A Coconut Story

a fibrous story of a

coconut

ACKNOWLEDGMENT Through the entire process of completing my design project, I had incredible support and help from many people, and to whom I would like to express my deep gratitude, and without whom successful completion of my design project would have not been possible. I would like to express my gratitude to National Institute of Design, Paldi Ahmedabad,for providing a platform to learn & Experiment with multi disciplinary learning and to all those people involved in the accomplishment of my design project and for the entire experience provided to me throughout these 06 weeks especially.

I would like to thank my guide of this design project Ms. Sonal Chauhan , for being very generous in giving me the opportunity to carry out design project and extending her cooperation for successful completion of the same, also for sharing her time and knowledge with me. My extended thanks to Ms.Carmina Fernandes & Ms. Deepa Chahuhan for their valuable support and guidance throughout my project and encouraging my work.

I am grateful to my curse coordinator Ms. Aarti Srivasatava for her valuable support throughout. I would also like to express my gratitude to all other faculties of NID Ahmedabad & Gandhinagar for sharing their contacts & unspoken support for this project.

Last but not least, I am also grateful to my all respondents for giving me their precious time, because, without their support I cannot imagine the success of my design project. I would also like to thank all the Lab In charges who shared valuable information with me during this project. My sincere thanks goes to all my colleagues for their gentle support & time.

It has been pleasure to work with Ms. Sonal Chauhan for her guidance and is which much appreciated.

Padma Raj Keshri Masters of Design Textile Design Semester-02 S1511110

Course abstract

Relevance

Objective

Course Contents

Methodology

The name of the course is Design Project:-01 in which the topic is Constructed Textiles. The design project is a part of second semester with a duration of 6 weeks and a credit of 24.

• To broaden the creative horizons of a textile designer and introduce new design applications in active sportswear, functional clothing, and performance wear besides the existing domains of apparels, accessories and home textiles.

• To encourage an attitude and approach which stimulates one to think, to research, innovate; develop conceptual skills which help one to find larger patterns and connections in society.

• The student should learn an approach and a methodology to develop constructed textiles through a context related design project.

The context could be located in the domains of apparel, accessory, home textiles and technical textiles.

• Hands on exploration

• The course comprises of a series of assignments which introduce the methodology of need identification, information collection, analysis, synthesis, concept development, sample and prototype development and testing.

• Literature search and library research

• The student would be required to document the entire learning process which records the research and development of ideas and design development through sketches, text and images and actual samples.

• Submission of assignments

• The value of hands-on learning and explorations will encourage students to develop tools, devices and methods to make their experiments viable.

• To develop a capability to design textile products exploring non-woven methods of fabric construction, knitting, felting, needle-punching and embroidery.

• To help imbibe a genuine respect for historical textile traditions and contemporary technology and use it as a learning resource.

• The design project would lay an emphasis on creative and exhaustive explorations which is informed by research, field visits, user study and market study.

• The students would be introduced to research as an important learning tool; to study user needs, market, materials and technology; global design approaches, history of design and trends.

• Demonstration of techniques • Field visits and fieldwork • User study and market survey

• Individual assignments • Group discussions presentation (critiques)

and

Subject During the selection the subject, The brief given was to choose A natural object which is versatile in nature and having lot of opportunity in itself which can add value to the project & at the end I can explore the same with all the possible medium to express the subject in the fabric.

COCONUT The coconut tree (Cocos nucifera) is a member of the family Arecaceae (palm family).

It is the only accepted species in the genus Cocos. The term coconut can refer to the entire coconut palm, the seed, or the fruit, which, botanically, is a drupe, not a nut. The spelling cocoanut is an archaic form of the word. The term is derived from the 16th-century Portuguese and Spanish word coco meaning “head” or “skull”, from the three indentations on the coconut shell that resemble facial features.

The coconut is known for its great versatility as seen in the many uses of its different parts and found throughout the tropics and subtropics. Coconuts are part of the daily diets of many people.

Coconuts are different from any other fruits because they contain a large quantity of “water” and when immature they are known as tender-nuts or jelly-nuts and may be harvested for drinking.

When mature, they still contain some water and can be used as seednuts or processed to give oil from the kernel, charcoal from the hard shell and coir from the fibrous husk. The endosperm is initially in its nuclear phase suspended within the coconut water. As development

continues, cellular layers of endosperm deposit along the walls of the coconut, becoming the edible coconut “flesh”.When dried, the coconut flesh is called copra.

The oil and milk derived from it are commonly used in cooking and frying; coconut oil is also widely used in soaps and cosmetics. The clear liquid coconut water within is potable. The husks and leaves can be used as material to make a variety of products for furnishing and decorating. The coconut also has cultural and religious significance in many societies that use it.

Plant Cocos nucifera is a large palm, growing up to 30 m (98 ft) tall, with pinnate leaves 4–6 m (13– 20 ft) long, and pinnae 60–90 cm long; old leaves break away cleanly, leaving the trunk smooth.

Coconuts are generally classified into two general types: tall and dwarf.On fertile soil, a tall coconut palm tree can yield up to 75 fruits per year, but more often yields less than 30, mainly due to poor cultural practices.Given proper care and growing conditions, coconut palms produce their first fruit in six to ten years, taking 15 – 20 years to reach peak production.

Fruit Botanically, the coconut fruit is a

drupe, not a true nut.Like other fruits, it has three layers: the exocarp, mesocarp, and endocarp. The exocarp and mesocarp make up the "husk" of the coconut. Coconuts sold in the shops of nontropical countries often have had the exocarp (outermost layer) removed.

The mesocarp is composed of a fiber, called coir, which has many traditional and commercial uses.

The shell has three germination pores (micropyles) or "eyes" that are clearly visible on its outside surface once the husk is removed.

Coconut palms continue to produce roots from the base of the stem throughout its life. The number of roots produced depends on the age of the tree and the environment, with more than 3,600 roots possible on a tree that's 60 to 70 years old.

A full-sized coconut weighs about 1.44 kg (3.2 lb). It takes around 6,000 full-grown coconuts to produce a tonne of copra.

The palm produces both the female and male flowers on the same inflorescence; thus, the palm is monoecious.Other sources use the term polygamomonoecious.The female flower is much larger than the male flower. Flowering occurs continuously.

Coconut palms are believed to be largely crosspollinated, although some[which?] dwarf varieties are self-pollinating.

Roots Unlike some other plants, the palm tree has neither a tap root nor root hairs, but has a fibrous root system.

The coconut palm root systemconsists of an abundance of thin roots that grow outward from the plant near the surface. Only a few of the roots penetrate deep into the soil for stability. The type of root system is known as fibrous or adventitious, and is a characteristic of grass species. Other types of large trees produce a single downward-growing tap root with a number of feeder roots growing from it.

Roots are usually less than about 3 inches in diameter and uniformly thick from the tree trunk to the root tip.

Inflorescence

KEYWORDS SOFT HARD SHELL KALPAVRIKSHA DYNAMIC ADAPTABLE COOLING AGENT MULTI PURPOSE FOREVER

Visual expression of the subject After the selection of the subject, I started sketching them to express them visually, Since the coconut has different stages where I have to start the sketching from the green stage fresh from the tree to the hard brown coconut, the medium of expression for these sketches was from pencil to colors. The sketches helped me to understand the shape, structure, color and values of the coconut.

I have tried different mediums to express the coconut visually.

TEXTURE

Once, I was done with sketches, I started exploring the textures of the coconut and replicating the same on the non textiles.

These explorations helped me to understand the texture which can be reflected on the fabric in the later stage.

In these developments, I have used lot of materials from the wood and directly from the coconut.

Being Coconut as a sustainable product and each component is utilized for some or other purposes, I have also explored coconut buttons and wood pieces, saw dust & sand papers for creating these textures.

EXPLORATION ON NON TEXTILES

Exploration with coir

Exploration with wood saw

Exploration with khus

Exploration with saw dust

Exploration with saw dust

Exploration with saw dust

Exploration with saw dust

Exploration with coir

Exploration with sand paper

Exploration with saw dust

Exploration with coconut flakes

Exploration with wood pieces

Exploration with coconut buttons

Exploration with hand embroidery oon leather

Exploration with hand embroidery oon leather & buttons

Fabrics plays a vital role in the fabric manipulation. It is always good to chose a right fabric for a good development.

For my subject, the most sustainable fabric was cotton and Khadi, I sourced these fabrics from different locations in Ahmedabad based on the requirement, Most of the fabric sourced were in grey form and later dyed in direct dyes.

Fabrics

Brushed Felt Fabric

Khadi Cotton Fabric

Dyed Cotton Fabric

Dyed Cotton Fabric

Dyed Cotton Fabric with slub

Canvas Cotton Fabric

Cotton Mesh Fabric

Fine Khadi Fabric

Cotton Jacquard Fabric

Cotton Mesh Fabric

Cotton Carpet Weave Fabric

Fine Net Fabric

Non Brushed Canvas Cotton

Cotton Carpet Weave Fabric

Slub Cotton Fabric

The Patwa are a mainly Hindu and Jain community native to North India. Traditionally, they were weavers and engaged in jewelerymaking business and worked with silver and golden threads.

According to the traditions of the Patwa, they descend from a deota (a Hindu god). The Patwa are an endogamous community, and follow the principle of gotra exogamy. They are Hindu and Jain, and worship the goddess Bhagwati and Mahavira. Traditionally, they had a caste council to settle issues of divorce, minor disputes and cases of adultery.

EXPLORATION ON TEXTILES

The Patwa are involved in selling women’s decorative articles like earrings, necklaces and cosmetics. They also deal in small household items, such as hand fans made of palm. The community was traditionally associated with threading of beads and binding together of silver and gold threads, while others have expanded into other businesses.

They are found all over India, mainly in Delhi, Madhya Pradesh, Maharashtra, Uttar Pradesh, in the districts of Bareilly, Badaun, Mau,Ghazipur,balia, Lucknow, Gorakhpur, Hardoi, Jalaun, Shahjahanpur, Sitapur, Lakhimpurkheri, Jhansi, Bahraich,Varanasi (Benaras) and Lalitpur, ALL INDIA SRI PATWA MAHASABHA (1953)

In Bihar, the community is subdivided as Patwa and Tantu Patwa.

Tantu patwa is another caste they do not belong to Patwa caste. The Patwas are mainly weavers and braid makers. The Tantu Patwa have three sub-groups, the Gouria, Rewar and Jurihar. The Tantu patwa are found mainly in the districts of Nalanda, Gaya, Bhagalpur, Nawada and Patna districts. There main gotras include the Gorahia, Chero, Ghatwar, Chakata, Supait, Bhor, Pancohia, Dargohi, Laheda and Rankut and the patwa are found all over Bihar. The Patwa of Bihar are now mainly power loom operators, while others have expanded into other businesses.

The Patwa of Bihar have a statewide caste association, the Patwa Jati Sudhar Samiti.

Beautiful Color threads and stones to go with your ethnic or fusion wardrobe. Add a hint of Rajasthan to your wardrobe.

The freshness and the simplicity of Patwa Jewellry is what makes it the most unique. We at loveknits want to show you some of our collections!

The Patwa are involved in selling women’s decorative articles like earrings, necklaces, anklets and cosmetics. They also deal in small household items, such as hand fans made of palm. The community

was traditionally associated with threading of beads and binding together of silver and gold threads, while others have expanded into other businesses.

During thir dweek of our course, we have got some artisans from Jaipur to demonstrate the techniques and product developments using the techniques of Patwa.

During the demonstration, I have developed a product using the beads and metal pieces.

Final product

Different layers of threads

Twisting the threads

The key knot

Tightening the loop

Attaching the threads to the ring

Making the sphere out of thread.

Arranging them in a single loop

Closing the loop at one end

Fabric Manipulation Any technique that reshapes the surface of the material.

Gathering Threads stitched through fabric are drawn together to reduce the fullness of a material to a required width. The stitches may be worked by hand but usually by the use of a gathering foot (ruffler) or by the use of industrial machinery.

Shirring Parallel rows of stitches are worked to reduce the fullness of a material to a required width.

by the use of gathers secured with rows of hand embroidery stitches.

The threads are removed after the stitches are worked releasing fullness below the last row of stitches. Variations include mock smocking, counterchange, pattern shirring and North American smocking.

Wadded English Quilting

Quilting The stitching of layers of material together usually with the use of padding to raise the surface of the material. These techniques can be worked by hand, domestic and (for some methods) industrial machine.

Cord Quilting

A method of folding material to control fullness. There are many variations of pleating, the main types being: box, cartridge, fan, inverted and knife.

A technique that uses cord or similar padding to raise the surface of the fabric to create the design. Cord quilting is worked on one layer of fabric with the cord held in place underneath the material by stitching worked by hand or machine across the cord

Tucking

Corded/Italian Quilting

A method of folding fabric to control fullness or simply to create decorative effects. Stitching may be by hand, machine or by industrial machine e.g. pin tuck machine.

Smocking

Two layers of fabric are used with the underneath layer traditionally of thin butter muslin. Two rows of parallel stitching are worked with a padding cord or yarn threaded through the channel from the back creating a raised design.

A method of controlling fullness

STuffed/Trapunto Quilting

Pleating

A method of quilting using two layers of fabric with the underneath layer traditionally of thin butter muslin, with padding inserted between the layers in areas. The padding is inserted from the back of the material into ‘pockets’ created by stitching around the design.

objects to a ground. This technique is often combined with quilting.

Couching Technique of using a working thread to secure another thread or yarn to a material’s surface, particularly to be found in metal thread embroidery.

Three layers of material in a sandwich construction are held in place by patterns of stitching forming the design. Variations: button quilting with buttons securing the layers. Wadded quilting is the most commercial method of quilting often used in clothing and interior furnishings produced industrially by the metre.

Stitching - Hand stitching

Flat Quilting

Monochrome embroidery, usually worked in black

Unpadded quilting using one or two layers of fabric worked with patterns of stitching Shadow/Ombre Quilting The use of strongly coloured yarn, fabric or found objects underneath a transparent top layer of material using one of the quilting methods.

Embellishment Through Addition Appliqué/applied work All embroidery techniques that involve the addition of fabric, embroidered motifs or found

Traditional hand stitched techniques are numerous with many cultural variations. Some main types are: whitework, canvas work, counted thread work, blackwork, and metal thread work.

Blackwork

Whitework Term referencing embroidery worked using white on white. The main types are Ayrshire embroidery, Broderie Anglaise, Renaissance and Richelieu embroidery.

Canvas work Embroidery worked on canvas.

Main types are: bargello/Florentine embroidery, Berlin woolwork and cross-stitch embroidery.

Metal thread work The use of precious metal threads (or alloys or synthetics), spangles/sequins etc to embellish materials. Used in heraldic work, ecclesiastical, military and ceremonial embroidery, ethnic costume and fashion. Many types of metal thread, materials and techniques are used.

Beads and Beading Tambour Work or Beading Commercial embroidery worked with a tambour hook (ari) using chain stitch. The fabric is worked within a frame with the beads/ sequins supplied on a continuous thread. This method can be used for other embroidery techniques in addition to the application of beads and sequins and is still much in use within the fashion industry.

Hand beading Variety of methods of applying beads by hand individually or by couching to create surface texture or pattern. Beads may also be worked over wire or thread constructions (bead weaving).

of a frame. Need images beaded fashion, historical metal thread work

Embellishment Subtraction

through

DecoupE/Reverse appliquE Threads stitched through fabric are drawn together to reduce the fullness of a material to a required width. The stitches may be worked by hand but usually by the use of a gathering foot (ruffler) or by the use of industrial machinery.

Cutwork Method by which part of the fabric is cut away. Stitches may then be worked in the remaining spaces by hand or machine.

Drawn thread Method by which some threads from a fabric are withdrawn.

The remaining threads are pulled together with stitches and decorated with further stitches.

There are many variations, the main one being Needleweaving.

together to create patterns of ‘holes’.

Pulled work (Drawn fabric)

Method of hand stitched beading that imitates the fluid handle of tambour beading without the use

Embroidery technique where the stitches are worked on a loosely woven fabric and pulled tightly

Fine material constructed by hand using a needle and stitches. The main types are: Renaissance lace, Reticella lace and Richlieu lace.

applying two thread and three thread cords, ribbon, beads, braid, sequins etc., the Barratto scalloping machine for creating embroidered decorative edges and the ‘threadless’ embroidery machine producing needlepunched embroidery designs e.g. Tanaka

Bobbin lace

Shiffli embroidery

Hand method of constructing fine material using bobbins to weave threads between pins arranged on a lace cushion. Related craft skills: Knotting, Macramé, Tatting, Crochet.

Shiffli embroidery is produced using the extremely complex Schiffli machines, able to produce narrow sections or fabric widths up to fifteen yards. The number of needles per machine is usually about 1000, and these may all be programmed to be working at the same time on one design. Schiffli lace is a created by working the designs on net, which may then have the background fabric removed.

Needlemade lace

Construction Techniques Patchwork The process of joining fabrics together using stitches. This technique is often used in combination with quilting and appliqué.

There are many variations but four main methods.

Applied patchwork Joining pieces of material together onto a groundPieced work/mosaic patchwork/inlayJoining pieces of fabric together with stitches Log cabin patchwork Strips of material are joined together in a pattern to form squares, that are then pieced together Crazy patchwork Irregular patches of material are applied with decorative stitches to completely cover the base fabric.

Lace

Needleweaving

French beading

lace.

Lace is an intricate material made by various methods by hand or machine using intertwining, knotting or looping processes. The main types are needlemade lace, bobbin lace and machine made

Machine made lace Began in the early 1800’s, machine made laces are usually named after the machine that constructed them e.g. Leavers lace and Nottingham lace.

Industrial Embroidery Equipment There are many types of industrial embroidery equipment.

New technology is constantly becoming available offering further opportunities for the embellishment of fabric.

Hand operated Hand operated industrial equipment includes the Irish machine, Cornely machine with many variations for

Computerised Embroidery Equipment The commercial embroidery industry is vast and is used for customisation of work wear as well as for fashion and interior textiles. Computerised embroidery systems are now extremely sophisticated and replicate many embroidery techniques previously only achievable through hand embroidery or the use of hand operated industrial machinery.

Stitching the coir with multiple layers of fabrics to get the feel of the coconut.

Weaving the dyed pieces twisted together

Layering the thread

Layering the Silk

Weaving the waste pieces

Weaving the waste cut-pieces

Random Stitich lines using extra thread

Random Stitch lines on mesh

Stitching the fine panels together closely

Straight lines using matching thread

Straight lines using contrast threads

Hand embroidery for creating textures

Random closed lines

Straight lines using contrast threads

CLosed lines stitch

Crochet for creating shape

Crochet for creating shape with multi layers

Bottom view of crochet

Crochet for creating shape

Top view of crochet

Texture of Crochet

Knotting exploration

Knotting exploration

Knotting exploration

Crochet exploration

Crochet exploration

Knotting exploration

Crochet exploration

Knotting exploration

Coir twisted

Knotting exploration using jute & coconut shell

Knotting exploration using jute & coconut shell

Knotting exploration using jute & coconut shell

Knotting exploration using jute & coconut shell

Knotting exploration using jute & coconut shell

Knotting exploration using jute & coconut shell

Knotting exploration using jute & coconut shell

Knotting exploration using jute & coconut shell

Knotting exploration using jute & coconut shell

Knotting exploration using jute & coconut shell

Knotting exploration using jute & coconut shell

Knotting exploration using jute & coconut shell

Knotting exploration using jute & coconut shell

Knotting exploration using jute & coconut shell

Knotting exploration using jute & coconut shell

Knotting exploration using jute & coconut shell

Knotting exploration using jute & coconut shell

Knotting exploration using jute & coconut shell

Coir randomly arranged

Coir randomly arranged

Jute panels stitched randomly

Check patterns with Coir with stitches

Woven panels of random threads together

Woven coir with multi layers

Glass instertion using embroidery stitches

Creating patterns using Embroidery stitches

Couching techniques

Fabric panels insertion with hand embroidery

Couching & pattern design using embroidery

Multiple stitches & quilting techniques

Cut panels using hand embroidery techniques

Hand embroidery technique

Coconut shell with embroidery

Batik exploration

Batik exploration

Batik exploration on 100% cotton with Napthol dyes

Batik exploration

Batik exploration

Batik exploration

Batik exploration

Batik exploration

Batik exploration

Batik exploration

Batik exploration

Batik exploration

Direct dyes on Cotton

Direct dyes on Cotton

Natural dye with waste of coconut shells

Natural dye with waste of coconut shells

Natural dye with waste of coconut shells

Knotting with Jute

Knotting with cotton thread & Tassel

Knotting with cotton thread

Crochet around the coconut shells

Crochet around the coconut shells

Crochet around the coconut shells

Knotting with unique thread

Knotting with cotton thread

Stitching the coir with the layers of water soluble material & then washed

Stitching the coir with the layers of water soluble material & then washed

Stitching the coir with Negative & Positive pattern

Stitching the coir with the layers of fabrics

Stitching the coir with the layers of water soluble material & then washed

Stitching the coir with the layers of fabrics

Stitching the coir with pattern

Stitching the coir with pattern

Stitching the coir with pattern

Stitching the coir with Geometric pattern

Stitching the coir with regular pattern

Stitching the coir with the layers of water soluble material & then washed

Multi coored dyed & stitched closely on a thick fabric

Cut panels of jute thread stitched on khadi base

Multi colored dyed & stitched closely on canvas base

Coir panel stitched on a jute base

Multiple yarns & fabrics stitched closely

Multi colored dyed & stitched closely on a thick fabric

Multi colored dyed & stitched closely on a thick fabric

Multi colored dyed & weaved closely

Multi colored dyed & weaved closely

Coir insrted & stitched evenly

Coir inserted & stitched evenly with extra stitches

Uneven Coir inserted & stitched evenly

Uneven coir insertion & stitched

Coir inserted & stitched evenly from both ends

Coir inserted & stitched in a check pattern

Coir insrted & stitched evenly from both ends

Coir insrted & stitched evenly

Coir insrted & stitched evenly in a pattern

Coconut shells with multi layered fabric panels stitched together

Coconut shells with multi layered fabric panels stitched together

Coconut shells with multi layered fabric panels stitched together

Coconut shells with multi layered fabric panels stitched together

Random coconut shells with multi layered fabric panels stitched together

Coconut shells with multi layered fabric panels stitched together

Coir inserted & stitch randomly

Coir inserted & stitch non-planned

Coir inserted & stitch progressive

Coir inserted & stitch horizontally

Coir inserted & stitch randomly & extra stitches

Coir inserted & stitch randomly

Coir inserted & stitch randomly

Heat set

Coir inserted & stitch in a same line

Coir inserted & stitch randomly

Coir inserted & stitch randomly

Coir inserted & stitch randomly with less & more insertion

Coir inserted & stitch overlapped with more & less insertion

Coir inserted & stitch randomly

Coir inserted & stitch randomly in irregular pattern

Coir inserted & stitch random pattern

Coir inserted & stitch insertion

Coir inserted & stitch vertically

Coir inserted & stitch randomly

Coir inserted & stitch randomly

Coir inserted & stitch vertically

Coir inserted & stitch with less stitches

Coir inserted & stitch randomly

Coir inserted & stitch with space

Weaving coir with multiple layers

Weaving coir with layers

Weaving coir with very fine lines

Weaving coir

Weaving dyed cord

Weaving dyed cord

Weaving dyed cotton

Weaving jute

Weaving multiple panels of thread

Weaving multiple panels of fabric

Weaving twill jute

Weaving multiple panels of thread

Weaving coir

Weaving dried coconut shells

Weaving coir & coconut shells

Weaving dried coconut shells, Khadi & cut pieces of fabrics

Weaving coir & thread

Weaving dried coconut shells & fabrics

Weaving dried coconut shells

Weaving felt & coir together

Weaving coir & jute

As per the brief, using the developed swatches, I started reifining them and started making small prototype for the final product. According to the market research, I started using samples to work on my final product.

The final product decided was a mat. This was one of the most usable product for everyone in the family. The selected swatches were tested with different process and then converted into the refined state.

The outcome of the final product was a mat made out of coir and khadi. The coir was inserted in between the khadi fabric and then quilted with basting and later finished with machine stitch.

Before sewing the panels, the Fabric panels were dip dyed and then processed.

The product was 100 % sustainable and durable for 5 years.

PRODUCT DEVELOPMENT

PAdma Raj Keshri National Institute of Design, Ahmedabad | M.Design | Textile Design | 2015-2017 National Institute of Fashion Technology, Bangalore | B.Design | Knitwear Design | 2009-2013 Mob: +91-9036939773 | Email:padmaraj.2007@gmail.com | Portfolio: www.behance.net/prk