The Denim Project by Stuti Arora

THE DENIM PROJECT

BRIEF This project includes the study on denim. A part of the project includes the research on the fabric and the other part includes working on an alter ego. The process of making of the fabric as well as dyeing of the fabric with natural alternatives. To get into the depths of the process of using denim in various ways a brand study was also conducted. Discovering my alter ego and give it a form to design a range for it, keeping denim as the protagonist. making use of all the techniques and inputs learned during the process.

which are from the genus Gossypium. Cotton is primarily composed of cellulose, an insoluble organic compound Crucial to plant structure, and is a soft needs lots of sun, a long period with frost, and a good amount of rain. The term “cotton” refers to the part of the cotton plant that grows in the then woven to create a soft, durable fabric.

GROWING COTTON

AREAS MARKED ON A MAP TO WHERE COTTON GROWS

Cotton grows in warm climates and most of the world’s cotton is grown in the U.S., Uzbekistan, the People’s Republic of China and India. Other leading cotton-growing countries are Brazil, Pakistan and Turkey. In this country, the major cotton-producing states are: Alabama, Arizona, Arkansas, California, Georgia, Louisiana, Mississippi, Missouri, New Mexico, North Carolina, Oklahoma, South Carolina, Tennessee and Texas, Florida, Kansas and Virginia.

PROCESS Mixing and blowing To begin the spinning process, the the spinning plant is unraveled using a mixing and blowing machine. It is then cleaned by removing substance such as leaves, seeds, or sand

Carding The sheet-shaped lap processed in the mixing and blowing process is combed using the carding machine to separate the

is processed into sheet-shaped "lap."

and collected to be processed into the string-shaped "carded sliver."

Roving Since the drawn sliver is too thick to produce yarns directly, it is further elongated using a roving

Drawing Six to eight slivers after the carding or combing process are gathered and elongated to six to eight times their original length using a drawing machine to straighten and remove

the green yarn, which is wound onto a bobbin.

string-like "drawn sliver."

Spinning the last of the main spinning processes, the green yarn resulting from the roving process is further elongated to obtain a desired thickness and on a bobbin.

Weaving process In weaving, the warp thread and weft yarn are crossed over one another in a set method in order to weave the required type of fabric. A machine designed to accomplish this task is called a loom. First, the warp thread and weft yarn are prepared so that they can be set into the loom.

Sliver lap former From 18 to 24 carded slivers are fed together and side by side. They are drafted and a loose form of web is created. The web is rolled up to a lap. This is called "sliver lap."

Combing The carded sliver is further and dust that could not be removed in the carding process. Fibers are then arranged parallel to obtain uniform combed sliver. This process is essential to manufacture uniform, high-quality yarn.

Warping Cheese/cones are set on a warping machine to wind the predetermined length and number of yarns onto the predetermined number of warping beams under constant tension. Sizing The warping beams of the required piled up for rewinding on beams after sizing and drying. drawing-in To prepare for setting beams on a loom, warps are routed in the order of droppers, healds and guide bars.

WEAVING

Weaving Prepared beams are set on a looming frame to weave a textile in the

1. Shedding: two groups of warps are opened to let the weft pass through. 2. Picking: The weft is inserted between two groups of warps. 3. Beat-up: Pushing the newly inserted yarn back into the fell using reed. 5. Take-up: The woven fabric is wound on the cloth beam. Inspection/ Folding The fabric is inspected and folded. Imperfections are corrected as required. The fabric is then graded. Packing The fabric is packed in a manner appropriate to the shipping conditions. Product THE PROCESS OF WEAVING

PROPERTIES OF COTTON Absorbs water and “breathes”

Resists static electricity build-up Slow to dry

Comfortable to wear

Wrinkles easily

Can withstand heat, detergents, and bleach

Long staple cotton (such a Supima, Pima, Egyptian, and Sea Island) can be woven into smooth, almost silky fabrics.

Can be damaged by prolonged exposure to sunlight

Can be damaged by mildew

Will shrink unless treated

About 20% stronger when wet than dry

MORE ABOUT COTTON Gossypium Hirsutum Most of the world’s cotton production, in fact, 90 percent of it, consists of gossypium hirsutum, commonly known as upland cotton. Upland cotton, relative to other species, is comprised of

Upland, which makes up 95 percent of the cotton grown on US soil, is used in a number of nonwoven products in the feminine hygiene and baby care categories.

Gossypium Barbadense While the second-most produced a type of cotton, gossypium barbadense only comprises about eight percent of global cotton output. An extra-long-staple cotton, you’ll see this variety used in resists pilling, wrinkling, or fading. Pima cotton is native to tropical South America. Widely-copied, pima cotton is coveted for its apparel and bedding applications.

Gossypium Arboretum Comprising less than two percent of global cotton production, gossypium arboretum is the species commonly known as tree cotton. This variant is local to India and Pakistan, and you’ll see it in wide use in societies that prize the fabric muslin.

Gossypium Herbaceum Also known as Levant cotton, gossypium herbaceum is native to southern Africa and the Arabian Peninsula. Also comprising less than two percent of the global market, Levant cotton is primarily spun into yarns to make a variety of fabrics. In addition to its use in clothing, societies in the developing world turn to this cotton, born from a perennial shrub, for a wide range of medicinal purposes, including the treatment of nausea, headaches, fevers, hemorrhages, and diarrhea.

USES OF COTTON

RAW COTTON BALL

It is basically used for every type of clothing from jackets to normal shirts. Its seed oil is used in food and cosmetics. It’s seeds are fed to cattle and crushed to make oil,rubber and plastics.

TYPES OF COTTON FABRICS

MAKING OF DENIM FABRIC

STICHING OF DENIM FABRIC

Spinning Bale Warping Rope Dyeing Long Chain Beaming Sizing Weaving Finishing Inspection & Folding Packing Dispatch

DYING OF DENIM PROS & CONS Natural dyes are all about yielding to nature. While natural dyes yield beautiful colors, they fade over time. Natural dyes are often criticized for their lack of scalability and color-fastness because they aren’t as permanent and consistent as synthetic dyes. While synthetic dyes are certain and duplicable, fashion pays an environmental cost for color so predictable and unnatural.Since natural dyes are usually derived from plants or protein, they are less likely to contaminate soil and water—making them easily biodegradable. Scalability and repeats are harder to achieve, but the right designer will appreciate the intricacies of each dyed garment.If you like natural dyes’ one-of-a-kind quality, then maybe this approach is right for your business. Whether you’re dying the fabrics yourself or working with a natural dyer; you should familiarize yourself with the fundamental process.

NATURAL INDIGO V/S SYNTHETIC INDIGO

CHEMICAL FORMULA OF INDIGO

MANUFACTURING PROCESS

LEAVES IN FERMENTATION TANK

VAT - MAKING PROCESS

VAT IN PROCESS

DYEYING PROCESS

DYING OF FIBER

The primary use for indigo is as a dye for cotton yarn, which is mainly for the production of denim cloth for blue jeans.

WHAT IS DENIM?

DENIM GARMENTS

Denim is a sturdy cotton twill fabric woven with indigo, gray, or mottled white yarn. Denim is perhaps one of the most well-known and commonly worn fabrics there is, from the classic blue jeans to jackets, dresses, overalls, and more. For almost a symbol of classic Americana. Denim jeans were invented in the 1870s,by Jacob Davis and Levi Strauss, the same Levi who founded Levi’s Jeans. Jacob Davis, his business partner, was cotton duck cloth trousers in order to reinforce the

weakest points of the piece of clothing. This technique made the trousers stronger for a laborer’s daily wear. On May 20, 1873, a patent was granted to Davis and Levi Strauss & Co. for the jeans we know and love today. Authentic denim is made with cotton. You need 100% cotton in your denim to provide that perfect texture: cotton denim is durable yet will mold to your body with each wear, meaning your denim jeans will be made uniquely your own every time you pull them on.

BRAND STUDY We researched on a denim based brand ‘ naked and famous’ to go in the depths of denim and its use in a group. We focoused on the key aspects and brand image, also the whole philosphy of the brand.

unorthodox raw denim products on the market.

Naked & Famous was founded in 2008. Their headquarters is in Montreal, Quebec. INVENTOR- Brandon Svarc. After growing tired of celebrity culture and its impact on the denim industry, Svarc wanted Naked & Famous to be a purely

The brand was founded on the principles of No washes, no embroidery, no gimmicks.

OBJECTIVE • Attract new customers • Promote product availability • Increase brand recognition

• Minimise the cost of developing a plus-size line

• Persue market penetration

INNOVATIONS

GLOW IN THE DARK

WORLD’S HEAVIEST DENIM

SCRATCH AND SNIFF- RASBERRY

COLLECTIONS

The Overcoat is a relaxed open-front coat with a shawl collar, large front pockets, wide sleeves, and a loose silhouette. The Aloha Shirt is a short-sleeve shirt with a boxy silhouette, a chest pocket, and a camp collar. Cut and sewn in Canada.

pockets, and a straight leg. short-sleeve shirt with back pleating and a The Wrap Jumpsuit is a one-piece garment with half sleeves, a relaxed leg, and a wrap front with a tie closure at the waist. Card holder is a leather case for your cards and the shoes are of canvas material available in various color options

VISUAL DISPLAY OF THE PRODUCT RANGE OF NAKED AND FAMOUS

USP OF THE BRAND

Japanese selvedge denim celebrating the Year of the Rat in the Chinese Zodiac.

These yarns are reactive-dyed bright blue before being rope-dyed in indigo vats.

The selvedge ID is red and metallic gold

Japanese selvedge denim that celebrates the bloom of Japanese cherry blossoms every spring.the fabric is finished with falling cherry blossoms woven into the selvedge ID.

The 1970’s-era light indigo shade is achieved by dipping the warp yarns only a few times in the indigo vat. Lightweight denim with a bright white selvedge ID for sunny days and warm weather.

The Japan Heritage Black combines slub yarns with low tension weaving in such a way to create an uneven, organic grain in the denim reminiscent of hand-woven fabric.

The denim is woven on rattly vintage shuttle looms with short-slub yarns, yielding a gritty grain in the fabric and finished with the 18k gold selvedge

The Sakiori Denim is a 16oz Japanese rag cloth made from recycled denim scraps. Each scrap of denim comes in its own shade of indigo and each one has edges that turn and fray

Natural Seed Denim is a 10oz lightweight natural undyed denim with cotton seeds. This denim is made with 2% stretch for added comfort, without compromising durability

This denim was produced on a specialty dobby weaving machine with incredible control over yarns that can weave a fabric with complex patterns

The fabric is woven with a rope-dyed indigo warp that will fade like only Japanese raw denim can, but on the inside thick stripes of red, orange, yellow, green, blue, violet are woven into the weft and shine through the face of the fabric

To create such a deep indigo shade, the yarns have to be dipped into indigo vats over and over and over again

DESCRIBING THE BRAND

4 P OF MARKETING PRODUCT

PRICE

PROMOTION

TARGET AUDIENCE Trendy and explorative customers Upper and middle class- affordable products. Age between 18-44 Regular fits Small physique and plus size body types

PLACE

BRAND PRISM

SWOT ANALYSIS

Finding my alter ego

Brain storming the charecters of my alter ego and giving it direction by listing down the qualities in points. expanding the ideal self in a quirky manner to bring out or create the charecter i wish to take forward.

My alter ego My alter ego is someone that breaks stereotypes, and follows her heart, she wants to change perspective of people on an ideal bahu She can be both bahu and babe. She is independent enough to do what she likes. She might be outspoken and blunt but she maintains boundaries and knows her limits. Respects her relations with elders ( the bahu card). She knows where to show her boldness and where she needs to keep calm. She might be rebellious but keeps in mind her traditions, limits. She has many characters that overlap mine and many contrasting as well, that I can not express. She is my version of a bride, she is the BOLD BRIDE.

Characteristics

Confident Sponteneous Fearless Rebel Independent Energetic Fitness lover Bubbly Self loving Sarcastic Bold Seductive Maintains balance VISUAL REFRENCE FOR MY ALTER EGO

MEET CHAMELI!!

Personal information

NAME: Chameli AGE: 26 SEX: female NATIONALITY: Indian MOTTO: Bhasad nahi asar karo SKILLS: Jugaad OOMPH: will always stay young, never age. INTERESTS: Riding a bullet, driving a Thar, exploring new places, trying new food, having a happy life or I should say married life , rappelling, sky diving VISUAL REFERENCE OF MY ALTER EGO

Bold Bubbly Playfull Seductive

mood board

VISUAL DISPLAY OF INSPIRING ELEMENTS IN DENIM FABRIC

embeishments

decorative destruction

cut and paste

patchwork

Inspirations board - Techniques used embelishments, cut and paste, patchwork and decorative destructions.

Taking inspiration from various denim techniques suggested by the brief, proceeding to the ideations for the final range. Cut and paste, patch work, decorative destructions and embelishments inspired me to create a bold yet sassy look for my client.

are beautiful in their own way, and that’s like women too.” – Miranda Kerr

ITERATIONS embeishments used in bridal wear, in patch works. Using the destruction proccess to enhance the patches of

This fabric is the fabric used in bridal wear for blouses and lehngas, its just an idea of what type of fabric i intend to use.

Fabric

Representation

The blue washed denim jacket has a mandarian collar made of the bridal wear fabric with a part of denim stiched on the end. The jacket has bright seamlines and a sequience patch covered under beautifuly destructed denim and is partially visible. tThe sleeve is having a flared fabric attached at the hem. Overall the jacket is also embelished with rings and chains . The look is completed with a pair of maroon jeggings with white seamlines.

The silhouette of the romper is made with cut and paste denim in the lower half, supported with a belt made from other fabric which represents the bridal culture.

The silhouette of the outwear is supported with balloon sleeves and sequence patches covered under the decorative destruction. A few cut and paste of denim are also a part of the garment, with the nose ring as an embelishment on the shoulder with two rings ad one chain.

The skirt is made of denim fabric withrugged of the other fabric. the waist has a belt of contrasting colors overlapping supported with the nose ring.

The silhouette of the shirt has a cut out on the shoulder and has patches of sequienced fbric and denim as well. the shirt with rings and chains.

Washed blue denim with with patch of sequice fabric covered under decorative destruction. A pannel of another fabric is patched along the hem in a high low fashion. The waistline is having rings that attach to another pannel on the waist , paired up with a convenional blouse of a bridal lehnga.

A top with boat neck and denim fabric. with a panel of the bridal lehnga fabric under rugged denim layers and same rugged layers on the hem.

A dress made of washed denim in black with patch work and rugged effect. The flowy fabric on the torso is continued on the lower portion shaping the dress. The bridal wear fabric represnted as the maaroon fabric is an under layer, embelished with the nose pin embelishment connecting the waist to the flowy panel on the torso.

A jacket with doublw collar and bodice constructed with denim fabric in shades of black. The fabric has a ribbed and washed effect. The collar is supported with rings as embelishment same happens on the seamline. The bodice has a sequience fabric patch that is under the descrotively distructed denim and is partially visible, the same side, the hem is destructed as well forming straps of denim hanging down. The laltern sleeves are stiched with the bridal wear material with a denim band on the hem, the look is completed with a pair of dark blue jegging with the ring and chain as an embelishment.

a denim blouse with contrasting spuff sleeves with a band of the lehnga material and mandrian collar, yellow seam ines over the blouse run parallel. Two rings are one seam line and one is embelished on the other connected with the chain, paired up with regular cotton shorts..

A dark blue bodice with washed denim fabric. The sleeves have a band of the bridal wear material and bodice has a sequience patch underneath destructed denim and seamline going parallel when straight. Embelished with rings and chain. The look is completed with a pair of hemline.

a denim blouse with with a band of the lehnga material and mandrian collar, yellow seam ines over the blouse run parallel. Two rings are one seam line and one is embelished on the other connected with the chain, paired up with regular cotton shorts..

This is a bomber jacket with a continuing patch of the bridal wear fabric, supported with runing stiches, the same fabric is used on the hem of the sleves. The fabric of the jacket is a black denim bodice is supported with seamlines , and the sleeve has a detailing of a ring and chain. The look is completed with a pair of denim shorts.

A black denim vest with patches of denim in shades of grey and black pn one half, and the other half has a bright seam lineand a sequience patched under the rugged denim. The hem of the same half is also ribbed and forms staps. The look is styled with a white cotton shirt with bishop sleeves with a pair of denim shorts

FINAL RANGE

Concept The concept behind this range is to show a bold yet elegant look, to potray the image of my alter ego. The fusion of bridal wera fabric with denim actually creates the best representation for my concept. The denim being a symbol of bold, durable and strength helps to support my client’s personality, whereas the other material depicts the traditional, responsible and soft attributes that my client displays when she, as mentioned, keeps her bounderies in mind. The whole concept is to break the stereotype of a shy, weak and agyakari daughter in law, somehow breaking through the idea of females to be restricted with females having their fun respecting the other values as well. The silhouettes of the garment are also inspired from a fusion of styles. Using the nose ring as an embelishment creates a unique look and complements the whole concept. The ribbed, destructed fabric also displays the hard journey of a women, and the boldness of my Alter Ego. I can totally imagine chameli wearing these while she rides her bullet or climbs down her jeep in total swag.

double lapel

lantern sleeves

nose ring as an aesthetic element patch of sequins under ripped denim seamline rugged denim

broad overlapping waist band pocket

nose ring with pearl chain as an aesthetic element

seamline

embelished fabric patched with denim

lantern sleeves nose ring with pearl chain as an aesthetic element seamlines patch of sequins under ripped denim

mandarian collar seamline patch of sequins under ripped denim

flowy embelished fabric as an extension on the sleeves

nose ring with pearl chain as an aesthetic element

waist band with rings

seamline

denim patches of darker color

THE JOURNEY OF THE PANDEMIC JACKET

TRUCKER JACKET

This trucker is classic to a T. Your top pick for layering year-round, and available for both men and women. Wear The Original over tees and button-downs, or under heavier coats in cooler months. You’ll get a tailored fit that’s cut closer to the shoulders, snug in the body and hits at the hip. Tip: Size up if you want to wear it over thicker layers like sweaters and hoodies.

BASIC PATTERN

ITERATIONS

Contrasting seamline piping, fringes on the collar and hem, paneled sleeves, yolk in the upper front and a patch pocket.

Seamline on the sleeves and front with colorfull piping, inseam pockets, buttons for top closure.

Contrasting panels on sleeve hem ,colored flaps around arm hole, front yolk with seamlines and piping, paneled collar and aesthetic contrasting stitch lines around the pocket.

Fringed collar and sleeve panel, contasting seamline piping and patch pocket in the front.

Paneled collar and sleeve, front yolk and contasting piping under the yolk and the sleeve, belt on the hem.

Wavy panels on the sleeve and collar, partial front yolk with seams and piping and inseam pockets.

FINAL DESIGN

Contrasting stitch lines on the collar, seamlines on sleeve and front bodice and contrasting panel on the hem with contasting buttons

14.5 inch 12.5 INCH

3 inch 1 INCH

SELF REFLECTION This project was an extention of our denim project in Level 5, to iterate a trucker jacket was kind of tricky as we had to maintain the silhouette yet make it unique. This was all done through online classes and was tough to mainatain pace with online technical classes, this pandemic is sure a challenge to all. I somehow tried my best to get the best results in the worst situations. I could not enjoy the project but still it was an add on to the skills and knowledge. But all these challenges on a posetive side just enhanced the managment and situation dealing skills.