GRADUATION PROJECT UTHARA RADHAKRISHNAN TEXTILE DESIGN
ABOUT THE DESIGNER Shweta Gupta, a fashion and textile practitioner has been contributing to fashion since 2004. She is an alumna of National Institute of Fashion Technology, Gandhinagar where she received the best Garment Construction Award for her graduation collection and participated at World of Wearable Arts in New Zealand as a young college graduate. Her repertoire stems from being part of the creative teams of the stalwarts of the fashion industry namely Tarun Tahiliani, Gaurav Gupta until she started her own practice.
SWGT’s design philosophy stems from the conversations with the self, interactio the self with the surroundings enabling balance within the landscapes of creati and inspiration.
Aesthetic expressions of the designer with the artistic skills are communicated i form of indigenous techniques and abstract fabric stories.
on of ivity
in the
Design practice of the studio involves amalgamation of Indian craft traditions with a contemporary outlook. It aims to acquire an aesthetic milieu between abstract nuances of art and fashion.
OVERALL DESIGN PROCESS P RESEARCH & MARKET ANALYSIS Research on inspirations, market, design and customer. A process that allows for a creative journey from start to finish of a garment collection. These stages help us define a collection –– beginning from its mood. A trip to the mountains help us do exactly that. A series of objects collected in our trails among the ranges inspire the next phases of textile design, pattern making and technique development.
MUSLINS
Silhouettes are iterated existing styles.They are f according to the Collection and techniq PROCUREMENT OF RAW MATERIAL Weavers in Chanderi, who have been our long time partners in this journey initiate weaving cottons and silks as we share our findings with them each time we embark on constructing the textile story of the season. Other fabrics are sourced from places in Delhi like chandni chowk and nehru place for the trims at a reasonable price.
PRE AND POST PRODUCTION SAMPLING Once the fabrics and threads are dyed sampling beings. Design iterations are made and put into making with the supervision of the design team, masterji and the artisans. Once developed it is open to feedback after which further modifications are done.
PRODUCTION
within their already urther modified
Costing Time taken Quantity
ues.
Export Production process Muslin sample Master sample Buyer sample Spec Sheets for buyer, master and studio
MERCHANDISING Exhibitions, stalls, clusters
SPIRIT OF ADVENTURE / HILLS AND MOUNTAINS THEME BOARD
SEEKER
The brand officiates affection and intimacy with a mountain life. A stroll among the mountains enables them to put their love for the very environment in their work that is perennial, utilizing the millions of years that nature put in its development.
Over the years, they have grown to believe in the luxury of nature, often seen among the scarce life among the mountains. - SWGT
WANDE
ERER
GATHERER
THINKER
WANDERING SOUL
FRAGILE “SWGT’s muse is a seeker, Seeks wonder in the mundane. A wanderer in the pursuit of adventure. A gatherer of inspiration, She is a thinker, Shaping her purpose.”
WANDERER
- SWGT
ASSYMETRIC
SWGT’s inspiration comes from the founders childhood among the hills of Uttarakhand. A humble youth spent relishing nature in its essence and the grace with which its elements change over various seasons.
GATHERER
They at SWGT are in awe of the pine leaves, the succulents, the dew that are synonymous with a life that is close to the natural world, away and above the packed city life.
DRAMATIC
PROJ
THE LITTLE TH
BRI
To develop a collection for w with textile techniques like patch
Inspiration : flower – the Mood – finding gratitude
JECT 1
HINGS IN LIFE
IEF :
womenswear spring summer e applique, embroidery and hwork.
e simplest form in nature in the little things in life
THE LITTLE THINGS IN LIFE The inspiration comes from finding gratitude in what we have The flower represents the simplest form in nature, The forms and motifs were ideated to show beauty in the basic
Being resilient is about having the ability to recover after disturbances or significant, unpredictable changes in the local environment, such as those caused by a fire, flood, blizzard, or injury. Nature has an inbuilt resilience. Things which appear to be dead are merely dormant and spring back to life once the conditions are right. The image shows a flower growing in between rocks, inhabitant for its growth. It gives us hope that in the river of time, no matter how difficult the circumstances, we just have to wait for the water of life to come back and restore our fragile but precious sense of aliveness.
After the inspiration and colour palette is decided, we go for sourcing fabrics that match our ideology. The brand also has handlooms from which they get their chanderi fabric.
We ideate on the existing silhouttes of the brand. Dresses, tops, tunics, pants Techniques : applique, embroidery, crochet, tucks.
IDEATION
As applique was never used in the brand, we started from the scratch.
Once t we ma
The co the dy cards, swatch
The dy The da palett
SOURCING AND DYEING
One the inspiration is decided we go for sourcing. The fabrics in this collection are sourced from nehru place and the trims from chandni chowk.
the fabrics are received, ake the dye program.
We visited more than 50 shops which helped us gain knowledge on various things like market prices, quality, stores etc.
olour palette is sent to yer in the form of shade threads, pantones or hes.
ye program includes : ates, quantity, colour te, price etc.
Fabrics sourced : Cotton silk Cotton voil Poplin Textured fabric
SWATCH IDEATIONS AND WORKING WITH THE ARTISANS
Once the dyed fabrics are received, the fabrics are ironed and checked for colour bleeding, spots etc.
The fabric quantites are measured, put in the excel sheets and separated to be kept in the racks.
Then the fabrics are cut for surface sampling. (everytime we take out fabric, it is updated in the excel sheets)
We then co ideations w artisans : Threads, s measurem negative s
T
C a th ev th
Making samples helped us understand the colour combinations, threads and other details from which we developed further.
ommunicate the with the
stitch types, ments, colours, spaces etc.
TAKEAWAYS
lear articulation nd sitting with he artisans for very step gets he best out.
Ideation and modifications are done simultaneously for efficient working.
KHAKHA PROCESS :
Once the swatch ideation were f
Motifs are made in illustrator or is hand drawn directly on the khakha paper.
The motif is then printed in the actual size and sent for pinning to the machine embroider.
inalised, motifs are made on the khakhas.
Then the solvent for khakha tracing is made :White or silver for darker fabrics Blue for lighter fabrics
Chapai : It is then traced to the fabrics
INITIAL SWATC
Started with basic applique and patchwork
Moved on to experiment with different textured fabrics
Worked with simple flower motifs It helped us to understand colour combinations.
CH ITERATIONS
Experimented with textured fabric and anchor threads
Worked directly on swatches by drawing it with steam pen
Both hand and machine embroidery
SECONDARY SWAT
Swatch iteration for cuffs and collars
Basic anchor threads and pintucks combine with embroidery
TCH ITERATIONS Further applique development
Experimentation with colour combinations, kaantha stitches, patchwork.
COLLAR 1 Assignment : To make two detachable collars using the same techniques. Techniques :
Applique Anchor threads Kaantha stitches patchwork Hand drawn khakha
Surface
e development
Pattern making
COLLAR 2
Fully hand embroidered Time taken : 2 days
We took the motifs from the floral khakhas and drew fillers in it.
Swatch exploration
Balancing spaces w stitches pen.
g negative we marked the s with steam
MUSLINS
Muslin fits :
The final ideations are put up on board for the teams feedback. We note the points for each adjustments.
The silhouettes are ideated from the earlier collections of SWGT.
We sit with the design team and ideate. The ideations are the illustrated by the fashion design team.
The ideations are printed out for feedback.
Final patterns are made and the garments are sent for production.
We sit with the pattern master and go through the changes from the given feedback
The fabric swatches are pinned to the sheets for each garment and categorised.
FINAL GA
ARMENTS
TUNIC
Fabric : Li
Trims : Cotton silk Textured Dyed anch Crochet bu
Colour : Be
Technique Patchwork Machine em Hand embr Crochet
Size : Med
Ideation P
Placement Compositio Sample ge
Time take
C
inen
k patches cotton fabric or threads uttons
eige
s: k mbroidery roidery
dium
Process :
ts made with steam pen ons eometric swatches
en : 12 hours
DRESS
Fabric : Sing
Trims : Beads Chanderi pat Dyed anchor Crochet but
Colour : Whit
Techniques : Patchwork Machine emb Hand embroi Beadwork Gathers
Size : Medium
Ideation Pro Motifs Hand drawn chapai
Time taken
gle ply Chanderi
tches threads tons
te
broidery idery
m
ocess : placement khakhas
: 16 hours
DRES
Fabric : L
Trims : Textured Dyed anc Crochet b
Colour : O
Techniqu Patchwo Machine Hand em
Size : Me
Ideation
Motifs Hand dra chapai
Time tak
SS
Linen
d fabric patches chor threads buttons
Onion Pink
ues : ork embroidery mbroidery
edium
n Process :
awn placement khakhas
ken : 8 hours
TUNI
Fabric : P
Trims : Textured Dyed anc Crochet
Colour : O
Techniqu Patchwo Machine Hand em
Size : Me
Ideation
Motifs Hand dra chapai
Time tak
IC
Poplin
d fabric patches chor threads buttons
Onion Pink
ues : ork embroidery mbroidery
edium
n Process :
awn placement khakhas
ken : 6 hours
DRESS
Fabric : Cott
Trims : Cotton silk pa Dyed anchor t Crochet butt
Colour : Blue
Techniques : Patchwork Machine emb Hand embroid Gathers
Size : Medium
Ideation Pro
Motifs Hand drawn p chapai
Time taken :
ton silk
atches threads tons
broidery dery
m
ocess :
placement khakhas
: 8 hours
DR
Fa
Tr Cro Rib
Col
Te Ma Pin
Siz
Id
Mo Dig cha
Tim
RESS
abric : Chanderi
rims : ochet buttons bbon sleeves
lour : Mint green
echniques : achine embroidery n tucks
ze : Medium
deation Process :
otifs gital khakhas apai
me taken : 18 hours
DRES
Fabric : C
Trims : Chanderi Golden th Crochet
Colour : P
Techniqu Machine Hand em Patchwo Gathers
Size : Me
Ideation
Motifs Hand dra chapai
Time tak
SS
Chanderi
i patches hreads buttons
Pink
ues : embroidery mbroidery ork s
edium
n Process :
awn placement khakhas
ken : 16 hours
T
F
T C C
C
T M H P
S
I
M H c
T
TOP
Fabric : Chanderi
Trims : Chanderi patches Crochet buttons
Colour : Pink
Techniques : Machine embroidery Hand embroidery Patchwork
Size : Medium
Ideation Process :
Motifs Hand drawn placement khakhas chapai
Time taken : 5 hours
DRES Fabric :
Trims : Cotton Texture Anchor t Crochet Colour :
Techniq Gather Machine Hand em Patchw
Size : M
Ideatio
Motifs Hand dr chapai
Time ta
SS Cotton
silk patches ed fabric patches threads t buttons Green
ques : s e embroidery mbroidery work
Medium
on Process :
rawn placement khakhas
aken : 6 hours
MY OVERALL LEARNINGS - Spec sheets Taking measurements on dummy .
- Interpreting the brief : To catch key words and understanding what the designer wants.
- Sourcing Fabric relevance Prices Quantity Exploring places in Delhi
- Working with the artisans How they interpret your instructions Clear articulation Sit with them for swatches and explain step by step
- Target consumer It was a new target audience for me, entirely different from what I have worked on What sells in the market
- Surface techniques Time and skills it requires to make a garment from scratch .
- Costing Excels and markings Swatch boards with store and price tags .
- Overall design process From inspiration to ideation to surface development to final
p
- Fabric selection Fabric properties and what to choose best for the function - Constraints How and if everything ideated can be made. Time and expense requirement
In awe of the night life in the mountains. The pine leaves, the succulents, the dew that are synonymous with a life that is close to the natural world, away and above the packed city life.
PROJECT 2
METALLIC NATURE BRIEF : To develop a couture collection for Lakme Fashion week store with textile surface techniques. Inspiration : Nature textures – the dews, stars, waves Mood – night shine
Crisscross folds Mountain folds
Beaded valley Flower rain
Waterfall lines Shine, sparkle
METALLIC NIGHT
By Nature’s law, what may be, may be now; There’s no prerogative in human hours: In human hearts what bolder thought can rise, Than man’s presumption on tomorrow’s dawn? Where is tomorrow? In another world. For numbers this is certain; the reverse Is sure to none; and yet on this perhaps, This peradventure, infamous for lies, As on a rock of adamant we build Our mountain hopes; spin out eternal schemes, As we the fatal sisters would out spin, And, big with life’s futurities, expire -Edward Young
SWATCH DEVELOPMENT & TECHNIQUES USED Ideation to swatch development
Fabric sourced : Poplin Cotton Chanderi - inhouse
Digital AI khakha
Experimented with different Zari
Machine embroidery
Hand crochet & beaded scallops
Smocking with beads
Wavy tucks with zari
patch
Frills w
hwork
Hand crochet & tucks
with zari
Hand pitta work with zari
Beadwork
Gathers
DRESS
Tiered dress with all over metallic flower embroidered, made in 100% handwoven yarndyed silk chanderi, lined with 100% cotton voile.
Time taken : 22 hours Fabric : silk chanderi
machine embroidery – silver & golden zari
Gathers & frills
DRESS Delicate hand smocking detail with glass beads across the yoke. Made in 100% handwoven yarn-dyed silk chanderi. Lined with 100% cotton voile.
Time taken : 18 hours Fabric : silk chanderi
Glass beaded smocking
Gathers
DRESS
V neck dress with fine metallic pintucks, gathers and detailed surface techniques. Made in poplin and voile lining.
Time taken : 21 hours Fabric : poplin
Gathers and frills
Fine pin tucks, patchwork
DRESS
Pintucks on yoke with metallic hand crocheted collar dress, made in poplin
Time taken : 8 hours Fabric : poplin
Hand crocheted collar, fine pin tucks
Gathers
DRESS V neck overlay dress with drawstring at the waist, delicately crocheted at the hem, made in 100% handwoven yarn-dyed silk chanderi.
Time taken : 24 hours Fabric : silk chanderi
Hand crocheted scallops, all over pitta with zari
Golden, white & black beaded hem
JACKET Metallic textured jacket made in poplin with 100% handwoven yarn-dyed silk chanderi detail frill on hem.
Time taken : 18 hours Fabric : silk chanderi
Wave tucks with silver zari
frills
SKIRT
All over pitta detailed skirt, made in 100% handwoven yarn-dyed silk chanderi.
Time taken : 24 hours Fabric : silk chanderi
All over pitta
Lilac lining
MY OVERALL LEARNINGS - Working under high pressure Putting up a stall at Lakme fashion week Managing transport of garments Catalog development
-Management Managing deliveries and contacts Organizing information Answering queries from clients
- Spec sheets Taking measurements on dummy .
- Vendors Getting on calls with dyers, printers, fabric sellers. Inquiring Managing sending, receiving
- Interpreting the brief : To catch key words and understanding what the designer wants.
Labelling, packaging, excels Keeping track of all processes .
- Costing Excels and markings Swatch boards with store and price tags .
- Constraints How and if everything ideated can be made. Time and expense requirement
- Lakme fashion week Interacted with a lot of artists and designer Got to see the behind scenes and preps of the show Participated in managing the store Interacted with the clients and answered there queries
Dried wild roses in my biology notebook
PROJECT 3
WILD ROSES
BRIEF : To develop a Prints for womenswear Autumn - winter Inspiration : Wild roses, nature Mood – covered in roses
vintage
Stains & watercolour patches
Playing with opacity
Little contrast elements
Line dra
MOOD BOARD
Textures
scaling variations
DRIED FLOWERS IN MY BOOK Their fragrance gone, they lie at rest.
Perhaps losing your scent you will gain eternal life, I whisper as I stroke toughened skins. Acorns that dropped on my head last autumn Line up evenly on paper. When I rattle them a distant bell tolls.
awings
Texts
The dried wild rose is still red, losing your scent you will gain eternal life.
FORM DERIV
PINE
Real life study te
WILD CONES
VATIONS
exture derivation
FORM DERIV
WILD ROSE
Real life textu
MUSHROOMS
VATIONS
ure derivation
Broken forms
filler forms
Organic forms
FORM IT
Studying fall of forms
textu
Stroke balance
angles
Scaling exploration
TERATIONS
ures
Connecting forms
BRUSH TEXTURE
E EXPLORATION
Opacity and shades
fall and placements
scaling and
Scattered
d sizing
d textures
Maximum minimum
COMPOSITIONS
Developing compositions out of things picked up on my way to office.
Shadow and placements
Object placements
Gl
Negative s
Studying shadows, fall, placements, opacity and combinations
low diffused
space
Background play
WATERCOLOUR
Watercolour fill
Combining forms
Texture derivations
Form exploration
Breaking down forms
Balancing negative spaces
Vintage drawings
TEXTURE FILL
Connecting elements
Placement and scaling
Combined forms
Balancing spaces
shadows
Repeated forms
Texture derivations
fillers
COMPOSI
Wild rose Connecting creepers Mushroom line scales Watercolour leaves
Pine texture Mushroom line scales Watercolour leaves Mushroom buds
Wild rose Mushroom buds Watercolour leaf Cone texture
Leaf texture Mushroom buds Watercolour leaf scales
ITIONS
Wild rose Mushroom buds Watercolour leaves Cone texture Mushroom scales Pine texture line
Wild rose Mushroom buds Watercolour leaves Cone texture Mushroom texture Connecting leaves
PRINT EXPL
Exploring bac Shadows, colo placements, r brushes, text accents.
LORATION 1
ckgrounds, ours, repeats, tures,
PRINT EXPLO
Exploring back Shadows, colou placements, re brushes, textu
ORATION 2
kgrounds, urs, epeats, tures, accents.
PRINT EXPLO
Exploring back Shadows, colou placements, re brushes, textu
LORATION 3
kgrounds, urs, epeats, tures, accents.
PRINT EXPLORATIONS
Exploring backgrounds, Shadows, colours, placements, repeats, brushes, textures, accents in vintage theme.
FINALPRINT
T AND REPEATS
From motifs to compositions and repeat
FINAL PRINT 1 :
REPEAT
FINAL PRINT Elements :
Wild rose Leaves and buds Watercolour leav Cone texture Pine texture Filled and line dra creepers Balancing :
negative space Connecting eleme Shadows Accent colours
Print : All over re
1
s ves
awn
ents
epeat
FINAL PRINT 1 : All over repeat Print is calculatedly placed in each pattern aligning with the seams.
FINAL PRINT 2 :
PRIN T
FINAL PRINT Elements :
Wild rose Leaves and buds Watercolour leav Cone texture Pine texture Filled and line dr creepers Leaf skeleton Balancing :
negative space Connecting eleme Shadows Accent colours
Print :Placement
T2
s ves
rawn
ents
t print
FINAL PRINT 2 : Placement print Print is calculatedly placed in each pattern.
WAKING UP TODAY IS A GIFT, E
EVERYTHING ELSE IS A BONUS
THANK YOU