The Craft Project

CRAFT PROJECT BY SAGARIKA KALITA

THE CRAFT PROJECT THE CRAFT PROJECT

IN COLLABORATION WITH RANGSUTRA

ABOUT IN COLLABORATION WITH RANGSUTRA This project was set to aim to understand and appreciate the finer nuances of craft practices in our country, specifically in the villages of Bikaner and Lucknow where desert embroideries and chikankari embroidery are widely practiced. It also gave an opportunity to analyse the Indian/Eastern approach to clothing, know more about the indigenous textiles, clothing traditions from parts of India and knowing about the local lifestyle and identities.

The final motif was to build a collection on the Indian context of craft and East Asian approach of clothing traditions along with the groups assigned to us.

Through this project and live brief from Rangsutra Crafts India Limited, we got an opportunity to work as design consultants and create outcomes which are market ready, targeting the Spring Summer 2021 season.

Rangsutra collection

RANGSUTRA CRAFT INDIA LIMITED Rangsutra is a company started in 2006 , owned by a community of over two thousand artisans across rural India, it was founded by Sumita Ghose.

Rangsutra is a company started in 2006 , owned by a It acts as a bridge between rural artisans and global community of over two thousand artisans across consumers in order to develop sustainable livelihoods rural India, it was founded by Sumita Ghose. and revive India’s rich craft heritage. It believes that It acts as a bridge between rural artisans and global the communities of artisans, particularly women, consumers in order to develop sustainable livelihoods deserve economic opportunities, and it aims to keep and revive India’s rich craft heritage. It believes that alive the rich tradition of their craftsmanship in a the communities of artisans, particularly women, rapidly changing urban market. deserve economic opportunities, and it aims to keep alive the rich tradition of their craftsmanship in a For many of their artisans, craft is more than just a rapidly changing urban market. source of income. It’s a form of expression that’s closely connected to their history and identity.

For many of their artisans, craft is more than just a These crafts - and the stories that come with them source of income. It’s a form of expression that’s form the foundation of each Rangsutra product. closely connected to their history and identity.

Each one is a celebration of the unique and These crafts - and the stories that come with them longstanding tradition of Indian design. form the foundation of each Rangsutra product.

Each one is a celebration of the unique and Each of their pieces are handcrafted using longstanding tradition of Indian design. techniques rooted in a long tradition of Indian crafts, some of them are: Each of their pieces are handcrafted using Applique work techniques rooted in a long tradition of Indian crafts, Tie and Dye some of them are: Handloom Applique work Desert Embroideries Tie and Dye Kashmiri Embroidery Handloom Chikankari Embroidery etc.

Desert Embroideries Kashmiri Embroidery Chikankari Embroidery etc.

Artisans working on embroidery

CHIKANKARY Chikankari is Lucknow’s most ancient form of art believed to be introduced by the Mughal. The word, Chikan, was derived from the Persian word ’chikin’ which means a kind of embroidery. This embroidery is also called ‘Shadow Work’.

Chikankari has over 40 different types of stitches which are used. It was initially done on white-on-white and on mulmul or muslin fabric but with time there has been evolution of fabrics, designs and colors. The motifs and patterns used in Chikankari are mostly associations with people, environment, flora and fauna, and inspired from Mughal architecture. Some popular motifs are: PAISLEY ‐ LOTUS ‐ PEEPAL ‐ PATTA FISH ‐ OR MAHI PEACOCK ‐ CRESCENT ‐ SHAPE OF MOON TREE ‐ OF LIFE LEHRIYA ‐ PATTERN JAVA ‐ PATTERN JALI ‐ PATTERN And a lot more are still evolving and used interestingly to create various textures and designs.

Chikankari samples

EMBROIDERY There are 3 steps to the making of Chikankari garments: 1.Block printing - In this process multiple wooden block stamps which have the carved designs of the Chikankari embroidery is used to imprint in blue ink on to the fabric. Traditionally ‘Gerua’ a natural pigment that comes from earth was used for printing. It is now done with synthetic Indigo and emulsion of synthetic gum.

2.Embroidery - The fabric is then set within small frames, part by part, as the needle work begins to trace the ink printed patterns. The artisan then further proceeds with the types of stitches which would suit best for a design.

3.Washing- Once the embroidery work is completed; the fabric is soaked in water to remove the pattern outlines. After this it is starched to obtain the right stiffness depending on the fabric. Some ingredients used in removing the prints are Bleaching powder, caustic soda, baking soda, washing powder etc.

Block printing process, Chapai

Bara Imambara and Chota Imambara, monuments from the city Lucknow.

THE JOURNEY ,TO LUCKNOW the city of Nawabs We were divided into two groups for both the places of craft to be covered. I was going to Lucknow for their heritage Chikankari embroidery.

Lucknow, one of the most influencial cities of India, also known as the ‘city of nawabs’ is a mix-cultured city predominately influenced by the Islamic culture and architecture. Our visit to the city was a total different experience, it was very nostalgic yet running-with-time kind of a feeling . They have beautiful architectures which are quite historic and old and their culture is very unique and the people are usually perceived to be soft-spoken. Also mostly heard about because of their speciality in cuisine.

This was supposed to be a one week trip where we would go through the processes of the Chikankari embroidery, from printing to applying the stitches to washing the ink marks off the fabric. We were also to keep in my mind the lifestyle, locality and identity of the people and the surrondings.

CHIKANKARI OF HARDOI

Printing unit in chowk, Lucknow

Hardoi is a district in Uttar Pradesh, it has a growing weaving industry and has gifted craftsman who weave beautiful indian textile.The centre from where we were supposed to learn the craft was in a village named ‘Rithawar’. This centre is under Rangsutra, and these craftsman are the true faces of the company. There was a different lifestyle here than how it was in the city, Lucknow. They had small mud and brick houses, made the maximum use of a resource, found alternative and solution to neccessities of daily life and had a very plain and simple kind of living. There was no choas or rush on the streets unusually like in the cities and towns, there was more greenery, more space around etc. One of the most interesting things understood that there wasn’t any discrimination or distinguishing between the two religions- hindu and muslims. They were quite open and friendly and they seem to be very inclined towards bright and vibrant colours which we also withnessed around their houses.

The centre has arranged each individual craftsperson for each one of us to teach the embroidery, they were very quick and smooth in their work, they were well skilled.

We experienced the amount of hard work each of these craftsman put in their work and somewhere realized the value of these crafts of India. India is one of those countries with very precious yet tedious kinds of crafts practiced all over the country.

Cikankari working centre

Washing unit at Gomti river

TYPES OF CHIKANKARI STITCHES Chikankari has more than 40+ stitches.

Some of the types are Flat stitches, which remain close to the fabric. Embossed stitches, which gives a grainy appearance and Jali work, which is created by thread tension, and it gives a delicate net effect.

We learned the most commonly used and basic stitches from the artisans in the centre.

Tepchi It is a simple running stitch

Ghas Patti These are diagonal opposite stitch lines, like the veins of a leaf.

Phanda These are basic circular knots achieved after repeating the process multiple times.

Bakhiya There are two types of them- Ulti and Siddhi. The ulti bakhiya is the surface of the stitch, like criss cross/ satin stitch.

The siddhi bakhiya also known as shadow work, creats effects of shawdow through the fabric.

Gitti It is a form of the blanket stitch.

samples develop

samples developed at the centre

These were some of the samples developed by me with the help of These were some of the samples the artisan. They taught us 5 basic developed by me with the help of techniques like Bakhiya, Ulti the artisan. taught us and 5 basic Bakhiya,They Pechni, Phanda Ghass techniques like Bakhiya, Ulti patti.

Bakhiya, Pechni, Phanda and Ghass patti.

ped at the centre

India’s largest private platform for traditional techniques, skills and hand-based products.

Created by John Bissel, 1960.

They have been a source of employment to the rural sector.

They have made it to the international level and have opened outlets in Rome, Italy, Dubai, Bahrain etc.

Major portion of products range in textile based.

Other than that they provide non textile, organic products, authentic personal care and handicraft jewelry.

Target audience: Middle class and upper class.

Age: mostly 25+ They have a number of repeating costumers.

Fabindia collection

COMPETITORS OF FABINDIA

Kilol Fabrics Pvt. Ltd. was founded in the year 1986 by Mamta Mansingka. She took a garage in Indore with a single printing table and one kaarigar (printer) and turned that garage into a labour of love and created a new approach to Saree design.

Founded by Anita Lal, 1996.

A sustainable luxury brand, for them sustaining tradition & ecology is a core value.

Range of soft furnishing, ceramics products, apparels for both men and women.

Encouraging craftsmanship and reviving lost traditional crafts.

Major crafts seen are- Ajrakh, Block print, Brocades, Chikankari, Dabu, Kalamkari, Kansa, Malkha and Chanderi.

Years of research of the lucknawi chikankari and kamdani has resulted in her working with the master craftsmen of these techniques.

Keeping tradition alive is the key philosophy of the label and we do so by employing 18 of these tankas.

The label anjul bhandari is focused on bringing back the old world glamour, romanticism and opulence associated with mughal culture.

Eká is reflective of designer Rina Singh's personal ethos of simple living and connects to her upbringing in a family of agriculturalists.

Eká, in Sanskrit, means ‘one’ and echoes the sin- gular effort of many individuals.

Other product range Other product range

Collection Collection

Shades of India is internationally known as one of India's most creative textileas Shades of the India is internationally known companies.

Led by Mandeep Nagi one of the India's most creative textile(Design Director).Led by Mandeep Nagi (Design companies.

The brand combines contemporary design Director). thecombines inspiring workmanship traditional Thewith brand contemporaryof design craft. uniqueness of its style lies in the with the The inspiring workmanship of traditional texturing of fabrics, the coordination and craft. The uniqueness of its style lies in the contrasting of colours, and the inventive, texturing of fabrics, the coordination and unexpected use of surface contrasting of colours, and thetreatment. inventive, The company is surface acclaimed internationally for unexpected use of treatment. inventiveness of its designs Theoriginality companyand is acclaimed internationally for and has won various awards at originality and inventiveness of its major designs tradeawards shows at including andinternational has won various major the best product awards at shows in Paris andbest New international trade shows including the York. awards Mandeep Director, has product at Nagi, showsDesign in Paris and New thrice won the ElleDesign Decor Director, Design Award York.

Mandeep Nagi, has in India for fabric. thrice won the Elle Decor Design Award in India for fabric.

Cord was established with an ideology to discard conventional design mandates Cord was established with an ideology to depicting stories of craftmanship, the discard conventional design mandates beautystories of authenticity and charm depicting of craftmanship, theof nostalgia.

It is the linking force that beauty of authenticity and charm of bridges the gapItbetween the past the present. nostalgia. is the linking forceand that bridges bythe Pranav Neha theCo-founded gap between past Guglani and the and present.

Singh in 2015, they strive to create products Co-founded by Pranav Guglani and Neha to last beyond Singh in 2015, theyseasons. strive to create products NOSTALGIA. CRAFTMANSHIP. to last beyond seasons.

AUTHENTICITY. TIMELESS. COMFORTABLE. NOSTALGIA. CRAFTMANSHIP. EFFORTLESS.TIMELESS. COMFORTABLE. AUTHENTICITY. EFFORTLESS.

Collections Collections

The inspration was derived from the architecture and the lifestyle of the city, Lucknow. Each of the architectures had stories to tell and how everything still lookedall the same.

The moodboards talks about the memories and nostalgia attached with the city, how even with time the stories still are still heard about and how the people of the city is embedded towards it.

COLOUR DIRECTION 1

COLOUR DIRECTION 2

MENSWEAR RESEARCH

Some key details were pin tucks, piping, panelling, using of contrasting fabrics and colours etc.

The silhouettes were kept simple and basic since fabindia is a brand which targets a larger audiience for daily wear, basic silhouettes are their preferences.

The bottoms were inspired from ancient lowers.

Volumous, drop crotch, gathering at the waist, using of drawstring etc.

Techniques inspired are like panelling, surface development, patchwork, stitch lines on surfaces.

WGSN Menswear research Here they talk about the use of linens, patterns, prints and weaves.

Also considering the asthethic of the vintage utility.

How different patterned fabrics are going to merge together to form a new fabric in itself, using of patch techniques and useful play of color blocking.

Use of piping on minimal level, textured surfaces created through stitches, use of buttons not only in the usual ways, color contrasting or fabric contrasting elements, pin tucks etc.

ZERO WASTE research

The silhouettes were kept baggy and basic. We wanted to incorporate the waste from the making of final garments into the detailing of the zero waste garment. The silhouette should also be adjustable to different size with using drawstrings etc.

FABRICS SWATCHES AND TRIMS

S

MOTIF DEVELOPMENTS

EMBROIDERY SWATCHES

GROUP'S ITERATIONS

SOME OF THE GROUP ITERATIONS WOMENSWEAR ETHNIC

WOMENSWEAR WESTERN

MENSWEAR

DESIGN DESIGN DE DESIG

ESIGN GN

DESIGN DESIGN

DESIGN DESIGN DESIGN DESIGN

MENSWEAR IDEATIONS

MENSWEAR RENDERED IDEATIO

MENSWEAR CATEGORY (individual ideations)

ONS

FINALFINAL DESIGN AND EMBROIDERY INDIVIDUAL DESIGN FOR MENSWEAR

Width 2cm Length 3.5 cm

Spacing between motifs- 1.5 cm

MOTIF DETAIL

MOTIF PLACEMENT FRONT VIEW

BA

ACK VIEW

Spec sheet

Length 29” Bone pocket width 4.5” length 6”

Sleeves 23” Placket over 1 2/8” under 1”

Stitch line gap 1/2”

Cuff width 2”

front

BOTTOM FINAL DESIGN

FINAL INDIVIDUAL DESIGN FOR MENSWEAR FINAL INDIVIDUAL DESIGN FOR MENSWEAR

PROCESS OF MAKING PROCESS OF MAKING

Width 2cm Width 2cm Length 3.5 cm Length 3.5 cm Spacing between motifs- 1.5 cm Spacing between motifs- 1.5 cm

Collar width 1”

Yoke 7”

Flat piping at the seamlines.

MOTIF DETAIL piping at the MOTIFFlat DETAIL seamlines.

Flat piping 1/2”

Piping 1/2”

Seamline 22”

Sleeve placket 4.5”

back

Back of the g before attach sleeves.

Initially I started stitching all the panels together, then i also MOTIF PLACEMENT stitched the flat piping alongMOTIF PLACEMENT side.

Initially I started stitching all the panels together, then i also stitched the flat piping alongside.

Back of the garment before attaching sleeves.

FRONT VIEW FRONT VIEW Front, before attaching sleeves.

Front, before

Single bone pocket, with a contrasting

Single bone pocket, BA with a contrastingBA fabric.

Spec PROCESS sheet OF MAKING

Collar width 1” Length 29”

Yoke 7”

Bone pocket width 4.5” length 6”

Flat piping seamlines.

Flat piping 1/2”

Sleeves 23” Placket over 1 2/8” under 1”

Piping 1/2”

Seamline 22”

Stitch line gap 1/2” Sleeve placket 4.5” Cuff width 2”

front

back

garment hing

ACK VIEW ACK VIEW

BOTTOM FINAL DESIGN BOTTOM FINAL DESIGN

Initially I started stitching all the panels together, then i also stitched the flat piping alongside.

Front, b attachin

CONSTRUCTION OF THE DESIGN

Flat piping at the seamlines.

Back of the garment before attaching sleeves.

Initially I started stitching all the panels together, then i also stitched the flat piping along side.

Front, before attaching sleeves.

Single bone pocket, with a contrasting fabric.

For the cuff, I used a contrasting fabric for the facing.

FRONT VIEW

Attaching the sleeves, it also has flat piping on the seamlines.

BACK VIEW

attaching sleeves.

FINAL RANGE

fabric.