INTERNSHIP DOCUMENT by Simran Thapar

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This is an Industry internship the duration is 4 months, 16 weeks to be precise. This project is an opportunity for students to understand the work culture of an industry and also to demonstrate their capabilities as practitioners of design. The internship exposes students to a real-life situation of working in the industry, function under the limitations and constraints of an organization. A student undertaking this internship project imbibes the real-life experience to design, which also includes a timeline, communication, presentation skills, efficient handling of practical constraints and proposing designs to the organization. This is a great platform to help students to realize their strengths and weaknesses before entering the real design world. This internship document is the culmination of the complete research of the organization and design proposals of a subject, within the organization. This Opportunity was provided by SUKETDHIR a design Label based in Delhi under the parent company, Namus. The duration th th of this internship was from 24 June 2019 to 28 September 2019.

PREFACE

As a part of the IIAD curriculum, at the end of the sixth semester, a student needs to do extensive research and work experience in an organization for industrial exposure. He/she is expected to produce a professional document on the same organization based on experience and understanding closely related to the respective discipline of specialization of the student.

ACKNOWLEDGEMENT

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I would like to express my gratitude to my internship mentor Nishtha Ahuja for giving me this opportunity of doing my internship under her guidance who gave me variable suggestions and feedback in my work. She took me on the journey of process and making and involvement with other members. I would like to extend my honorable mentions to the employees and workers for their undue supervision, guidance, constant support and encouragement throughout my industrial experience. I also wish to thank my institution mentor Pragya Sharma for the cooperation, constant encouragement and valuable suggestions that made my work easy and proficient. I also wish to express my hereby gratitude to all the faculty members who encouraged and supported me for the internship and sincerely thank Indian Institue of Art and Design for having Internship as a part of our curriculum and giving us the opportunity of gaining industry experience and knowledge. Last but not least a very special thanks to my family and friends for their support and cooperation at all times.

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Figure:1 Studio Picture

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SUKETDHIR

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01 SUKETDHIR 02 Brand Personality 03 Founder 04 Co- Founder 05 People Of SUKETDHIR 06 Infrastructure 07 Design Managment Process 08 International Woolmark 09 S/S 18/19 10 The Royal Within 11 He For She 12 Fabrics 13 Prints 14 Price Range 15 Task Undertaken

Figure: 2 The A/W Collection At Glance

TABLE OF CONTENT

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A brand where ‘Less is more’ transcends in the garments through masterful detailing, clever design and a touch of Nazakat. A brand where Maharaja’s in their Poshakhs roam around on Segways and Maharani’s take selfies; parrots wine-n-dine and bulls skates. Whimsical fantasies in contemporary minimal silhouettes are the brand SUKETDHIR. Pondering over the memories of past, untouched by time, SUKETDHIR’s aesthetics define the subtlety of Indian culture. Every walk of India has a recital to play in the ensembles of SUKETDHIR through fabric handiworks and artisanal skills. Textiles are reinvented and merged to achieve luxurious comfort along with the notion of good taste and quirks. SUKETDHIR is the epitome of elegance and yet so deceptively raw, with a minimalism that transcends beyond a trend into a lifestyle through the era of timelessness.

Figure: 2 The A/W Collection At Glance

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COMFORT SHARP & CRISP NATURAL EFFORTLESS REFINED

BRAND PERSONALITY

FIT FEEL FIBRE FINISH

Figure: 3 The Jamdani Collection

“Every nuance of a SUKETDHIR creation is a testament to these five hallowed of course, masterful detailind clever design and a touch of nazakat are added- all to create a versatile product” - Suket Dhir

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Figure: 4 The Royal Within Collection

F O U N D E R - Suket Dhir

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Figure: 5 SUKET DHIR

Suket Dhir grew up in a small town called Banga in Punjab. His grandfather was a philanthrope and one of the leading cloth merchant in Punjabâ&#x20AC;&#x2122;s Doaba region. He retailed some of the most exclusive textiles available in the country including pure merino wool at OCM and Raymond, Banarsi silk sarees and Dhaka Mulmuls. His family moved to Delhi where he was sent to the Cambridge boarding school in Dehradun and after that went to NIFT, Delhi for graduation. He wanted to be a complete menswear solution.â&#x20AC;?brand-his intention is to deliver a high quality product, . His design identity was something eco-friendly fashionable product.

C O - F O U N D E R - Svetlana Dhir

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Figure: 5 SVETLANA DHIR

A travel risk analyst at one point and now the lady behind the brand and a consistent muse of the designer is his wife, Svetlana Dhir. Women of immense grace and balance, though a mother of two, who manages the organizational timelines with keenness. An educational background in Psychology, an instinctive mind made her managerial flow easy at SUKETDHIR and an expanse was achieved over just a short period. Being with the brand as it grew, her style today has cemented to resonate SUKETDHIR.

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Figure: 6 The Jamdani Collection

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SUKETDHIR

Suket Dhir

Svetlana Dhir

Sumit Dang

Prabhat Paliwal

Co-Founder

Management Consultant

Human Resource

Pawan Singh NISHTHA AHUJA POOJA JHA -RETAIL -SOURCING -EVENTS -SAMPLING -PUBLIC RELATIONS -COUSTMER HANDLING

Rajiv Gulati

BHUPENDRA SHAH SANJANA GUPTA -PRODUCTION -SALES -COSTING -PACKAGING

Rahul, Ranjit, Rajkumar. Without whom the smooth running of the brand is immiscible. The production employees include two master jis, one for pattern making and one for pattern cutting under whom there are eleven tailors, four women for all the hand-done finishing and four embrioders.

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Figure: 7,8, 9 Sweing and Cutting Area

The third floor is where all the magic is produced. The biggest space of this floor has designated tables for Master Ji, two tailors, and the cutter along with a little space for kaaj. The next biggest room has six sewing tables and the adjacent room is the inventory for the raw material which is sourced from all over the country. The hallway sits three women doing all the kaaj, the hand-done finishings, and trims of the garments.

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Figure: 10, 11, 12 The Studio

Overlooking the Qutab Minar, SUKETDHIR stretches over two and a half floors of the building number 276 in the designerâ&#x20AC;&#x2122;s hub of the Lado Sarai space and office area is on the second floor of the building along with an inventory space for all post-production processes like heat press and packaging. The studio has enough space has enough for nine racks along with a spacious lounge area, a library, a washroom, and a trial room. On the same floor, the office area has the designated spaces for all the employees as well as a pantry.

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Figure: 13, 14, 15 Embriodery area and sweing area

Half of the first floor places the four embroiderers in the larger room comfortably to be working on the two khats present and three more tailors in the adjacent room. The most spacious room in the area has been proposed to be converted into an in-house block and screen print set-up.

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Figure: 16, 17, 18 Trims, Buttons and label

SUKETDHIR uses decorative and different sizes of buttons, small buttons, are sewed on shirts and kurtas whereas, the large ones are used on the classic blazer, double-breasted blazer, long coats, and trousers. Different sizes and lengths of zippers are also used in bomber jackets depending on the desired garment. For embroidery, zari thread is used and for sewing purposes, they use thread that is available in the market.

DESIGN MANGAMNET PROCESS

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Design Direction Concept Presentation Research for Prints and Sillhoutes Sourcing Fabrics Sampling of Silhouttes Strike-offs of Prints Review Meetings Production Meetings Range Plan Finalised Review Meetings Production Test Studio Samples Launch and Distribution

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Figure: 19 The Jamdani Collection

INTERNATIONAL WOOLMARK PRIZE

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Inspired by Suket Dhir’s childhood- summers spent in mango orchards playing with children, under the watchful doting eye of his grandfather, was this collection. In true International Woolmark prize tradition, the collection is Merino wool, woven in an Ombre range of main blues- reminiscent of the changing skies. The collection sees the use of Ikat weaves and kasuti embroidery technique characterized by the symmetry of the motifs used. Trees laden with mangoes, populated by parrots are inspired by his memories. The linings are with motifs hand block printed with motifs of parrots and umbrellas. All this has been translated into contemporary global silhouettes to make it global in true sense. Its trans seasonal and gender-fluid aspects make it a very versatile collection. Dhir says “My collection explores the trans-seasonal aspects of wool and the alchemic transformation of the fibrous wool into smooth, silk-like yarn, which renders the fabric light, airy, fluid and yet full and supple”, he explains. Using the traditional technique of hand-tied and dyed yarn(Ikat), the collection aims to “trace the mellowed and faded experiences of the memories through the ombre pattern. Graded ripples of color submerged into concentric circles emulating the age rings of the tree trunk recalling the sensorial feel of the past.”Seamless molding and heat setting of the fabric reinforces the garments, while the age-old technique hand embroidery, creates geometric, grid-like patterns in an update on the classic quilting stitch. “Blending the original, imperial and the traditional, the collection is a mix of structured and fluid drape that presents a transcultural style.”

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Figure: 20, 21, 22 International Woolmark Collection

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Figure: 23 International Woolmark Collection

“There’s always a bit of a quirk even the designs have a less-ismore look to them. But that twist doesn’t need to be in your face. It can be something subtle, like the way the fabric is weaved or the way the garment is put together.”

“ I started doing menswear because it was much easier to design for myself. The philosophy of my brand is that I will make what I can wear. It is, as a result, effortless and you get a more soulful product.”

S/S 18 /19

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Figure: 24 The A/W 18/19 Collection

As delicate as the aesthetic choices of the past, this seasonâ&#x20AC;&#x2122;s inspiration comes from the ethereal nature of Jamdani and its slow mindful process. This collection pays tribute to one of the finest weaving techniques of India- Jamdani, which is delicately and slowly woven with a fineness of 300 count khadi yarn. The technique is creating iconic motifs of clouds, parrots, guava trees and mangoes with the signature details of the intricate jali stitch and buttons stitched using colored thread.

THE ROYAL WITNIN

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Figure: 25 The Royal Within Collection

The very first autumn/winter collection, it is essentially the coming together of hand-spun, hand-woven fabrics that are block printed, pin-tucked and finished with exquisite handcrafting techniques, such as sarju, Kantha and heming. This is balanced with the same finishing techniques applied to luscious mill made wool and pashmina blends, linen- silk and cotton-silk textiles. Accents of dusty jade, yellow ochre and blue teal blend a dash of spice to a neutral palette. Understanding the rigors of the crafts of India, where each technique is season-specific, region-specific and labor-intensive, The Royal within a contemporary translation of the above. Portraying the royalty’s recreational mood, the concept is a light-hearted symbolic manifestation of one’s inner aspirations to achieve the ultimate. Drawing inspiration from the memories of a pure youth, the memory of his grandfather, always sporting an umbrella under his right arm- ideal archetypal of an elegance devoid of superstructures - down to a subcontinent that was very different from today’s India though equally rich in suggestions: composed men with an outstanding sense of shape and proportion. Clean lines and a natural taste for color are this collection’s main features.

A/W 18/19

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Figure: 26 The A/W 18/19 Collection

SUKETDHIR presents a curation of fluid silhouettes for men in reimagined fabrics. Gossamer mulmul gets a structure with blazers, bandis, and trousers as poplin and linen translate into playful creations perfect for autumn sojourns. Meanwhile, heavy khadi and cotton silk are fashioned into outwear. Taking center stage are bombers crafted for all seasons and reasons, are meant for relaxed trousers and basic tees. Bold hues- from brilliant mustard and jubilant fuchsia to suttle salmon and dashing plum to all hues of the color blue- complete the collection, fashioned for suave updates and seamless style.

HE FOR SHE

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Figure: 27-35 He For She Collection

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Nazaqat, a word that often manifests in the SUKETDHIR aesthetic. A a hint of grace that manifests into men’s wear collections. SUKETDHIR is a men’s centric brand that believes in the philosophy of minimalism and classic styles quirked by subtleties of playful prints. Rooting deep into traditions is the brand that contemporizes pieces with modern silhouettes. Details and fabric experimentation remain the core peculiarity of SUKETDHIR. What surprises is the love of our design aesthetics that have stretched through the women? Women who have appreciated our effortless personifications of dressing. Women who feel the power emanating on donning SUKETDHIR. Over the years, we have seen women leaning towards our core products and adding those styles into their wardrobes. Understanding this space, the brand has now launched the ‘He and She’ collection. Men’s wear made for women, designs which remain signature SUKETDHIR, just with slimmer silhouettes. Beautiful play of fabrics like silks, brocades, and cotton bring in elements of feminity.

FABRICS

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Cotton Silk Khadi Bamboo Linen Satin Velvet Brocade Dasmask Merino Wool Cashmere Wool Cotton Linen Cotton Linen Cotton Silk Satin Silk Satin Linen Muga Satin

SUKETDHIR garments are crafted from exclusive natural, eco-friendly fabrics like cotton, linen, bamboo, fine muslin (mulmul), silk and wool. For us, it’s the wearer that makes the clothes look the way they do and not the other way around. A new attempt at ungendered clothing has filled the workspace and retail corners, with suits and separates in woven brocades, satin, linen, and silks. “Mill fabrics can’t be replicated on the handloom because of their toughness and sturdiness. There are certain techniques, motifs, yarn quality that can only be achieved on the handloom. So, my whole effort was to ensure that we do not pit power loom against the handloom. The idea was to bring a synergy between the two”, explains Dhir.

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Figure: 36, 37 The Chanakya Store

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Figure: 38 The Golfer Print

SUKETDHIR prints draw most of their inspiration from nostalgia. Pulled from the designer’s childhood; parrots motifs are from trips to mango trees, and where there are guava and mango trees, there are parrots! The Golfer Print is classic, whimsical and playful. Peeking into India’s rich history. Tongue-in-cheek prints are showcasing the royal life- Maharajas avoid their hunting escapades to play golf and maharanis are no more veiled but instead take selfies. And to infuse an element of quirk, he has experimented with Kangra style miniature paintings in the specification to ‘Raas’ and ‘Krishna Leela’ to create prints.

BLAZER 18,000 - 78,000 Rana Blazer Double Breasted Gilet JACKETS 18,000-98,000 Bomber Biker Cape Long Coat Trench Long Trench Coat Matrix Smocking SHIRTS 11,000-24,000 Classic Bush Rozana Vardi Bullet Crop Blouse Andaz Lattice Bade Miyan Kurta Chote Miyan Kurta

TROUSERS 9,650 - 32,000 Classic Azad Raahi Carrot Pant Pyjama Shorts OVERALLS 18,000 - 98,000 Jumpsuits Suit Sets Lounge Sets SAREES ACCESSORIES Scraves Pocket Squares Bow- ties

Costing of these products incluse the cost of the fabric consumed, cost of dyeing, cost of printing, cost of overdyeing(if done), cost of trims and material used, labour cost which includes patternamking, cutting, fusing, finishing, ironing, designerâ&#x20AC;&#x2122;s margin and overhead expenses.

PRICE RANGE

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Assistance in Celebrity Sourcing

Developing Line sheets

Assistance in Studio Displays

Assistance in Print Making

Making Challan

Developing Embriodery Swatches

Developing Pocket Squares

Designed A Coustmer Dairy

Photography

Developing Block Printing Fabrics

Developing Digital Print Fabrics

Flat Drawings

TASKS UNDERTAKEN

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CELEBRITY SOURCING

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Figure: 40-45 The Celebrity Sourcing

TASK : 1 I was asked to take every day follow-ups from the celebrityâ&#x20AC;&#x2122;s stylist. For the updates of the shoot and to ask the returning date of the garment. I had to send than the look book to the stylist and then they choose the looks. According to the size, I picked up the garments and send them the pictures of the look available according to the muse size and courier the selected garments.

DEVELOPING LINE SHEET

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Figure: 46-47 The Excel Sheets

TASK : 2 I would maitain the stock list for every week and attach the pictures corresponding to each stock in excel sheet. Anything going out of the studio for exibtionâ&#x20AC;&#x2122;s needs to be kept in record by maintaining excel sheets.

STUDIO DISPLAY

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TASK: 3

Figure: 48-50 The Studio Setup

Studio Setup: for this I had to arrange the studio and the racks according to the color pallete. For the meetings with the companyâ&#x20AC;&#x2122;s like: OGGAN, GOOD EARTH. And for the coustmers.

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Figure: 51-53 The Studio Setup

ASSISTANCE IN PRINT MAKING

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Figure: 54-55 Lotus Jaal Print

TASK: 4 I was asked to change the colors of the existing print i.e Lotus Jaal. From their current color palette. And the above prints wereselected by Suket Dhir for their upcoming garments.

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Figure: 56-57 Lotus Jaal Print

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Figure: 58 Lotus Jaal Print

MAKING CHALLAN

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Figure: 59-60 Maintained Challan

TASK : 5 I maintained the challan for the fabrics that are going out for Digital Printing, Dyeing, Overdyeing and Block Printing.This was my everyday task to check the fabrics which are coming back to studio. A report of the quality check for these fabrics was prepared and approved from the

DEVELOPING EMBRIODERY SWATCHES

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TASK : 6 Before the printing was done I developed a swatch of embroidery was developed as instructed so that I understand the look of it before getting it printed. This is when i decided I will do a color on color aari embroidery with random placements. Figure: 61-64 Embriodery Swatch

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Figure: 65-66 Embriodery Swatch

I was asked to develop the printed fabric by the embriodery to make the bag. A digital file was made far a bag and digital printing was done on them. Before the printing was done I developed a swatch of embroidery was developed as instructed so that I understand the look of it before getting it printed. This is when i decided I will do a color on color aari embroidery with random placements.

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Figure: 67 The Print

DEVELOPING POCKET SQUARE

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Figure: 68-69 The Blanket Stitch(finishing)

TASK : 7 I was asked to complete this pocket square. I had to ideate by what kind of stitches I can finsish the hem of the pocket squares. So, after showing various kind of finishing this Blanket stitch was finialised.

DESIGNED A COUSTMER BOOK

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Figure: 70-71 The Coustmer Dairy

TASK : 8

A Coustmer Book for the brand was to be designed and I was assigned with this task. So, I decided to make two diffrent books, one for womenâ&#x20AC;&#x2122;s wear and other for mens wear.

PHOTOGRAPHY

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TASK : 9 Pictures of garments and ensembles were placed against the wall for the line sheets, sourcing, presentations and for coustmers. This included styling the garments in an ensemble for brand like Good Earth and Esha Foundation.

Figure: 72-74 Photoshoot

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Figure: 75-78 Photoshoot

Figure: 79-83 Block Printing Unit

TASK : 10

The initial dye of fabric was an ombre in teal, rust and oyester grey. These fabrics were taken for block printing. They were dyed and then block printed. These fabrics by me. The block was already made and I made sure the color matching dyes were achieved.

DEVELOPING BLOCK PRINT FABRICS

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Figure: 84-86 Block Printed Fabric

DEVELOPING DIGITAL PRINT FABRICS

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Figure: 87-89 Digital Printing Unit

TASK : 11

I took follow ups from the digital print factory everyday. I had to make sure that all the farics gone for printing should be given in a process padding. After this the printing is done. Sometimes I had to make fabric swatches and then get it approved by the designer Suket Dhir. After the approval the whole fabric is printed.

FLAT DRAWING

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Figure: 90-92 Flat Drawing

TASK : 12 Firstly the research was done then we finalised the sillhouette and then I was asked to make convert the final sillhoutte into a flat drawing.

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REFLECTION

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Over the years, I had heard from my seniors and acquaintances working in the industry that we can never know what we end up doing as we enter the design industry as a professional. During the period of my internship, I realized how true this concept is. Over the years of design education, I had developed a signature style that could be described using words like sustainability, minimal, simple, organic and earthy. When I started applying to organizations I only picked out the brands with a similar philosophy. I have been following SUKETDHIR since 2016 when he won the International Woolmark Prize, the first-ever in the menswear category. His collection and techniques were very inspiring and on getting a positive response from the brand after an interview with a designer himself, there was a sense of excitement and uncertainty, at the same time, which continued till I started working at the brand and understood the work culture. The internship turned up to be a lifetime experience for me where I got the opportunity to closely work with the designer. The past 15 weeks took me through a journey filled with a lot of first-timers along with many ups and downs. There were times I had to make impromptu decisions and come up with fast good results. The entire period was a scope of gaining knowledge through research, discussions, presentations, explorations. This project helps me grow, articulate and turn odds into evens. It helped me explore new horizons and broaden my array of skills through understanding the attitude of acceptance and rejections and keeping myself open to new things

suketdhir.com/ indianexpress.com/article/lifestyle/life-style/ the-importance-of-being-subtle-5501194/ livemint.com/Leisure/oqIbZGo8P2wJf3Nl9W14SK/ Menswear-designer-Suket-Dhir-turns-to-women/ borderandfall.com/suket-dhir/ elle.in/article/menswear-designer-suket-dhirs-foray-into-womenswear-is-as-organic-and-individualistic-as-anything-hes-ever-done/ forbesindia.com/article/work/suket-dhir-weavingstories-in-style/42999/1 nytimes.com/2016/11/04/fashion/mens-style/ suket-dhir-menswear-designer-delhi-india-global/ instagram.com/suketdhir/ openthemagazine.com/features/fashion/suket-dhirthe-man-and-his-motif/ Pictures Self and Brand Owned

REFRENCES

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