Shailee Adke Textile Design Diploma Project Documentation
Indian Institute of Management Bangalore
contents background
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project proposal
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an introduction to aari
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initial ideas
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inspiration
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artisans’ participation
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some motifs
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prototyping
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final products
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feedback from panel
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a new beginning
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survey results
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mood boards
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paper iterations
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fabric iterations
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product patterns
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product layouts
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prototyping
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final products
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references
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credits
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background Between August 2008 and September 2009, IIMB conducted a year long study with 100 poor families in the urban slums of Ramanagaram. Entitled ‘The Financial Diaries of the Poor,’ the study tracked the daily cash inflows and outflows of these families. According to the study, most of these families are indebted to several creditors and have very little means of livelihoods. Very few individuals are permanent employees, working as sweepers with the municipal corporation, for instance. Others work as temporary or contract workers with private or government agencies and have no security benefits. Of the 100 households in Ramanagaram who participated in the study, there are 20 families who are skilled in embroidery - a traditional skill of women belonging to Muslim families in this area. Many girls embroider intricate designs on their bridal trousseaus. IIMB saw potential to upgrade the skills of these traditional crafts persons, expand the range of their designs and products and create niche markets for them or provide them links with existing markets to provide sustainable livelihoods for them. IIMB approached Srishti with a project which involved training the women from in ‘aari’ embroidery and producing accessories with surface embroidery for a niche market. Since I have always had a keen interest in both ‘embroidery’ and ‘accessory design’ and I also have the required skills, I chose to work on this project in collaboration with IIMB.
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project proposal INTRODUCTION: My graduating diploma project as a student of Textile Design in Srishti School of Art Design and Technology is part of a larger and long term project - a collaboration between Srishti and the Indian Institute of Management, Bangalore (IIMB). IIMB had already chosen Ramanagaram as their site of study and development. They discovered that the women in Ramanagaram are traditionally skilled in embroidery and wanted to explore ways and means whereby their present skill sets could be harnessed and accentuated into livelihood opportunities for the families of these women. My initial idea for the diploma project was to design textiles-based accessories using embroidery, which coincided with IIMB’s project brief and hence I chose to work on this project OBJECTIVE: My project involves a group of women in the urban slums of Ramanagaram, who are traditionally skilled in embroidery, more specifically trained in ‘ari’ embroidery. My objective is to enhance their skills through participative methodologies and design facilitation in order to develop accessories that I aim to design for the contemporary market. I plan to design specific accessories with surface embroidery, namely jewelry, pouches, handbags, belts, scarves/stoles, footwear, etc. for a specific target audience as part of a collaborative process of co-creation with the Ramanagaram women embroiderers. The women in Ramanagaram currently have a limited target audience, which consists of buyers only in and around Ramanagaram. My contribution to their practice would be to expand their possibilities so that they can cater to customers in urban spaces like Bangalore and other big cities.
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CONTEXT AND MOTIVATION: For me, the products I hope to design working alongside the Ramanagaram women must emerge both from context and process. The biggest context, of course, is the Indian economy and the strides it has been making in recent times in terms of it being integrated into the global economy. In the times we live in both the global and national economies are being increasingly driven by what are called the ‘creative industries’ which are in turn looking to “design thinking and processes” to bring about innovations in a variety of sectors. In this context, the United Nations Development Program suggests that creativity and culture-linked industries were more resilient to the economic crisis that exploded in 2008. “The report, titled Creative Economy: A Feasible Development Option, examined 40 case studies from developing countries between 2002 to 2008 which ranged from Africa’s fashion industry to South America’s soap operas, from India’s Bollywood to Nigeria’s Nollywood, and from Jamaican reggae to Argentina’s tango. It found that creative industries not only have the potential to help developing countries diversify their economies, but that they are also one of the most dynamic sectors of the world economy. Defining creative industries as “cycles of creation, production and distribution of goods and services that use creativity and intellectual capital as primary inputs,” the report shows that while international trade slumped 12%, global exports of creative goods and services increased more than twofold to $592 billion in 2008 from 2002, when the figures were first measured.” I have cited the above to point out that creativity, design thinking and process and innovation today is also linked to both the equity and prosperity of different communities with a view to preserving and enhancing the unique creative capabilities and potentials embedded in the culture of such communities. These communities, like the Ramanagaram women skilled in ari embroidery, as an creative artisanal community, must be so empowered and integrated into emerging business and innovation models so that it fulfills what the report mentions: “it has been widely recognized that culture not only is an integral part of the country’s development strategy, but also generates income, employment and export earnings.”
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I have been interested in the empowerment of artisanal and craft communities throughout my period of study in Srishti which provides opportunities for students to encounter and work in such an environment with the intention of both preserving cultural heritage and unique craft skill sets and also how to provide these to the community’s advantage in the emerging market spaces. My interest in facilitating such a process as a young designer goes back to some of my earlier projects. 1: Internship with Kumaon Grameen Udyog (KGU)– CHIRAG, Uttarakhand (May-June 2009) I designed stitched products out of waste fabric at KGU as a part of their livelihood support and marketing programme-At KGU, I was taught how to use a sewing machine for simple stitching. I designed products which required very basic stitching since the women involved had very limited stitching skills. I stitched the prototypes myself and asked them to replicate them. I made pouches, bags, potpourri pouches, fabric toys, and quilts for babies. I also held a one-week workshop with the ARC (Adolescent Resource Center) and taught basic embroidery and crochet techniques to group of adolescent girls. 2: Project with Upasana Design Studio, Auroville (Jan-Feb 2009) I designed motifs and patterns to be woven as a part of Upasana’s ‘Varanasi Weavers’ project which aims at reviving the craft of weaving and the upliftment of weavers at Varanasi-I did not get a chance to meet the weavers in Varanasi, but worked at the design studio at Auroville. I used my basic knowledge about ‘weaving’ and ‘repeat patterns’ that I had learned in Srishti and the styles of ‘motif families’ that I gathered from the research and training at Upasana. I designed motifs and patterns for running material for children’s wear. My collection was inspired by ‘insects’ and included 3 families namely ‘bees,’ ladybugs’ and ‘caterpillars.’
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I have also received some directions from reading the works of those who have worked hard to preserve and encourage the tapping of the potential in the crafts sector in India – minds like Ashoke Chaterjee, Poonam Kasturi and Rajiv Sethi. As an Indian, I want to be part of sustaining the unique and varied cultures of craftsmanship found across communities in India. Interestingly enough, a large part of these crafts traditions are located in the textile medium which is my first source for both inspiration and action. In 2000 Ashoke Chaterjee, Distinguished Fellow, NID, made out a case for Design for Development: Restoring People to the Centre of Design Education & Practice, where he states: “Other opportunities too have emerged. These include movements for the empowerment of women and for consumer protection, the new respect for the knowledge and wisdom of indigenous tradition, the revival of crafts world-wide, the search for alternative patterns of income generation and employment to meet the needs of expanding populations, the growing respect for institutions and professions that have a capacity for inter-disciplinary team-work, and the search for values more enduring than their brand-names. Each of these is a potential partnership for ‘design for development’. India is in a unique position, and has a unique responsibility, to demonstrate design as an indispensable force for development. It has traditional value systems, linked to systems of learning and production that identify quality in human terms.” In her ‘The India Report – Revisited’ – a position paper presented at the Development by Design workshop at the Media Lab MIT 2002, Poonam Kasturi, another advocate for livelihoods for artisans and empowerment of their communities wrote: ‘’The Government of India set up the National Institute of Design in 1961 based on the recommendation of “The India Report” a document submitted by the late Charles and Ray Eames. Over the years it has done pioneering work in different areas of design. One of its most successful development projects was the adoption for development of a group of villages in Rajasthan. Working in
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collaboration with the Indian Institute of Management, Ahmedabad the project was a successful experiment that underlined the necessity of approaching the concept of development in an integrated manner. But this is all in the past.’’ I believe that it was not “all in the past”. Several fresh initiatives in the crafts-based textile field pertaining to design intervention, facilitation and empowerment of crafts communities and artisans have been made across the country by alumni of Srishti (Smita Moorthy with ANT) and institutions like Dastakar, Anubha Sood and Rajiv Sethi. Anubha Sood, a graduate in Social Policy and Planning in Developing Countries from the London School of Economics, talks about ‘Crafts as Sustainable Livelihood Option in Rural India’: ‘’The handicrafts sector is a home-based industry which requires minimum expenditure, infrastructure or training to set up. It uses existing skills and locally available materials. Income generation through craft does not disturb the cultural and social balance of either the home or the community. Many rural communities depend on their traditional craft skills as a secondary source of income. Their skills in embroidery, weaving, basket-making are a natural means to social and financial independence. Craft is basically a commercial activity. In order to make a living from craft production, the artisan needs to sell his/her products regularly, realize a viable income from each sale and be assured of regular sales in the future. Production for home consumption is radically different from production for a commercial market. Given changing and competitive markets, the traditional craft skill, however beautiful, needs sensitive adaptation, proper quality control, correct sizing and accurate costing, if it is going to win and keep a place in the market. In other words the right combination of human, financial, physical and social capital is essential.” Or there was the proposal, driven by Rajiv Sethi, to set up new ministerial ‘Department for Artisans’ to provide “focused attention” to “particularly the marginalized cross-section of society” and “fine-tune several ministries to concentrate on their core activity rather than peripheral issues sapping their energies.”
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But wherever and whoever takes this approach, as a design student I am interested in the track that is emerging. The IIMB project is one of many such approaches and tracks and has therefore interested me. PROCESS AND METHODOLOGY: The IIMB-Srishti project is expected to be rolled out over a long term and my project forms only a tiny part of it, it plays a role in setting the ball rolling within a given framework of time. In fact, it is decided that my project will serve as a “test” for the long-term goal of using design thinking and processes to create sustainable livelihoods for a marginalized community of textile-based artisans who also belong to a marginalized community and gender. The aspect of the project with which I am involved will be a participatory approach that will focus on collaboration and co-creation with the women. Facilitation and hopefully true empowerment, transfer of conceptual and other skills will take place and the women themselves understand and incorporate by doing ‘design process.’ This should bring them to higher levels of confidence in themselves, in the design process, in their visualization capabilities, in the expansion of their skills and in the expansion of their product sets in terms of both range and refinement without any loss of their original essence. The products that emerge from this effort will be tested in a specific market. RESEARCH QUESTIONS: 1 – Embroidery (and crafts in general) is a means of expression. There are certain stories that the designs hold, which have values. How do I induce this sensitivity in the artisans and help them bring out these stories and values to the market in the form of embroidered products? 2 – How do I create an identity for these artisans in the present contemporary context? How strongly will their products represent their contemporary identity which is located in their past? 3 – What does it mean to provide someone with a livelihood opportunity? How do we help them understand the importance of sustaining this opportunity?
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4 – How do I make the artisans understand what the market needs, and how do I bridge the gap between them and the consumer? 5 – How do I explain and impart ‘design process’ to the artisans? How do I help them develop a ‘visual vocabulary’ for themselves and enter an iterative process? How will this affect their traditional process? 6 – How is my role as a design facilitator important to the artisans and to the project? 7 – How can I use participatory methods to make this process more fun and enriching for me and for the artisans? 8 – How is awareness about ‘design’ and exposure to ‘market’ going to change the artisans’ way of thinking?
LEARNING OUTCOMES: - Understanding ‘interaction between design students and artisans for product development’ - Understanding my role as a ‘design facilitator’ - Designing for niche/premium market segments - Learning about publicity and marketing of products - Learning about costing of products
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REFERENCES: ‘Ramanagaram Financial Diaries’ - Rajalaxmi Kamath, Arnab Mukherji, Smita Ramanathan (IIMB) ‘Creative Industries Fared Well During Recession’ - Diksha Sahni ‘Design for Development’ - Ashoke Chatterjee (Playn’ Speak Library) ‘India Report Revisited’ - Poonam Bir Kasturi ‘Craft as Sustainable Livelihood Option in India - Anubha Sood (Craft Revival Trust)
an introduction to ‘aari’ Aari embroidery is done primarily by the Muslim cobbler community in India. The zari thread or the metallic thread is quite commonly used in this style of embroidery. It is done with colored silk or cotton thread as well. The word ‘aari’ comes from the hooked needle used in the embroidery called the ‘aar.’ It is similar to the one used by cobblers and in crochet. Aari looks like a fine chain stitch. A frame called the ‘adda,’ usually made of wood or bamboo is used. The fabric is stretched across the frame and tightly secured by stitching and tying. The design is traced and holes are punched using a needle along the design on the tracing paper.Then a paste of chalk poweder and kerosene is rubbed over it onto the fabric. The paste seeps through the holes on to the fabric creating a mark on it. Once the design is traced on the fabric, the embroidery begins.
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THE ‘AARI’ PROCESS:
Punching the traced design with a needle or pointed device
Stretching the fabric across the frame and securing it tightly
Rubbing a paste of chalk powder and kerosene over the punched design
The traced design on the fabric
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Embroidery in process
Cutting off extra threads from behind
Rubbing diluted glue over the embroidered fabric from behind
Removing the finished fabric
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STEPS SHOWING THE EMBROIDERY PROCESS:
The hook is inserted through the fabric with the right hand while the thread is held onto the hook in the left hand under the fabric
Then it is brought to the front, without letting go of the thread in the left hand. The hook is rotated 180 degrees
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The hook is inserted a short distance ahead on the stitch line, maintaining the stitch size. The thread is put around the hook
A complete turn is made around the hook and it is turned 180 degrees counter clockwise and brought to the top of the fabric
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While keeping the thread slightly straight, the hook is rotated 180 degrees clockwise
The hook is again inserted a short distance ahead. A full loop is rolled again around the hook and the process is repeated
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initial ideas Before I began my design process, I met with Devika Krishnan, founder, Studio Sattva and Arthouse. Devika is a graduate in industrial design from the National Institute of Design, Ahmedabad, and has vast experience in teaching and training artisan groups in art and design. She gave me some really helpful advice. I have listed it below - Discuss ‘colors’ with the artisans - Target college going girls as your audience - Jewelry can be a big hit among them - Products can be sold in colleges - Finishing needs to be given importance - Create a brand and an identity for the artisans - If one of them has leadership qualities, she can supervise the others - Instead of forcing them into something that is completely new to them, try themes that they are familiar with - They are good at drawing mehendi. Make them draw mehendi designs and try abstracting those to come up with motifs - Look at islamic art and architecture for inspiration - Fabric selection is important - Zippers, lining, buttons, etc need to be paid attention in terms of matching colors and good finishing.
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The brief that I received from IIMB stated that the objective of the project was to design specific accessories with surface embroidery, namely handbags, footwear, belts, stoles/scarves, etc. I decided to look at college going girls (age group: 18 to 25 years) as my target audience. Apart from the above mentioned accessories, I found that jewelry was something that was quite in demand with the target audience. Earrings, pendants, anklets, bracelets and hair accessories seemed to be very popular among the young college crowd. I did a quick market research about the various accessories available in the market. I visited some stores in Bangalore for my research (Small Shop, Plum Tree, Anokhi, Ambara, La’kiru, Julie Kagti, Cinnamon, Window Leather and Bags, Shoe Wagon, Gopuram silk and roadside stalls on Brigade Road and Commercial street) The stores I visited mostly stocked handbags, clutch purses, batuas, mobile pouches, stoles, juttis and chappals. The materials used were silk, cotton-silk, satin, cotton, jute, leather, etc. I discussed my findings with the IIMB and AEPC team. We decided that for the pilot round we should stick to simple products that do not require any complex stitching. We zeroed down on a list of products to try out for our pilot round: drawstring pouches, headbands, clutch purses, earrings and pendants. After I started working on my designs, we added a few more products to the list - simple footwear, stoles, mobile pouches, laptop sleeves.
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inspiration I decided to work on three themes, namely ‘Islamic Art and Architecture,’ ‘Mehendi’ and ‘Nature.’ Here are the inspiration boards I created for the themes. I showed these boards to the artisans and explained to them how as a design student, I follow a certain process where I take inspiration from various objects or visuals that I see. I told them to look at these visuals and also think of things related to these themes that they see in their day to day life. I asked them to sketch them from memory.
Most of the embroiderers are muslims living in the town of Ramanagara. ‘Islamic Art and Architecture’ is something they see regularly and would be comfortable working with.
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The artisans are very fond of ‘mehendi’ and are skilled at it too. I wanted to show them these pictures and also draw some designs from memory.
‘Nature’ is something everyone can relate to. We see flowers, trees, and other elements of nature around us all the time. Thus taking inspiration from nature is always a good option.
artisans’ participation As a part of getting the embroiderers involved in the process of designing the motifs and products, I had a half day session with them where I made them draw from memory. I showed them my inspiration boards and told them how I derive motifs. I asked them to think of something that they would want to derive their motifs from and draw it.
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some motifs
prototyping The first lot of fabrics was taken to Ramanagaram and Jawed translated the motifs into embroidered pieces. After the first lot of motifs was completed, I cut the fabric and made sample earrings and pendants. I got the girls to embroider more motifs on other fabrics and taught them how to make the earrings and pendants.
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Javed, the master trainer working on the first set of prototypes
Motifs embroidered in different color combinations
Lubna, one of the artisans learning to make earrings
Earrings and pendants in process
final products The first set of products included earrings and pendants, which were to be sold individually and as sets. For our first sale, we produced about 5OO pieces of jewelry. We also made some pouches and headbands. Also, the artisans had 10 metres of fabric with straight lines of embroidery with zari and some sequins, which was part of their training. I thought it could be used for stitching simple mobile pouches and headbands. Apart from these products, we also had stoles dummy footwear (stuck embroidered fabric onto readymade footwear) on display (not for sale) After all the products were ready, the artisans came to a unanimous decision of calling their brand ‘minchu’ which means lightning in Kannada. I worked on the pacakging for minchu and taught them to pack the products.
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We had our first sale at Maharani Ammani College, Malleswaram. The next sale was held with Srishti students followed by sales at IIMB and Wipro, Bangalore. The response was good and a lot of students placed orders for stoles and footwear (the produts that were not on sale)
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feedback from the review panel After the first round of prototypes were ready, I had a review meeting with my panel in Srishti. The points that constituted the feedback I received from the review panel are listed below: - Look at making the products more 3-dimensional - The motifs are very traditional - Try making contemporary designs - Nature as an inspiration does not reflect in the designs - There is a gap in the design process - Look at different materials instead of shiny silk - Use colored cotton or silk threads instead of zari - Define your target audience and focus on them - Do a new market survey with them - Make color boards and theme boards and work on them
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a new beginning After receiving feedback from the panel, I started my design process from scratch. I had a little over one month to come up with a whole new set of products. I started by doing a market survey with my target audience (girls in the age group of 18-25 years) I conducted a survey with the following stores in Bangalore that sell accessories for youngsters.
STORE SURVEY: Anokhi: Bags, Jewelry, Stoles and Hair bands are available. The material used is cotton. The accessories are priced between Rs. 150 to Rs. 1000. Bags and stoles are popular among youngsters, and so are traditional/ethnic designs. Cinnamon: Bags, Stoles, and pouches are available at the store. The materials used are cotton, silk and metal (for jewelry) The accessories are priced above Rs. 500. Stoles with contemporary designs are popular among youngsters. FabIndia: Bags, Jewelry and Stoles are available. The materials used are cotton, silk and metal, beads (for jewelry) The accessories are priced between Rs. 150 to Rs. 2000. Stoles are popular among youngsters. Traditional and ethnic designs are more popular. Fastrack: Watches, Eyewear and Bags are available. The materials used are Nylon, denim, plastic and metal (for watches) The accessories are priced above Rs. 500. Bags with funky/bold and graphic patterns are popular. Julie Kagti: Bags and Stoles are available. The materials used are silk, cotton, metal, stones (for jewelry) The accessories are priced between Rs. 150 to Rs. 3000. Bags with traditional/ethnic designs are popular.
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Kahawa: Bags, Footwear and Jewelry are available. The materials used are cotton, silk metal (for jewelry) and leather (for footwear) The accessories are priced above Rs. 500. Footwear with traditional/ethnic designs is popular. MotherEarth: Bags, Footwear, Jewelry and Stoles are available. The materials used are cotton, silk, bamboo, banana fiber and metal. The price of the accessories ranges from less than Rs. 150 to more than Rs. 1000. Jewelry and stoles with traditional designs are popular. Plum Tree: Bags, Footwear, Jewelry and Stoles are available. The materials used are silk, cane and leather. The accessories are priced above Rs. 500. Bags and footwear are popular. Both traditional and contemporary designs are popular. Ritu Kumar: Bags and Footwear are available. Materials used are silk, leather, cane, etc. The accessories are priced above Rs. 1000. Bags are with both traditional and contemporary designs are popular.
COLLEGE SURVEY: I went to a few colleges for the survey (Maharani Ammani, Mount Carmel, IIMB, Srishti) I also conducted an online survey which was taken by girls belonging to my target age group from other cities (Ahmedabad, Delhi, Pune, Nashik, Chennai, Kolkata, Jaipur, Indore, Mumbai, etc)
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survey results
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CONCLUSION: Most stores sell bags and footwear Most accessories are priced between Rs.150 to Rs. 1000 Traditional /ethnic designs sell more in stores Most students like to buy bags, footwear & jewelry They would spend about Rs. 150 to Rs. 500 on accessories Square, teardrop and sphere seem to be shapes/forms that appeal most to the target audience Geometric and graphic patterns and bright colors seem to appeal most of the target audience
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mood boards Based on the survey results, I made a few moodboards for colors, patterns and products
COLOR:
Purple
Red
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Black
Peach
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COLORS:
Green
Pink
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PATTERNS:
Blown Ink
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PATTERNS:
Nature
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Random
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Geometric
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PRODUCTS:
Bags
Shoes
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paper iterations The next step was to start making paper iterations. I tried blowing ink with a straw to create random patterns
BLOWN INK:
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I then abstracted the patterns created by the blown ink
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paper iterations NATURE:
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paper iterations NATURE:
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paper iterations RANDOM:
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fabric iterations After some of the paper iterations were shortlisted, I started translating them onto fabric. I tried out khadi silk and some printed cotton fabric for these fabric iterations. The colors were based on the moodboards I had made before. Since small pieces of fabric cannot be embroidered on the addaw I stitched all the small pieces of fabric together and stretched the collection across the adda for the embroidery.
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Some of he fabrics used in these iterations looked dull and the bright colors of the threads did not do much to create a contrast. Designing for college going girls in the age group of 18 to 25 years, I had to constantly keep in mind what they would want to wear/carry. I referred to my color boards and bought new fabrics that were bright and eye catching.
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product patterns I finalized on the following shapes and sizes for my products and started trying out layouts in terms of fabric color, thread color, scale and placement of the motif, etc.
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product layouts I tried out layouts on the computer before trying out samples on actual fabric. I find it faster and easier to visualize. After trying out a number of layouts I shortlisted a few and tried out samples and then decided which ones I would use for my final sets.
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product layouts
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product layouts
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product layouts
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product layouts
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product layouts
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prototyping (embroidery) After trying out samples on the new fabric (casement) I began prototyping the final products. I finalized 7 designs out of the various samples that I had tried out. The form of the bags and shoes was deliberately kept simple so that the focus stays on the embroidery and the colors. The embroidery took a long time as the fabric was thick. Also, the artisans are used to working fast with zari and hence working with cotton threads slows them down
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The artisans found the process quite enjoyable as they had never worked on designs like thses before. They are very used to the typical traditional embroidery that they would do for sarees, dupattas, kurtas and shararas for people in and around Ramanagaram.
prototyping (bags) All the bags were stitched at a workshopped owned by ‘Maa Fabrics.’ The tailors are really good at their work and stitching bags is their speciality. The lining used for the bags was poplin cotton matching the color of the bag. Each bag was stitched with stiffening inside. The bigger bags have a small zipper pocket on the inside and almost all the bags have magnetic buttons.
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prototyping (shoes) The entire process of shoemaking from the samples to the final products was a great experience for me. I had never seen a shoe being made from scratch before. I observed the process keenly and learned a lot about shoe making. The shoes were made at a small unit near the Shivajinagar bus stand in Bangalore. There were three craftsmen who worked on hundreds of shoes daily.
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There were mistakes in some shoes because I did not have the pattern ready before I started the embroidery. I had to reject those shoes and start all over from the embroidery stage after I aquired the pattern from the shoemaker.
final products To improve on the first round of products it was very important for me to keep certain things in mind. I had to focus on my target audience and use fabrics, colors and designs accordingly. I had to pay special attention to finishing and the whole look and feel of the products. I have learned a lot in the process of making the final products. It was very important to manage time, as I had to shuffle between Ramanagaram and various places in Bangalore since each process was taking place at a different location. It was also very important to keep taking feedback from my review panel and make changes to the process/products accordingly. The artisans in Ramanagaram were very helpful and took in every word of the feedback and cooperated with me in every way.
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references ‘Ramanagaram Financial Diaries’ - Rajalaxmi Kamath, Arnab Mukherji, Smita Ramanathan (IIMB) ‘Creative Industries Fared Well During Recession’ - Diksha Sahni ‘Design for Development’ - Ashoke Chatterjee (Playn’ Speak Library) ‘India Report Revisited’ - Poonam Bir Kasturi ‘Craft as Sustainable Livelihood Option in India - Anubha Sood (Craft Revival Trust) Embroidery blog: www.embroideryaddict.blogspot.com www.indiamart.com www.sashaworld.com
credits MENTORS IN SRISHTI: Swati Unakar, Meena Vari, Deepta Sateesh MENTORS IN IIMB: Prof. Rajalaxmi Kamath and Smita Ramanathan
EMBROIDERY: Javed, Lubna, Reshma, Pushpa, Atikha, Ruksana, Sania, Geetha BAGS: Maa Fabrics, Dickenson Road
SHOES: A R Footwear, Shivajinagar PHOTO-SHOOT: Photography - Taushik Mandal and Sujay D’sa Image processing - Taushik Mandal Model - Rasika Mujumdar
THANK YOU: Prachi Prabhu Avy Verghese Devika Krishnan B R Poornima (AEPC) Ratna (ATDC) Amit and Sangeetha (IIMB) Manya, Tanya and Mrs. Mohta Mary Jacob Jaishri and Suchitra Aditi Goenka, Rutika Sheth, Tapan Badesha, Tejas Pande Mamma, Pappa, Grandma and Amit