. The sapat, slip-on, footwear for women, has a rounded triangulated front. Leather belts with secret coin-chambers, hip-pouches to hold darukhana, gunpowder or cartridges, are some of the utility objects made by the Meghwal leather artisans. 42
ABOVE | Contemporary utility products FACING PAGE, CLOCKWISE | Contemporary sapat, Sindhi shoes from Banni, Belt, Latticed leather work
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I. KEYWORDS - To pen down ten random words that come to our mind within five minutes.
Design Process
•Toda tribes •Daman and Diu •Irish coffee •Puducherry •Hills
•Gulf of Kutch •“Mirror Mirror on the wall” •Earth after Rain •Four elements of Nature
•Toys
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II. TWO KEYWORDS and their BOARDS - To select two keywords from the given set and visually depict it through picture boards.
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The board on the facing page is of the keywordGulf of Kachchh. The visuals are used to describe my understand of the term. It is a beautiful, arid-island and has bounties of culture attached. The board shown below is of- Toys. Toys can have a wide variety and each child suit his/her needs. Hence, different types are shown in the board for a wider range.
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III. KACHCHH and its understanding - To narrow down on the theme and select one area out the many options to further work.
BELOW & FACING PAGE | The boards that were developed for a thorough understanding of Kachchh
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IV. COLLECTION and its CONSUMER - To define the products in your collection and the buyers of those products i.e. the target market.
The collection will have the following products: • A waist belt • A choker • Two hair pins • A finger ring
“Kachchh Ji Chaap”- a collection of adornments inspired from everything Kachchhi is for the modern day woman who wants to add colours to her clothing. The hair pins, choker, belt and finger ring dresses you from top to waist in indigo and red. “To feel festive everyday in your life.”
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The Indian Yuppies 52
V. Shapes, Forms & Material - To conceptualise the collection.
FACING PAGE & BELOW | Sketches (forms, shapes) with research work
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VI. Prototyping - To prototype the products.
BELOW, RIGHT & FACING PAGE | The different steps involved in making the belt; from cutting the pattern to embroidering it to stitching and finishing it
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VII. Products - The finished products.
BELOW & FACING PAGE | Choker
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LEFT-RIGHT | Waist belt
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LEFT TO RIGHT | Hair pins I & II, Finger ring
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Conclusion & References
The collection inspired by Kachchh and its heritage gave me some worthwhile insights into the craft industry. The interaction between the craftsperson and the customer has decreased by now. Malls and supermarkets have entered the marketspace and the era of big brands have also made an entry. Changes in lifestyles, affected by the liberalisation of India’s economy in the 1990’s have brought a sea change in the types of products that are in demand. Artisans who had the skills and an entrepreneurial streak gained advantage in becoming a part of the upply chain, and they have become vendors for buying houses of big brands. Today, artisans are organised into clusters for production and supplies.
Mirza, Mallya,2012. Handloom and Handicrafts of Gujarat. Ahemdabad: Mapin Publishing Pvt Ltd. InfoSpace LLC, 1998-2014. Cosumer Segments. [online] (2015) Avaialble at: <science.howstuffworks. com> [Accessed 7 November 2015]. Boots Group Plc., 2003. Beaks’ Flower. [online] Boots Group Plc. Available at: <Boots-Plc.Com/Information> [Accessed 7 November 2015]. Defoe, D., 1999. Kutch history. [online] Champaign, Illinois: Project Gutenberg. Available at: <gutenberg. org/etext/370> [Accessed 11 November 2015].
“Contemporary” is the catch word now, with skills being shared among non-traditional craft communities for generating employment. The concept of crafts tourism is also taking shape, with designers and design researchers leading tours to Gujarat from other countries and facilitating interactions with artisans- giving the opportunity to experience craft techniques and production process first-hand. Inter-disciplinary academic research and publications on these subjects are yet to find place in the academia in India.
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