graduation project 2022

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