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FINAL SHORTLISTED PROTOTYPES 54 |Lifestyle Pvt. Ltd.
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REFLECTIONS OF LEARNING ON VISUAL MERCHANDISING This internship has allowed me to gain a thorough understanding of visual merchandising while being guided by the industry’s subtleties. Visual Merchandising is an intriguing marketing tactic in and of itself, as it allows us to visually entice customers and instil an impulse purchase that bene- fits both the firm and the customer. Identifying my abilities in this new virtue and improving my comprehension of the visual parts was a crucial part of the overall learning process. I’ve undertaken new challenges of designing something as new as fixture, that is an integral part of Visual Merchandising, whilst developing new skills in the whole process. I was able to undertake thoughful selfevaluation throughout the Internshipand persevered to com eup with the best possible outcome. I also had the opportunity to learn about the retail operations of the entire business, as well as the insights of in-house labels and their products. 58 |Lifestyle Pvt. Ltd.
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INDUSTRY INTERNSHIP NATIONAL INSTITUTEOF FASHION TECHNOLOGY REPORT (PART II) NIFT CAMPUS, RAJIV GANDHI SALAI , TARAMANI, CHENNAI-600113 DEPARTMENT OF LEATHER DESIGN (2018-2022) JULY-AUGUST 2021 DESIGN PROJECT AT- DOCUMENTED BY- CLC INDIA AASHRUTI GUPTA LD SEMESTER VII #7 Karanai Puducherry Urapakkam, Tamil Nadu FACULTY GUIDE MRS. VIJAYALAKSMI RAVI 603-202, India ASSISTANT PROFESSOR 60 |CLC INDIA All Copyrights Reserved @NIFTCHENNAI
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TABLE OF CONTENTS 1. Acknowledgement 61 2. CLC India 62 3. Project: Leather on Silk 64 4. About Silk 65 5. Why Silk? 68 6. Origins of Silk 71 7. Silk of India 73 8. Types of Silk 74 9. Sericulture 76 10. Silk Exports and Imports 78 11. Sourcing: BNS Silks 79 12. Silk Swatch file 82 13. Comparative study of the Fabrics 83 14. Leather on Silk swatches 88 15. Production Process 89 16. Fabric Selection and Prototyping 96 17. Reflection on learning 62 | CLC INDIA
ACKNOWLEDGEMENT The Design Project I did with CLC India was a great opportunity for me to learn and grow profes- sionally. Therefore, I consider myself really fortunate to have been given the opportunity to be a part of it. I am using this opportunity to express my deepest gratitude and special thanks to the Owner, CLC India, Mr. Aman Choudhary, who in spite of being extraordinarily busy with his duties, took time out to hear, guide and keep me on the correct path and allowing me to carry out my project at their esteemed organization and mentoring me during the training. I would like to thank the Director of National Institute of Fashion Technology, Chennai, Dr. Anitha Manohar, for giving an opportunity to expand our learning through Interning under a company. I express my sincere gratitude to our Course Coordinator, Mr. Sankara Narayanan who has made every effort to guide me towards achieving the target. I express my deepest thanks to Mrs. Vijayalakshmi, my mentor, for taking part in useful decision & giving necessary advices and guidance and arranged all facilities to make life easier. She has been limitlessly supportive and has ensured the best for me throughout the Internship period. I choose this moment to acknowledge her contribution gratefully. I perceive as this opportunity as a big milestone in my career development. I will strive to use gained skills and knowledge in the best possible way, and I will continue to work on their improvement, in order to attain desired career objectives. CLC INDIA | 63
CLC INDIA CLC INDIA, a well-known manufacturer in India and a reputable leather outerwear supplier, has a factory in Chennai, in the south of the country. The factory was founded in 1976, therefore it has over 45 years of manufacturing experience. It is located within a 25-kilometer radius of both a sea and an air port, making it an ideal position for exporting our goods. In comparison to most cities, Chennai offers the benefit of low labour costs. CLC places a major emphasis on product research and design, as well as ensuring the highest possible material quality. It is well-estab- lished, with the most up-to-date approved facilities and cutting-edge machinery, ensuring a big yearly capacity of almost 120,000 pieces. Handcrafted designs that draw on our country’s artisan culture, leather production that follows sustain- able tanning techniques in a LWG certified tannery, and most goods that are inspired by nature make this a very beneficial industry. Aman Choudhary, the company’s owner, is very focused on making CLC India a leading producer of leath- er outerwear, and has ensured that the best equipment is on hand. He is also extremely industrious and dedicated to creating CLC India a leading producer of leather outerwear. 64 |CLC INDIA
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ABOUT SILK Silk is an animal fibre generated by certain insects and arachnids for the con- struction of cocoons and webs, some of which can be utilised to make exquisite garments. Silk filaments from tamed silkworm cocoons are almost totally used in commercial applications (caterpillars of several moth species belonging to the genus Bombyx). Silk has become the irresistible and unavoidable friend of the eve all over the globe due to its exquisite properties such as natural sheen, intrinsic affinity for dyes and brilliant colours, high absorption, light weight, te- nacity, and superb drape. Silk is chemically formed up of proteins released in a fluid state by a caterpillar known as a’silkworm.’ These silkworms feed on the selected food plants and spin cocoons as a ‘pro- tective shell’ to perpetuate the life. Silkworm has four stages in its life cycle viz., egg, caterpillar, pupa and moth. Man interferes this life cycle at the cocoon stage to obtain the silk, a continuous filament of commercial importance, used in weaving of the dream fabric. CLC INDIA | 67
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WHY SILK? Silk is a high-value, low-volume product that accounts for only 0.2 percent of total textile output worldwide. Silk production is regarded as a significant tool for a country’s economic development because it is a labor-intensive and high-income-generating business that produces valuable add- ed-value products. It is used by developing countries to generate employment, particularly in the rural sector, as well as to gain foreign cash. Geographically, Asia is the world’s largest producer of silk, accounting for more than 95% of total global output. Despite the fact that silk is produced in over 40 nations throughout the world, the majority of it is manufactured in China and India, followed by Japan, Brazil, and Korea. China is the world’s largest silk producer. India is the world’s second-biggest producer of silk and the world’s largest consumer of silk. It has a rich heritage and culture that binds the domestic silk market. Mulberry silk is primarily pro- duced in the Indian states of Karnataka, Andhra Pradesh, Tamil Nadu, Jammu & Kashmir, and West Bengal, while non-mulberry silk is primarily produced in Jharkhand, Chattisgarh, Orissa, West Bengal and North-eastern States. 70 |CLC INDIA
ORIGINS OF SILK Silk production and weaving have a long and storied history that is shrouded in folklore. The industry definitely began in China, where it existed before the middle of the third millennium BCE, according to native records. Sericulture quickly became an important component of the Chinese rural economy after it was discovered that the about 1 km (1,000 yards) of thread that makes up a silkworm’s cocoon could be reeled off, spun, and woven. According to Chinese folklore, the skill was given to the Chinese people by the wife of the fabled Yellow Em- peror, Huangdi; the empress has been ceremonially associated with sericulture throughout history. The weaving of damask probably existed in the Shang dynasty, and the tombs of the 4th–3rd centuries BCE at Mashan near Jiangling (Hubei province), excavated in 1982, have provided outstanding examples of brocade, gauze, and embroidery with pictorial designs as well as the first complete garments. The perfecting of kesi, a very fine silk tapestry woven on a small loom with a needle as a shuttle, was the main Song dynasty feat in silk manufacture. The Sogdians in Central Asia are thought to have originated the method, which was perfected by the Uighurs and adopted by the Chinese in the 11th century. The name kesi (meaning “cut silk”) refers to vertical gaps between regions of colour generated by weft threads that do not run straight across the breadth of the fabric; it is also possible that the word is a corruption of the Persian qazz or Arabic khazz, all of which refer to silk and silk products. Kesi was used to make robes, silk panels, and scroll covers, as well as to convert paintings to tapestry. In the Yuan dynasty, panels of kesi were exported to Europe, where they were incorporated into cathedral vestments. During the Han era, silk weaving became a major industry and one of China’s main exports. The Silk Road, a caravan route through Central Asia, brought Chinese silk to Syria and then to Rome. Sericulture was recorded by Aristotle in the 4th century BCE on the Greek island of Kos, but the technique was clearly forgotten and reintroduced into Byzantium via China in the 6th century CE. Chinese textiles from the Han dynasty have been discovered in Egypt, northern Mongolia (Noin-ula), and Chinese Turkistan’s Loulan. Han kings utilised silk as diplomatic gifts, as well as to buy off and weaken dangerous nomads by providing them with a taste of luxury. CLC INDIA | 71
Brocade and embroidery, gauze, plain weaves, and damasks are among the early Han textiles discovered at Mawangdui, demonstrating the further development of weaving traditions previously present at Mashan in the late Zhou. Damasks, very delicately woven in multiple colours with designs that often repeat every 5 cm, are the most common later finds elsewhere (2 inches). These designs are either geometric in nature, with the zigzag lozenge being the most prevalent, or they are made up of cloud or mountain scrolls intermingled with fantastic creatures and occasionally fortunate inscriptions. The rectilinear patterns were likely adapted for embroidery from the rhythmic conventions of lacquer painting, which also provided scroll motifs for inlaid bronzes and paintings on silk. The curvilinear scroll patterns, which are not natural to weaving, were probably adapted for embroidery from the rhythmic conventions of lacquer painting, which also provided scroll motifs for inlaid bronzes and paintings on silk. As a result, there was interaction between the many media of Han period arts, which explains its stylistic cohesiveness. The Chinese love of spectacle, colour, and superb craftsmanship is evident in Ming and Qing textiles. Flowers and dragons on a background of geometric motifs are prominent among woven textile patterns from the late Zhou (1046–256 BCE) and Han periods. There were three types of robes worn under the Qing dynasty. The emperor’s robe was ornamented with the Auspicious 12 symbols detailed in ancient ritual books, but princes and high offi- cials were limited to nine symbols or less depending on their status. The caifu, or “dragon robe,” was a semiformal court attire in which the imperial five-clawed dragon (long) or the four-clawed dragon (short) was the primary motif. Despite repeated sumptuary laws enacted during the Ming and Qing dynasties, the five-clawed dragon was rarely used exclusively for royal purposes. The eight Buddhist symbols, symbols of the Daoist Eight Immortals (Baxian), eight precious items, and other fortunate devices were also utilised on the dragon robes. The Manchus adapted “Mandarin squares,” which had been placed front and back to Ming official robes as marks of civil and military rank, to their own distinctive attire. According to mythology, sericulture and silk had moved overland from China to India around 140 BCE. By the second century CE, India was supplying Persia with its own raw silk and silk textiles. (A few centuries later, Japan acquired and developed a robust sericulture.) Under the Parthians (247 BCE–224 CE), Persia became a crossroads for East-West silk trade. In Syria, Egypt, Greece, and Rome, silk dyeing and weaving flourished as crafts. Workers utilised some raw silk from East Asia, but the majority of their yarn came from unravelling silk textiles from the East. Asia’s silk tradition remains mostly unknown. 72 CLC INDIA
SILKS OF INDIA The Indians’ lives and cultures have been entwined with silk. Despite the fact that India produces all types of silk, including dress materials, scarves/stoles, readymade clothes, and so on, silk sarees are unique. The word “saree” is practically synonymous with “silk.” Since time immemorial, it has been the customary attire of Indian women. There are several references to this draped garment throughout In- dian literature, and the style of wearing it varies from time to time, location to region, and person to person. India’s silk sarees are one of the best examples of the country’s weavers’ superb artistry. Indian weavers’ artistic and aesthetic sensibility is not limited to the vibrant colours they use in their fabrics; it also includes their mastery of floral motifs, gorgeous textures, fine geometry, and the long- term durability of their work. The weaver not only uses yarn, but also great emotion and feeling. In India, there are a variety of silk weaving facilities located throughout the country, each with its own particular style and goods. Silk is a lifeline - an elixir - for Indians, especially women. Silk is inextricably linked to a region’s way of life and culture. Craftsmen across the Indian subcontinent attempted to master the weaving of sarees that were as exclusive as one could imagine, incorporating theme designs, colours, pattern, and adaptability. Because no two sarees may have the same design if the weaver is free to choose, there are an infinite number of patterns or diversity. Over time, certain centres arose and devel- oped to encourage a specific design / weaving pattern, and they became distinct. CLC INDIA | 73
The following are some of India’s most well-known silk centres: 74 CLC INDIA
TYPES OF SILK MULBERRY SILK This cultivar produces the majority of the world’s commercial silk, and the term “silk” is frequently used to refer to mulberry silk. Bombyx mori L., a silkworm that only feeds on the leaves of the mulberry plant, produces mulberry silk. These silkworms have been entirely tamed and raised in a controlled environment. Karnataka, Andhra Pradesh, West Bengal, Tamil Nadu, and Jammu & Kashmir are the leading mulberry silk producing states in India, accounting for 92 percent of the country’s total mulberry raw silk production. TASAR SILK Tropical Tasar: Tasar (Tussah) is a coarse silk with a coppery colour that is mostly used for furniture and interiors. It’s not as shiny as mulberry silk, but it has its own distinct feel and appeal. Tasar silk is produced by the Antheraea mylitta silkworm, which feeds mostly on the plants Asan and Arjun. The rearings take place in the open, among the trees. Jharkhand, Chattis- garh, and Orissa, as well as Maharashtra, West Bengal, and Andhra Pradesh, are the main producers of tasar silk in India. Many tribal communities in India rely on Tasar culture to survive. Oak Tasar: It is a finer variety of tasar produced in India by the Antheraea proyeli J. silkworm, which feeds on natural food plants such as oak, which are abundant in the sub-Himalayan region of India, which includes the states of Manipur, Himachal Pradesh, Uttar Pradesh, Assam, Meghalaya, and Jammu & Kashmir. Oak tasar is a silkworm that comes from the Antheraea pernyi silkworm, which is the world’s largest producer. ERI SILK Eri, also known as Endi or Errandi, is a multivoltine silk spun from open-ended cocoons, which makes it unique among silk kinds. Philosamia ricini, a tamed silkworm that feeds primarily on castor leaves, produces Eri silk. Ericulture is a household activity that is primarily used to produce protein-rich pupae, which are a tribal delicacy. As a result, the eri cocoons open their mouths and spin. Silk is traditionally used to make chaddars (wraps) for these tribals’ personal use. This culture is primarily prevalent in India’s north-eastern states and Assam. Bihar, West Bengal, and Orissa are also home to this species. MUGA SILK This golden yellow silk is a national treasure of India and the pride of Assam. Antheraea assamensis, a semi-domesticated multivoltine silkworm, is used to make it. These silkworms are raised on tasar-like trees and eat on the scented leaves of Som and Soalu plants. Muga culture is unique to the state of Assam and is an important element of the state’s tradition and culture. Muga silk, a high-value commodity, is utilised in sarees, mekhalas, chaddars, and other items. VANYA SILK Natural Silk is insect fibre. India produces all four varieties of natural silks viz., Mulberry silk, Tasar silk, Muga silk and Eri silk. The Tasar, Eri and Muga silk are non mulberry silks which are wild silks and also known as Vanya Silks. CLC INDIA | 75
SERICULTURE Sericulture is a type of agriculture. It entails raising silkworms for the purpose of producing raw silk, which is a yarn made from cocoons spun by particular insect species. Sericulture’s main tasks include growing food plants to feed silkworms that spin silk cocoons and reeling the cocoons to unwind the silk thread for value-added applications like processing and weaving. In the country, 60 lakh people work in various sericulture activities. Throughout the year, Sericulture is expected to create 11 man days per kg of rawsilk output (in on-farm and off- farm activities). Sericulture is employed as a strategy for rural reconstruction since its potential is exceptional, and no other industry generates this kind of employment, especially in rural regions. Provides vibrancy to village economies- About 57 % of the gross value of silk fabrics flows back to the cocoon growers with share of income to different groups., 1. 56.8 % to cocoon grower 2. 6.8% to the reeler 3. 9.1% to the twister 4. 10.7% to the weaver 5. 16.6% to the trade Thus, large chunk of income goes back to the villages from the cities. Low Gestation, High Returns In one acre of irrigated land, estimated investments of Rs.12,000 to 15,000 (excluding land and rearing space) are sufficient for mulberry cultivation and silkworm rearing. Mulberry takes only six months to grow to the point where silkworms can be reared. Mulberry trees, once estab- lished, can support silkworm rearing for up to 15-20 years, depending on the inputs and management offered. Under tropical conditions, five crops can be harvested in a single year. A farmer can achieve net income levels of up to Rs.30000 per acre per year by following a set of techniques. Women account for more than 60% of individuals employed in sericulture’s downstream activities in the country. This is achievable because women are more effective at sericulture activities such as mulberry garden mainte- nance, leaf gathering, and silkworm rearing. They also help to support the silk reeling and weaving industries. 76 CLC INDIA
Sericulture can be performed even on small plots of land. Without hiring labour, an acre of mulberry garden and silkworm rearing may sustain a family of three. Sericulture is a suitable programme for the weakest sectors of society because of its minimal gestation and large returns. If carefully exploited for producing tasar silkworms, the country’s vast areas of forest-based tasar food farms can provide extra profitable work for tribals. Mulberry contributes to soil conservation and provides green cover as a perennial crop with good leaves and root-spread. Silkworm waste can be recycled and used as garden fertiliser. The use of dried mulberry twigs and branches as fuel instead of firewood reduces the impact on vegetation and the forest. Because it is a labor-intensive and primarily agricultural industry, the use of smoke-emitting machinery is negligible. Mulberry plantation development programmes are primarily implemented in highland locations where underuti- lised cultivable land is turned into productive land. Mulberry can also be used as an intercrop in a variety of plan- tations. Mulberry being a deep-rooted perennial plant can be raised in vacant lands, hill slopes and watershed areas. Currently, only about 0.1 % of the arable land in the country is under mulberry cultivation. Rural households benefit the most from sectoral value addition. Money goes from high-end groups to low-end groups since the end-product users are largely from higher-income groups. In some states, landless families are involved in cocoon manufacture using mulberry purchased from local farmrs. CLC INDIA | 77
SILK EXPORTS AND IMPORT 78 CLC INDIA
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SOURCING: BNS SILKS Police station, Indian bank Hamidshah Com- plex Cubbonpet Mainroad, next to halsurgate, Bengaluru, Karnataka 560002 80 CLC INDIA
SILK SWATCH FILE CLC INDIA | 81
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COMPARATIVE STUDY OF THE FABRICS 84 CLC INDIA
LEATHER ON SILK SWATCHES The leather on Silk Swatches were made using cutting technique and due to unavailibilty of stitching machine were stuck by available glue. two sets of swatches were made for, one to be sent in industry and one for self. SET 1 (A4 SIZE SWATCH) CLC INDIA | 85
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PRODUCTION PROCESS 90 CLC INDIA
FABRIC SELECTION AND PROTOTYPING The Tafetta Fabric is twisted woven and made from Silk. Yarn- dyed silk taffeta and piece-dyed silk taffeta are two different forms of silk taffeta. Piece-dyed taffeta is a silky fabric that is frequently used in linings. Taffeta that has been yarn-dyed is substantially stiffer and is frequently used in evening gowns. • Durable • Stiff and Crisp • Thick and capable of holding leather applique • Water Absorption is very low • Comfortable CLC INDIA | 91
PROTOTYPED JACKET 92 CLC INDIA
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REFLECTIONS ON LEARNING This Project has allowed me to gain a thorough understanding of leather outerwear while being guided by the industry’s subtleties. I was able to combine extensive theory with practical implementation on a project. By experi- menting with a variety of silk swatches with leather and thoroughly understanding its capabilities, I was able to gain a lot of hands-on experience with the entire process. Identifying my abilities in this new virtue and improving my comprehension of the Silk textures and qualities was a crucial part of the overall learning process. I’ve undertaken new challenges of designing something that involves two vast materials nto a single unit. 98 CLC INDIA
BIBLIOGRAPHY https://www.lifestylestores.com/in/en/department/women https://www.lifestylemarketing.co.in/ http://careers.lifestylestores.com/about-us/ https://www.bloomberg.com/profile/company/7175829Z:IN https://sewport.com/fabrics-directory/silk-fabric https://csb.gov.in/ http://revistaindustriatextila.ro/images/2020/1/010%20XINRONG%20HU_Industria%20Textila%201_2020.pdf https://www.puresilks.us/index.php?route=product/product&product_id=1963 http://nopr.niscair.res.in/bitstream/123456789/16378/1/IJFTR%2038(1)%2066-73.pdf THANKYOU 99
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