Craft Based Product Development
Jaipur Group FD | Semester 7 Study and survey of craft and documentation Centre: National Institute Of Fashion Technology Copyright@ NIFT, Year 2020 All rights reserved; No part of this book may be reproduced, stored in retrieval system or transmitted in any for by means of electronic, mechanical, photocopying, recording or otherwise without prior permission from National Institute of Fashion Technology, except by a reviewer/reader who wishes to quote brief passage in connection with a paper review/ essay written for inclusion in a periodical, newspaper or broadcast. Faculty Guide/Mentor - Ms. Nayanika Mehta 3
PREFACE Since the beginning of mankind, humans have had the zeal to explore the unexplored, to walk the paths less travelled by. This is a tribute to one of those paths that people often desire to walk on and only a few become lucky enough to witness that journey. Who had thought that the Western barren lands could fulfil our hearts and touch our souls in a mere span of ten days. Although the virtual journey that we took was a lot different from what might have been if we had walked on that rich land ourselves, there is no doubt about the fact that through this span of “Craft Cluster”, we found out a little more about ourselves while discovering different aspects of Jaipur. The experience was extremely insightful, leaving us yearning for more. This document is our effort in bringing out the beauty of Jaipur and its crafts. 4
ACKNOWLEDGEMENT We would like to thank our mentor Ms. Anuttama Chakraborty for her support, expert guidance and assistance throughout the project. We would also like to extend our gratitude to Dr. Purva Khurana, Prof. Dr. Monika Gupta, Ms Shresha and Prof. Vijay Dua for introducing the craft cluster initiative to us and empowering us with the various tools needed. We would like to thank all the faculty and staff of the Fashion Design department for providing us this unique opportunity for learning. We would like to express our deepest appreciation to Mr. Debi Prasad Chhualsingh, Dr. Toolika Gupta, Ms. Anandita Gope and Mr. BB Paul for their valued time and experience. We are deeply indebted to Mr. Vinayak Sharma (Founder, Cotton Rack) for guiding us through the cluster and gicing us the best possible experience of witnessing the crafts in Jaipur. We owe our deepest gratitude to the artisans of Jaipur for giving us an opportunity to visit their workplace and for helping us in bringing the project to a successful end. Advice and comments from our peers have been extremely insightful and truly made this seemingly impossible task a smooth-sailing adventure. Finally we take this opportunity to thank our parents for inspiring us to do this work. Santosh Chogan Suraj Titanwala Badshah Miyan 5
Contents 9 Rajasthan Look 3 Look 4 11 Sanganer Look 5 Lookbook Our History Materials 63 Bagru Traditional Motifs Dabu 21 Bayaar 69 Bagiya Boards Range Plan 76 Adh-Rekh Look 1 Look 2 Boards Look 3 Look 1 Look 4 Look 2 Look 5 Look 3 Lookbook Look 4 Look 5 42 Leheriya | Shibori Range Plan 43 The Journeys We Take Lookbook Silhouette | Colour | Trims 99 Conclusion Range Plan Look 1 Look 2 7
RAJASTHAN Rajasthan is the largest state in India in terms of the area covered. It lies between 23 30’ and 30 11’ North latitude and 69 29’ and 78 17’ East longitude sharing the International border with Pakistan and with five other states of India including Punjab, Haryana, Uttar Pradesh, Madhya Pradesh, and Gujarat. It has history dating back as far as the ancient Indus Valley Civilization. During medieval times, the province reached its glory being witness to many decisive wars and tales of bravery and sacrifice echoing from every corner of the state. The current state of Rajasthan was formed on 30th March 1949 after Rajputana was merged into the Dominion of India. Some important cities in Rajasthan are Jaipur, Jodhpur, Kota, Udaipur, Bikaner, and Ajmer. Popularly known as the ‘Princely’ state - The land of Royalty, it was ruled by the Rajputs for many glorious years. The name, Rajasthan literally translates to ‘Abode of the Kings’; the region was previously called Rajputana meaning ‘country of the Rajputs’. Even today, the descendants of the royal families are treated with the utmost respect by the locals. It is also home to one of the largest deserts in the world, ‘The Thar Desert’, or the ocean of sand. 9
SANGANER 11
OUR HISTORY Hand-block printing in Sanganer is an art being practiced there for almost five centuries now. It started with various craftsmen migrating to this town after wars between Mughals and Marathas. Sawai Jai Singh invited artists and craftsmen from different parts of the country to settle down in Jaipur. He brought some craftsmen from Surat, Malwa and Gujarat. Because of their exquisite and elegant designs, Sanganeri prints became an instant hit. The craft started to flourish and was exported to foreign lands in massive bulk. It reached its peak in the 19th century. With three different communities working simultaneously in this industry; Blockmaker (Kharadi), Weaver (Bunkar) and Printer (Chhipa), this artform is in high demand in the current market with so many variations & new techniques coming up. 12
Santosh Chogan belongs to the fifth generation of printers in his family. After practicing this beautiful craft for years, Santosh Ji’s father got the business registered in 1981. They have been a part of co-operative society since then. His family of 17 members, 11 male and 6 females, lives in a house which has their workplace on the ground floor. Santosh Ji completed his training program for block making and printing in 1989 before joining the family craft and business in 1992. His younger brother too handles the work along with him. Both of them are National Award winners for their incredible contribution to Sanganeri Prints. Following their footsteps, Santosh Ji’s son has also joined learning under him while pursuing his graduation. Santosh Chogan has paid visits to 22 different countries for live demonstrations as Indian representative of this craft. He sells to the domestic market as well as to the foreign buyers in London, Madrid, Spain, Malaysia and Japan with the turnover ranging to 80 lacs per year. Workers from Farukhabad, UP and other nearby regions have been working under him for 20 years now. Although Santosh Ji uses computer and Internet for designing and production process, he is somehow reluctant towards e-commerce platforms. He expressed his concerns about changing methods of buying and marketing but also showed his openness for any suggestion or help from the government or institutes for the same. 13
With the entire world facing the challenges posed by the virus Covid-19, 2020 was the year of global pandemic. The governments across the world imposed lockdown in order to restrict the number of people getting infected. However, the lockdown brought different troubles along with it. Crafts and businesses faced a very difficult period during the times of Covid-19. The number of workers reduced drastically along with the purchasing power of consumers. Craftsmen like Santosh Chogan had to ask workers to stay quarantined in the workplace and carry on with whatever orders they could get. Sales saw a substantial amount of decline. With exhibitions at a halt, the major source of finding buyers have also taken a pause. 14
MATERIALS 15
Step 1: Hari Sarana Step 2: Peela Karna Step 3: Chhapai (Printing Step 4: Sukhai (Drying of (Scouring) (Tanning) with mordants) Fabric) Pre-processing of fabric to remove impurities The fabric is dyed in Harda (dried powder Unlike synthetic dyes, for natural dyeing This is done to ensure that the mordants set in like dirt, starch and oils, if any. The fabric is extracted from tannin-filled fruit which works process, the fabric is printed with mordants evenly before the dyeing process is done. submerged in a bleaching solution (camel or as a pre- mordant) This stage gives the fabric a (metallic salts) such as Shyahi (from fermented cow dung + soda ash + water) for a few days yellowish tint. iron scraps and molasses) and Begar (alum with and then washed with hot water. gum solution). 16
Step 5: Khulai (Washing/ Step 6: Rangai (Printing) Step 7: Sukhai Step 8: Tapai Removal of excess mordant) (Drying/Curing) (Sun-Bleaching) The fabric is printed at this stage with the help The fabric is washed in plain water to get rid of of wooden or metal blocks. The fabric is pinned This process is done to ensure that the colour This is the last but most distinctive step in any excess mordant stuck to the fabric. onto the printing tables and the cloth is printed sets in very well. It is especially important in Sanganeri printing. The fabric is laid flat on the from left to right. The number of blocks to be case of pigmented dyes. The printed fabric is river banks or soft soil under the sun for 5-6 used depends on the number of colors to be made to gothrough a steam iron roller at 180 days. Sunlightbleaches the harad to give the used. degrees. It heats up the fabric and prevents fabric a white background. The designs and any colour bleeding. motifs look more neat, bright and vibrant after this stage. 17
TRADITIONAL MOTIFS Sanganeri printing features a variety of motifs with intricate detailing and elaborate compositions. The motifs are inspired from natural objects such as flowers, birds, creepers, fruits and vegetables. These floral motifs are known as “buttas”. Their interpretation is done in very fine lines with exquisite placements for the same. These prints also have objects of religious importance. Geometrical shapes, mythological creatures, religious symbols are also a part of Sanganeri designs. In the current market, Sanganeri motifs have changed to cater to the demands of modern customers. The motifs being sold in the domestic market differs from what is being produced for exports to an audience with different aesthetics. 18
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बयार Taking a moment off from the mundane tasks that keep us busy inside the four walls of a room, we take inspiration from the serene view outside that lonely window, a view that brings us closer to the nature and its subtle complexities. From the window of my room I see the green trees Where birds are on branches And insects on leaves - Organic 21 - Flowing - Nature
BOARDS We wanted to create garments that are transitional, flowy, anti-fit and present a contrast to the organic and traditional nature of our craft. The colors are inspired by the frame outside that of a window, blues from the sky, browns and deep greens of the ground and a red accent provided by the flowers and blossoms hanging from branches. 22
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look 1 SHIVIKA The look is created using an A-line anti-fit dress made of sheer chiffon fabric paired with a dress/jacket made in natural cotton khadi with embroidery details. It features accents in red in the form of beaded hand embroidery on neckline, machine embroidered borders in organic motifs and deepen red dyed lace decorating the hems.. The print was placed in organic engineered patterns created using stencils out of newspaper while the khadi fabric was dyed in two tones of blue in synthetic colors. BLOCK 1 BLOCK 02 BLOCK 03 Trims 24
process 25
look 2 SURUCHI This look consists of an A-line dress with wide flared sleeves made in cotton flax. The garment is heavily pleated at the shoulder and neck level with a mandarin collar in dark blue fabric. A different sanganeri printed fabric is used for the gathered layers towards the bottom with white chiffon fabric used to add more volume covering half the circumference. A rust red piping goes all around the panel joints and pocket edges with white cotton lace adorning the sleeve hem and acrylic buttons running down the centre front. BLOCK 1 BLOCK 02 BLOCK 03 26 Trims
process 27
look 3 SRISHTI The look is created using a kaftan panelled silhouette. The middle panel is printed in sanganer style and the side are done in bandini. The fabric are cotton slub heavy weight for block print and cotton slub medium weight for bandhani. BLOCK 1 KHAKA 28
process 29
look 4 SHRUSHTI The look is created using an anti-fit silhouette. There's a asymmetric placement print all over the garment. On the upper side of the garment there's broken bandhani and on the lower side, there's block print with is used to fill up the space left in between the broken bandhani. The fabric used to make this piece is Cotton Flax. BLOCK 1 KHAKA 30 30 Trims
process 31
look 5 SHREYA The look is built in 3 parts- the overshirt, made out of cotton chambray is paired with a straight fit shirt and wide legged pants. The shirt, made out of cotton cambric features sanganer block print at the collar, sleeve cuffs and one significant motif at the back. The over shirt has sanganer block print at the sleeves and neck while the wide legged pants, made out of cotton flax is produced in the bandhani technique. . BLOCK 1 BLOCK 02 KHAKA 32
process 33
LOOKBOOK GROUP 1 34
Look 1 35 Designer - Shivika Khare
Look 2 Designer - Suruchi Kumari
Look 3 37 Designer - Srishti Gupta
Look 4 Designer - Shrushti Gupta
Look 5 Designer - Shreya Jannet 39
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Leheriya Shibori Bagru Leheriya is a traditional tie-dye technique. The Tie and dye has existed for over two thousand Bagru and Dabu both refer to exquisite hand word “leheriya” comes from the Rajasthani word years and is understood everywhere around the block printed textiles from Rajasthan. While the for wave because the technique results in globe by different names. It is known as Shibori former takes its name from the place where the diagonal and chevron patterns on the fabric. in Japan. In Japan, the earliest known example style of printing originated and is primarily These patterns on the fabric are formed by rolling of cloth dyed with a shibori technique dates practiced today, Dabu takes its name from a the fabric diagonally and tying the fabric in from the 8th century. The main fabrics were silk mud resist step that is often executed onto a specific areas. The craft originates in Rajasthan and hemp, and later cotton. The main dye was bagru printed fabric. The two crafts primarily (unlike Bandhani), It found patronage amongst indigo and, to a lesser extent, madder and use only three colours, Red ( Begar), Black the 22 different states that constituted the purple root. Shibori and other textile arts, such (Syahi) and Neel ( Blue from indigo). The motifs erstwhile territory of Rajputana. Every royal as tsutsugaki, were applied to all of these printed traditionally take inspiration from the family had a distinguished kind of leheriya that fabrics and dyes. immediate environment, this includes was worn by them. household objects, flora fauna and even There are an infinite number of ways one can recitations of mythological tales. 42 bind, stitch, fold, twist, or compress cloth for
The Journeys we take Transient Clean Minimal Personal Organic 43
Silhouette Colour Trims Structured and Tailored looking The colours chosen are a mix of colours Trims like Ties with tassels, Tie-up waist silhouettes juxtaposed with Knitted obtained from natural dyes used in Bagru belts, Blue pottery buttons, loops and cloth bodycon and relaxed fit garments that like madder, myrobalan, indigo, etc. are buttons are used to bring accent the look feature tie up and wrap details, making for combined with colours that are brighter of the collection. Surface techniques like easy and effortless layering. and create an eclectic mix. Faggoting are used to add visual interest. 44
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Style No : CBPDG1AW005 Style No : CBPDG2AW006 Style No :CBPDG2AW007 Season : AW 2022 Season : AW 2022 Season :AW2022 Style Description : Jacket ,BAGRU PRINT BLOCK Style Description : KOTA SILK NAGINA MOTHRA ,LEHERIYA TOP Style Description :KOTA SILK SHIBORI, LEHERIYA FLARED PANT Category : OUTERWEAR CCaatteeggoorryy:: TOP Category :FLARED PANT Surfacing : BAGRU PATTERN Surfacing : NAGINA MOTHRA & LINING LEHERIYA Surfacing :SHIBORI, LEHERIYA Fabric : FELT Fabric : 100% Silk Fabric :100% Silk Fit : STRAIGHT Fit : FIT Fit : STRAIGHT FIT Size: M Size: M Size: M Look 1 Alka Kumari This look consists of a v-neck tie up detail top & flared pant and straight jacket. The top is made out of kota silk nagina mothra & lining is cotton leheriya . It has a v-neck collar and sleeveless. The flared pant is made out of kota silk shibori & lining is cotton leheriya. It is a wide-leg pant with a both side zip fastening,both side pockets, a design to the front and back and a long length up till the ankles. The jacket is made out of felt bagru block print & lining is cotton leheriya.
I like to go to old places, earlier they used bamboo to make the bridge over the river, I get fascinated with that and my inspiration comes from there. Bagru Block, Mothra,Sibori, and Lahariya pattern done on felt,organic cotton, and kota silk to visual garments. 47
Style No : CBPDG1AK001 Style No : CBPDG2AK002 Season : Trans Seasonal 2022 Season : Trans Seasonal 2022 Style Description : Flared sleeve dress Style Description : Reversible vest Category : Dresses Category : Outerwear Surfacing : Shibori Dyed Surfacing : Hand Block Printing (Bagru), Mothra Leheriya Fabric : Moda Satin (100% Modal) Fabric : Kota Silk (100% Silk), Cotton Self Stripes (100% Cotton), Modal Satin (100% Satin) Fit : Tent Fit : Anti-Fit Size: 18 Size: 18 Look 2 Amulya Kanukuntla This look consists of a flared sleeve dress and a reversible vest jacket. The Flared sleeve dress is made out of Shibori done on Modal fabric. The sleeve has an elasticated cuff which is to be pushed on to the elbow to give a fuller look. The sleeves have a lace detailing surrounded by 3 pin tucks on each side. The dress has snap buttons on the center back. & a mandarin collar. The tent fit gives the wearer ease of movement. The vest is reversible with a combination of Mothra on Kota silk and a solid blue Modal satin on one side and Bagru block print on self stripe cotton fabric on the other. The vest is fastened through strings..
After spending a long 49 time at home due to the pandemic I embarked on a 32 hour long journey to Jaipur. The never ending railway tracks, ever changing blue skies, The peek-a-boo wild flora and the beautiful juxtaposition of the structures man created on the, organic canvas of Earth has served as my inspiration for this project. The inspiration of the Rail journey and the juxtaposition of organic and structured takes life in form of organic forms represented in structured lines and structured forms in an organic manner. Like the organic block prints of flora repeat is placed in a structured format, the form of the bougainvillea flowers is retraced in straight lines and the structured railway tracks represented through Mothra. Traditional Mothra, Shibori, Indigo and Bagru Block prints done on textured bases like Woven Stripes, Kota Silk and Crepe create visual interest to the garments. Detailed metal blocks, , Indigo prints, Arashi Shibori & traditional mothra Leheriya done on textured(visual and tactile) bases.
Style No : CBPDG1AW003 Style No : CBPDG2AW004 Season : Trans Seasonal 2022 Season : Trans Seasonal 2022 Style Description : Jacket wrap dress, fold over collar with leheriya fabric blocking Style Description : ANti-Fit Kota silk Leheriya kimono jacket Category : Dresses Category : Outerwear Surfacing : Leheriya pattern in Pantone PMS287C. Surfacing : All over Leheriya (Leheriya) Fabric : Lightweight sheer Kota Silk Fabric : 100% Silk Fit : A line Fit : Anti-Fit Size: 8 Size: Free Size Look 3 Anmol Venkatesh This look consists of a knee length matka silk tie dyed wrap jacket dress and a Kota silk kimono jacket The Jacket dress is constructed using a medium weight, plain weave matka silk jacket. It consists of two layers, the inner layer is of a plain charcoal colour while the outer layer has a subtle textured shibori pattern, rendered inn the same colour. Leheriya strips have been used as binding at the center front, shoulder seams and for the waist tie. The loose fit Kimono jacket is constructed using a light weight Kota Silk fabric with an all over leheriya detail. It has a fold over collar detail.
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