DESIGN QUEST - Satyam Fashion Institute

Volume 3 | Issue 1April 2020-September 2020 RNI NO. UPENG/2018/76546

DESIGN QUESTAN ADVANCED RESEARCH JOURNAL ON DESIGN

Design Quest | An Advanced Research Journal on Design | Volume 3 | Issue 1

April 2020-September 2020

“Courage is like love; it must have hope for nourishment.”

– Napoleon Bonaparte

Hope is powerful. It inspires us to turn the impossible things

into possible and helps us carry on during hard times. Due to

the rampant widespread of corona virus in the world, our lives

got affected in one way or the other. But, our perseverance

to bout this with the hope to be back into the business is all

making a difference. I praise all the authors for contributing

their precious time to write the research papers amid

pandemic while they were busy in taking care of the families

and near ones. So, we present this issue of Design Quest to

our readers with a ‘hope’ to engage their creative minds into

an informative voyage.

The approach of Design Quest is inter-disciplinary in nature

as it indulges researchers from diverse fields in relation to

Design. To start with, this issue opens with an important

paper on the impact of Covid-19 on the Global Fashion and

Textile Industry. The paper posits its raging effect on areas

like fashion luxury market, the crisis in fashion brands and

businesses, changing consumer behavior and employment

dips etc. The shifting trends of fashion markets has been

discussed from the consumer point of view.

Some of the other papers are focused on noteworthy

researches in the ever-growing area of ‘Sustainability’ in

fashion and textiles. The paper on Handwoven Sarees of

Odisha is an interesting read for all the Handloom lovers

which gives a striking account of sarees from different parts

of Odisha namely Tribal sarees from Kotdap, Mayurbhanj, silk

sarees of Brahmapur, Mankidia, the Khandua sarees, Bomkai

sarees etc. The paper puts forward the case of these traditional

practices in a way to bring our attention towards finding a

good ecological balance in the present uncertain times when

this sector is also badly hit with economic slowdown. We all

must be sensitized towards the ethos of weavers who put their

efforts and creativity together to weave a piece of love and skill.

Another paper is presenting an exploration of some natural

kitchen products to be used for natural dyeing of fabrics

named as ‘pantry dyes’. The authors discussed the DIY

From The Editor’s Desk...



recipes and shades obtained with the dyes used along with

the various dyeing techniques on the fabric swatches. This

will be of great interest to the practitioners and students who

want to try these easy to use dyes.

With the perspective on understanding cultural cues from

clothing, there is a fascinating research paper studying the

representation of Women’s clothing and fashion since the

beginning of figurative paintings in India. The research aims

to study the visual cues as tools for the portrayal of female

characters in figurative paintings as a two-dimensional

representations over a period of time.

For any design students, the knowledge and skills are

varied in nature and they take inspirations from multiple

dimensions to get them started with their design projects.

One of the key to be organized in their work is by following the

sequential steps of the design process. The 3D’s of Fashion

Design, thus, are being explored in one of the papers which

will take you through the different steps and tools to be used

in the design development process.

Another research paper is based on the concept of

movie-based promotion in the consumer market. Numerous

researched have proved the influence of films and its

various aspects on the viewers. It is a two-way action where

society informs the films and the films inspires/ affects the

society. This paper is discussing about the qualities of film

promotion by understanding the images used in the films

and its positioning for influencing the viewers through item

arrangement and its situational compatibility with film plots.

In all, this issue is going to present some thought provoking

ideas to our readers for further research in the related field.

Please share your feedback for the papers and the journal on

[email protected]

Dr. Vandana [email protected] Satyam Fashion Institute, C-56, A/14&15, Sector 62, Noida 201309

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With great pleasure I present the third edition of Design Quest a research journal for probing

minds and questioning intellects. I hope that this journal will be instrumental in bringing about change and development in our society.

Manjulika Gautam (Retd. IAS)[email protected] Fashion Institute, C-56, A/14&15, Sector 62, Noida 201309

Foreword...

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Dr. Neetu Malhotra (hc) H.o.d, SFI [email protected] Satyam Fashion Institute, C-56, A/14&15, Sector 62, Noida 201309

Dr. Manawwar Alam Professor & dean, Bachelor of Arts, (Mass Media), SFI [email protected], Satyam Fashion Institute, C-56,A/14&15, Sector 62, Noida 201309

Mr. Ujjwal Ankur Programme Coordinator, Bachelor of design (Foundation), SFI [email protected] Satyam Fashion Institute, C-56, A/14&15, Sector 62, Noida 201309

Ms. Priyanka Sarkar Programme Coordinator, Bachelor of Arts, (Mass Media), SFI [email protected] Satyam Fashion Institute, C-56, A/14&15, Sector 62, Noida 201309

Dr. Sakshi Shail Examination Coordinator, SFI [email protected], Satyam Fashion Institute, C-56, A/14&15, Sector 62, Noida 201309

Editorial Board

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From The Editor’s desk 01

Foreword 03

Impact of CoVId19 on Global Fashion Apparel & Textile Industry by Smita Bagai 06

Sustainability of Elegant and Wondrous Hand Woven Sarees of odisha: A Brief by Dr. Sasmita Panda 15

Revival of Natural dyes: Pantry dyes by Mahima Malik, Shweta Kapruwan* 24

The Woman’s Gaze: Clothing Culture Cues A Study of Representation of Women’s Clothing And Fashion, In The Backdrop of Visual Art Since The Inception of Figurative Painting In India. by Shovit Dasgupta 37

The 3d’s of Fashion: design, development & delivery by Dipti Ahuja 47

Movie Merchandise Market by Vandana 57

Call for Paper for The Next Issue (october 2020 - March 2021) 73

Con

tEn

ts

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April 2020-September 2020 | Smita Bagai

Impact of COVID19 on Global Fashion Apparel & Textile Industry

By Smita Bagai

AbstractCovid-19 has been the biggest menace for mankind after World War II, hitting every sector from finance to Fashion to hospitality. Nevertheless, Fashion due to its unrestricted nature, is particularly vulnerable. According to Fashion Revolution the average market capitalization of apparel, fashion and luxury players dropped almost 40 percent between the start of January and March 2020 which has been more than a much abrupt decline than that of the global stock market. Even afore the coronavirus unsettled commercial markets, toppled supply chains and rumpled consumer demand across the worldwide economy, fashion industry fraternity was not optimistic about 2020. The industry was previously “On High Alert” and top leaders expressed glumness across all topographies. Fashion industry now is on a red alert.This unanticipated benign and economic crisis has rendered previously planned strategies for 2020 frivolous, leaving fashion businesses exposed or rudderless.Covid-19 has been the biggest menace for mankind after World War II, hitting every sector from finance to Fashion to hospitality. Nevertheless, Fashion due to its unrestricted nature, is predominantly vulnerable. Philanthropic consequences are expected to outlast the pandemic itself and the impact on Fashion & Textiles is much more since this being one of the biggest industries in the world generating $2.5 trillion in global annual revenues before the pandemic hit, the worldThe impact will lead to joblessness or financial destitution for people through the value chain — right from the labour harvesting the fibres used to make textiles to shop assistants selling the finished Fashion merchandise. Consumer behavior of consumers will certainly shift after and will keep changing till the moment the world will be COVID-19 free.Even after the lock down is over, the anxiety is going to persist amongst the Fashion consumers, and the lack of personal protective equipment (PPE) has already directed the designers to make the mask a part of the coming fashion culture.The objective of the paper is to discuss the impact of COVID-19 on global Fashion apparel & textile industry and also study the impact of the pandemic on the buying behaviour of Fashion apparel consumers.

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April 2020-September 2020 Impact of COVID19 on Global Fashion Apparel & Textile Industry

Introduction Covid-19 has been the biggest menace for mankind after World War II, hitting every sector from finance to Fashion to hospitality. Nevertheless, Fashion due to its unrestricted nature, is predominantly vulnerable.According to Fashion Revolution the average market capitalization of apparel, fashion and luxury players dropped almost 40 percent between the start of January and March 2020 which has been more than a much abrupt decline than that of the global stock market.

Indian Textiles and Apparels (T&A) industry, accounts for approximately 4% of the global T&A market. The T&A industry is one of the principal and the most imperative sectors for the Indian economy in terms of productivity, foreign exchange retributions and occupation. The industry contributes approximately 7% to industrial output in value terms, 2% to the GDP and 15% to the country’s export earnings.

India’s textile and apparel industry is deliberated as the second-highest employment generator after agriculture, the sector employs around 45 million workers directly and another 60 million indirectly across the country will certainly take time to come back to track.

The Covid-19 pandemic has had a colossal effect on almost every industry, whether that be unprecedented pressure on health services, non-essential businesses shuttering, or super-markets needing to consider their re-stocking tactics and opening hours. And so it follows that the fashion industry has also been experi-encing the effects of a global health crisis.

Philanthropic consequences are expected to outlast the pandemic itself and the impact on Fashion & Textiles is much more since it is one of the biggest industries in the world generating $2.5 trillion in global annual rev-enues before the pandemic hit, the world

The impact will lead to joblessness or financial destitution for people through the value chain — right from the labour har-vesting the fibres used to make textiles to shop assistants selling the finished Fashion merchandise.

The interlinking of the Fashion & Textiles business is making it harder for industries to plan ahead. China, which is where the Virus originated has recovered but occur-rences have aggravated in most developed nations across Europe and the US. We all understand that it is in the developing nations where healthcare systems are derisory and poverty is endemic, that people are being hit the hardest. For workforces in low-cost sourcing and fashion manufacturing hubs such as Bangladesh, India & Cambodia, prolonged periods of redundancy will lead to deprivation. The workforce is moving back to their hometowns and will take a fresh decision to come back.

ObjectivesThe objective of the paper is to discuss the impact of COVID-19 on global Fashion apparel & textile industry and also study the impact of the pandemic on the buying behaviour of Fashion apparel consumers.

This conceptual paper indicates and emphasizes the influence of this pandemic

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in Indian Fashion business and their contri-bution towards regional progress.

Literature ReviewAccording to a report by Fashion revolution, it is projected that returns for the global fashion industry (Apparel and footwear sectors) will be reduced by 27 to 30 percent in 2020 year-on-year, although the industry could regain positive growth of 2 to 4 percent in 2021.It is estimated to be different for the personal luxury goods industry (luxury fashion, luxury accessories, luxury watches, fine jewellery and high-end beauty) which is expected to have global revenue contraction of 35 to 39 percent in 2020 year-on-year, but positive growth of 1 to 4 percent in 2021.

McKinsey analysis estimates that 80 percent of publicly listed fashion companies in Europe and North America will be in financial anguish if stores remain closed con-tinuouslyfor two months. McKinsey Global Fashion Index (MGFI) analysis has which established that 56 percent of global fashion companies were not earning their cost of capital in 2018 and they presume a huge number of global fashion enterprises will go bankrupt in the subsequent 12 to 18 months.

Bloomberg News informs that foremost fashion brands have negated orders of value apx $1.5 billion across more than 1,000 garment factories in Bangladesh subsequent to the start of the outbreak. At another places there are reports of fashion brands with-drawing remits and discontinuing outflows for orders previously positioned.

Precisely when and how this recovery will happen is impossible to know at this moment since its all linked to the innovation of an effective antiviral treatment and provision of a proven vaccine, which may take some time. Directing this ambiguity is not easy for fashion leaders since they must be conclusive and initiate retrieval strategies to transpire with renewed energy. The crisis is a pro-moter that has created a tremor in the Global Fashion & Textile industry and now is the time to get organized for a post-coronavirus world.

As per the latest research by Altagamma in connotation with Boston Consulting Group, it has been anticipated that coronavirus may lower down global luxury sales between 30 billion Euros to 40 billion Euros. With stores getting closed and customers slouching down at family unit, luxury markets have been relentlessly smashed. Major parts of the world, from China to Japan to Europe and the US are struggling with waning demand and interrupted value chains.

According to a recent survey by the Inter-national Textile Manufacturers Federation (ITMF), on an average 8 per cent orders have dropped worldwide and the probable turnover this calendar year will be down by nearly 10 per cent over 2019 figures.

As per a report, the US-based retail giant Macy’s has publicized that it would leave most of its 1,30,000 employees while others such as British luxury giant Burberry have predicted an astounding 70%-80% drop in sales. The UK-based retailer Primark has publicized a withdrawal of all new orders

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and Inditex (the owner of popular brand Zara) has already written off some $336 million worth of inventory

A report entitled “Impact of COVID-19 Scenario on European and the US Apparel Market” released by Wazir Advisors said the collective apparel ingestion of EU and the US might fall about USD 308 bn, 40-45% lower than the 2020 projected consumptions.

Research FindingsThe interlinking of the Fashion & Textiles business is making it harder for industries to plan ahead. China, which is where the Virus originated has recovered but occurrences have aggravated in most developed nations across Europe and the US. We all understand that it is in the developing nations where healthcare systems are derisory and poverty is endemic, that people are being hit the hardest. For workforces in low-cost sourcing and fashion manufacturing hubs such as Bangladesh, India & Cambodia, prolonged periods of redundancy will lead to deprivation. The workforce is moving back to their hometowns and will take a fresh decision to come back.

Even after beholding liquidations, industry leaders will need time to get accus-tomed to uncertainty and prepare for future-proofing efforts to be prepared for further outbreaks and lockdowns.

The recent future is predicted to be a time for association within the industry and not to be competing.

Big Fashion brands are normally trusting on lengthier lead times and uncompromising

supply chains are susceptible due to the category’s discretionary nature. Certainly, Fashion & Textile will have more hardships as more than 70 percent of European and US buyers who are expected to cut back expen-diture on apparel

The lockdown may cause economic anguish for 80 percent of European and North American fashion businesses

Developing countries in Asia, such as India and Indonesia, have been severely hit by the lockdown of production facilities, leaving millions without jobs and weakening their position in the global value chain. Similarly, we expect markets that have been under economic distress before the crisis — such as Venezuela and Nigeria — to require more time to restore growth, owing to their inherent political instability. In the west, there will be different rates of return of consumer confidence based on the speed and effectiveness of government support and how severely hit the country has been by the pandemic, with countries like Italy, Spain and France potentially faring worse than Germany. Looking ahead, businesses will have to review their operating models. While implementing short-term interventions — like cutting costs and production, securing liquidity and adjusting product assortments, which have been the highest priority in urgent reactions to the crisis — companies now need to consider actions for the recovery period and implement resiliency into their planning.

Across the world, there is near concord on the statement that the global economy

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is by this time in a profound and prolonged downturn of the kind which has not been wit-nessed by people since the Great Depression.

This crisis has also stemmed to a paradigm shift in Fashion apparel consumer behavior. Consumers were initially disinclined to use masks and sanitizers but then started gath-ering them at any cost. People who loved shopping in-store are now going digital, those who enjoyed classroom learning now are attending online sessions, those doing physical meetings for decision- making are now working through video conferencing. People say that this change in behaviour may become the ‘way of life’ and may be taken as ‘new normal’ in consumers behaviour.

Jeanologia’s founder Enrique Silla whose team is developing sanitization solutions for the global apparel industry says, “The world will not be the same after COVID-19. For the textile business is very imperative to recu-perate the conviction of buyer. Only through disinfecting, brands will be able to speed up repossession of customers’ trust, ensuring the fast repossession of our industry.”

The Clothing Manufactures Association of India has said the existing catastrophe will undoubtedly put a short brake in consumer spending. CMAI president Mr Rahul Mehta has mentioned that demand in clothes may shrink by almost 40% in 2020. The existing online to offline buying of apparel 8% to 92% however, would tilt in favour of online apparel buys by 12% in coming years.

An internal report by CMAI has found that domestic apparel industry could take a hit of about Rs 1 lakh Cr due to the lockdown. 81%

of manufacturers had received cancellation orders in April 2020 from their buyers.

Denim proponent Mr Sandeep Agarwal who collaborates with global players in the supply chain records that retailers and buyers are withdrawing billions of orders globally as consumers are not buying. He mentions that there have been talks of fall of over 50% in consumption of Fashion apparel worldwide, expressly in denim.

Major hurdles highlighted as per research:Due to countrywide lockdown, however, the industry is grappling with major hurdles in the following areas:

Labour force and employment:Since Fashion Apparel & Textiles offers uninterrupted employment to over 45 million people but the nationwide lockdown has steered to a momentary shutting of factories and lay-offs have already begun among low wage workers.

Import & Exports of raw material and readymade garment:The Covid-19 pandemic is principally anticipated to unfavourably impact exports as well as the domestic markets with both exports as well as domestic sales falling.

The pandemic has affected the bulk of India’s export market (the US and EU together institute for approximately, 60% of the total apparel exports from India in value rapports), initiating delays of order leading to inventory build-up and likelihood of slower

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realization of export receivables leading to higher working capital requirements.

Manufacturing units that deal with mate-rials, which were up until now being sourced from China, are in a calamitous condition.

Change in pattern of Domestic consumptionDomestic consumption will also get impacted due to all India shutting. New store openings have stopped and even domestic stores are facing catalogue build-up due to apparel sources for the upcoming summer season, Further, domestic prices could be negatively wedged if exporters dump their catalogues in the domestic market leading to even reduced margins. Consumers will be hesitant to go and buy once the apparel stores open up. Post COVID-19 crisis, consumers will be hesitant to touch and feel garments in stores and will be apprehensive to know about who would have touched it before them.

But it is also predicted that the Fashion Consumers will go for ‘revenge buying’. They will do a lot of impulse and bulk buying once they get the opportunity. That is primarily because they have had no oppor-tunity to buy since long. They were tired and bored of sitting at home that too without shopping which is considered to be one of the most desired leisure activities.

Cash flow constraints:The sector has been contending with profitability concerns due to a severe waning in yarn exports, cheaper imports etc. It is

expected that these concerns may apparently get intensified further with the contemporary crisis.

Supply chain interruption:The Garment manufacturers need to look at local sourcing opportunities, due to the impactof this pandemic on imports and exports. The labour has migrated back to their hometowns and it is difficult to anticipate that how and when will they come back thereby casting a major impact on Supply Chain.

Consumer sentiment:If the situation perseveres, it will have an impact on consumer sloppiness on the higher side, due to closure of the market and mall also to maintaining social distancing, safety and health.

The magnitude of the occurrence and lockdown would directly impact the length of the retrieval cycle. However, to minimize this impact, the Confederation of Indian Textile Industry (CITI) has requested the government to immediately announce a relief package for the textile and apparel sector to mitigate the crisis being faced by the capital and labour-intensive textile Industry, post the corona virus spread.

Shortage of Migrant labourers: The lockdown has underlined the difficult life of the seasonal migrants. A guessed data reports that around 93% of labourers have already lost a prompt amount of work further leading to loss of income. Millions

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of garment and textile workers are stuck in cities across the country left penniless and incapable of returning to their households due to the lockdown. Many of them have returned to their hometowns and may not come back.The majority of workers are migrants from Bihar, Uttar Pradesh, Odisha and other states. Some of them are being taken care of by the employers.

The Indian government has issued strict directives saying that the workers cannot be sacked nor should there be a decrease in their wages. The partial lockdown of factories in Bangladesh has had mammoth consequences; the 1,000 factories which have been locked down are the source of livelihood to 1.96 million workers, recording an occupational loss of $2.67 billion because of cancelled orders from retailers and brands, which have perceived a rapid dipping of sales and have more recently closed down stores in the US and across Europe.

Dying exports:The contagion has led to a substantial decline in the status of exports in the decade, with a lockdown across the globe, the fashion industry is going to be worst hit. The buyers have been advised to hold back shipments until the things become normal. The stoppage in the fashion market and supply chain has left the workers unwaged.

Summary & conclusionThe mandate for Fashion apparel & textile products abroad and domestic sales have come down to a relentless pause because of

the panic situation created by the COVID-19 outbreak. Due to the lockdown, all categories of textile-related factories are bolted. Workers have been running here and there amid all sorts of confusion. The professional community is petrified on account of cash crux, supply chain disturbance and manpower-related issues. Indeed, it is a difficult time for all.

Some of the new challenges are safety, lack of supply and demand in addition to liquidity crunch. A new emerging area is medical textile products. Many Fashion apparel manufacturers have already started manufacturing Masks etc. and there is a huge demand which will continue for at least few months from now. Many designers are designing innovative Masks using various Textiles and surface embellishment tech-niques

The Fashion & textile industry has now learned not to be dependent on a single source for raw material supplies, and shift towards localization and variable-cost models. Many global companies have already decided to stop buying from China to other countries, including India. As per Maslow’s Law of hierarchy, food and clothing will continue to remain key purchases, there is always hope for this industry.

The Fashion apparel & textile industry may take a much prolonged time to recover after the lockdown. It is anticipated that it may take a minimum of four to six months to get businesses back to normal as it is tough to antedate the concerns that will crop

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up later. Financially strong companies are expected to recover faster.

Limitations and Future Research Agenda The limitation of the current research was that it studied the recent impact of this pandemic. But no one is sure of how long all this will last. Government has decided to resume all services like railways etc. and industries have also been opened up. In future, such study can be conducted after the entire world gets free of this pandemic.

Research can be conducted to focus the efforts made by Government, entrepreneurs, Fashion & textile industry leaders to combat the challenges impersonated by COVID-19 and also difficulties faced by the global Fashion apparel & textiles fraternity andalso on how and when they would recover fully.

References: ▪ https://hypebeast.com/2020/4/corona-

virus-fashion-industry-impact-report-research-effect

▪ https://www.elle.com/uk/fashion/g32015646/coronavirus-fashion-brands/

▪ https://www.mckinsey.com/industries/retail/our-insights/perspectives-for-north-americas-fashion-industry-in-a-time-of-crisis

▪ https://www.pwc.pl/en/publikacje/the-impact-of-coronavirus-on-the-fashion-market-in-poland.html

▪ https://textilevaluechain.in/2020/04/01/impact-of-covid-19-coronavirus-on-global-and-domestic-market-of-textile-and-fashion-industry/

▪ https://www.theguardian.com/business/2020/apr/08/fashion-industry-reels-as-coronavirus-shuts-shops-and-cancels-orders

▪ https://www.entrepreneur.com/article/350190

▪ https://thewire.in/business/textile-industry-covid-19-government-help

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Author’s BiographyMs Smita Bagai, an academician and researcher holds expertise in Fashion design & Management. Her areas of specialization and interests include Design collection Presentations .with 24 years of experience in academics, presently she is working as Associate Professor, Amity School of Fashion Technology, Amity University Uttar Pradesh & is pursuing her Ph.D in area of consumer behavior in organized fashion retailing. She has published

several research papers in reputed journals. She has presented her research work in numerous International & national conferences. She has substantial experience in academics & academic administration.

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April 2020-September 2020 Sustainability of Elegant and Wondrous Hand Woven Sarees of Odisha: A Brief

Sustainability of Elegant and Wondrous Hand Woven Sarees of Odisha: A Brief

By Dr. Sasmita Panda

AbstractThe state of Odisha in the Indian Union occupies a strategic position in the east coast with a long stretch of beautiful coastline bordering Bay of Bengal with sandy beaches, clear blue sea waters, and an abundance of marine life. The state has a rich cultural diversity not only in hand weaving textiles but also in food, agriculture, festivals, and a host of others things including an equisite panoramic view of flora and fauna. Picturesque valleys, eastern range of lovely mountains and contemporary sand art at beaches of Puri. The evolution of festivities mostly originates from the world famous Jagannath Temple in Puri deeply connected with ritualistic handwoven textiles dating back to 12th century A.D Among the exquisite hand woven textiles there are quite a few produced in the entire length and width of the state. In the extreme south, earthy but mind blowing tribal sarees of Kotdap in the Koraput district standa class apart. The beauty is not only with the craft of weaving but also in dyeing the fabric in pure natural vegetable Aal color (Reddish maroon) with Kumbha and an elaborate pallav. Brahmapur town in Ganjam district, boasts of elegant silk sarees and dhotis with heavy texture and natural dyed Lac color (Maroon). In central Odisha, the Khandua sarees with its divinity and elegance have been adorable since 12th century A.D. The simple cotton sarees of Jagatsingpur, the typical Siminai sarees of Dhenkanal are now a rarity. The tribal sarees of Mayurbhanj, the tassar sarees of Mankidia in Balasore district are eternal beauties.The most captivating Ikat single and double are the sublime creations of hand woven sarees of western Odisha. However, the most graceful and crowning glory of Odisha traditional saree has been the Bomkai saree in cotton and silk which is a wonder of hand weaving. These are just some to mention a few. With a declining trend in not only the operative handlooms but also the weavers, there remains a deep concern regarding the sustainability of these highly decorated hand crafted sarees. This article is being written during the nationwide lockdown pummeled by the Covid-19 Pandemic drastically suffered as much or worse economic depression with slowing down of the manufacturing sector including handloom and textiles. Hopefully, it may emerge, with the whole hearted support of the entire nation, as a world leader from the ashes of the Corona carnage, handlooms and textiles included.

Key Words: Textiles, Handloom, Tradition,Ikat, Kumbha, Aal, Lac, Tassar

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April 2020-September 2020 | Dr. Sasmita Panda

Introduction:Indian handlooms reflect and symbolize the strength, weakness, vibrancy, diversity, heritage and culture of India in a more meaningful manner and Odisha handlooms are no different. Handlooms have struggled to stay intact despite the advent of mechanized textiles in all sections, be it decentralized power looms or organized mill sector imitating handlooms. The trendy fashionable Indo-Western apparels,that dominates and entices the customer base by not only showcasing their exotic range of fashion wear with an array of eye catching innovative designs and color schemes but also by adopting aggressive advertising and marketing strategy. Sustainability of traditional hand weaving is of immense value and has been the bedrock of all great civilizations including the Indus valley civilization;Excavations in Mohenjo-Daro and Harappa, indicate towards the existence of a tradition of hand weaving of fine cotton textiles by using handlooms.India has the distinction of having the largest number of handlooms among all the countries in the world. Handmade textiles in different forms of apparel are as old as humanity,that was constantly evolving to coverit’s body from the vagaries of nature. However, the present scenario in the handloom sector is incredibly sad. There has been a downslide of the industry to over 30% reduction in the number of artisans and also the number of looms, as per a finding of the Government of India, Ministry of Textiles note on the subject. In Odisha the position

is almost the same. But due to the constant perseverance of artisans and assistance from different quarters, Odisha handlooms have somehow sustained till now.Odisha has a legendry heritage of hand crafted textiles where each region has a different story to tell which can be classified under the following categories.1. Southern Region: Tribal influenced and

influence of the neighboring state Andhra Pradesh

2. Western Region: Wondrous handwoven with highly skilled ikat (Tie & Dye) fabrics

3. Central Region: Ikat- Khandua varieties, tassar silk and plain cotton sarees

4. Eastern region: Majurbhanj sarees with tribal designs, tassar sarees in various textures

Some of the important and elegant varieties of traditional sarees are mentioned below.

1. Kotpad Saree:Kotpad is a small village in the Southern undivided Koraput district in Odisha. The village is at a distance of about 60 kms from Jeypore and around 85 kms from the district Head Quarters township of Koraput.The specialty of the saree is its design, texture, motifs and the overall get up which predominantly reflects a raw and tribal culture so painstakingly kept alive by the dedication, sincerity and their zeal to sustain the tradition in spite of the dominance of modernity all around them. The traditional saree is woven in 100% cotton yarn in coarse counts ranging from 20sto 40s cotton, raw

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(kora), with a heavy texture suitable to sustain heavy wear and tear while working in fields and forests for collection of forest produce. However, the saree had an element of beautiful natural color also sparingly used in border, Anchal (pallav) and motifs. Extra weft threads are also used in this saree.The beauty of this saree is, these dyed yarn are dyed in dark brown shade by using the naturally available root of a tree called ‘Aal’. The process involves cutting the big roots of the ‘Aal’ tree, into small pieces which are dried in the hot sun. These dried ‘Aal’ root pieces are then powdered by using the country leg operated wooden appliances locally called “Dhinki”. The powdered roots are soaked in water over night which gives a dark brown liquid. The cotton yarn to be dyed is then soaked in this liquid and boiled till the yarn gets dyed (colored). Sometimes this process of dyeing (boiling in the liquid) is carried out a number of times so as to get the desired depth of the shade. The dyed yarn is then washed, dried and used in the fabric. The designs and motifs are taken from the daily used appliances, daily seen animals, birds, serpents, huts and imaginative motifs with a strong tribal raw look. Over the past few decades, efforts have been made by various agencies to give the saree a contemporary look particularly by developing a fine texture and soft feel so as to attract elite customers of the state and outside. Technological research and development have been made

on this craft and indeed there appears to be a bright chance for its survival and sustenance over the coming years.

Figure No.1 Kotpad Cotton Saree

Pashapalli Saree:These sarees are made in the western part of Odisha mainly covering the areas of Sonepur Raj, Bira Maharajpur, Bargarh, Barpalli, Attabira, Boudh and nearby places. The designs “Pashapalli” is very traditional and has been passed from the last four generations till date date. Literally “Pasapalli” means the dice playing chart consisting of geometrical squares put in different permutations and combinations. The origin of the design dates back to the famous epic the “Mahabharata” period in which mention has been made about the dice play (Pasha Khel) between Pandavas and Kaurabas. Figure No.2 presents the Pasapalli sareedesign.

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Figure No. 2 Pasapalli Saree

This saree, during the last few years have undergone some changes in the layout but the basic character of squares of the dice chart remains the same. There are a number of variations and therefore, different trade names for each. One such popular name is “Sakatapar” (Sakata another name for the dice chart). While the basic motif of Sakata or Pasapalli remains same, some of the other motifs are also used in border and anchal (pallav) making it one of the most attractive sarees in the tie and dye woven category. Other motifs include temple (deuli), creeper (lata), animals like lion and deer, bird like swan (hansa), conch (sankha).

Bichitrapar: This saree is very similar to Sakatapar saree with variations of designs, motifs, and layouts. The saree is named Bichitrapar which literally means wonder of wonders. It is produced only in Western Odisha mainly in places like Sonepur Raj, Bhirmaharajpur, Barpalli, Bargarh and nearby areas. Even though originally it was produced in coarse

cotton counts, today it is available in fine cottons of 2/80s to 2/120s and also with pure silk. As the name indicates it is one of the most elegant and wondrous hand woven sarees of Odisha.

Figure No. 3 Cotton Bichitrapar Saree

Figure No. 4 Cotton Bichitrapar saree anchal

Bomkai Saree:The name of the saree is derived from its place of origin, a village called “Bomkai”. The village is situated near about 50 kms towards south of Brahmapur town in the district of Ganjam and is inhabited by about 1500 persons with about 300 hamlets and 50 traditional weavers families . The craft of weaving is about a century old. The looms

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were very old pit looms producing the typical “Bomkai” sarees with very coarse cotton yarn varying from 20s to 26s cotton yarn. The length and width of the original Bomkai saree varies from about four meters (eight hands or four yards) in length to thirty six inches in width, with a double pallav (anchal) called “DO MUHA”.

Figure No 5 Cotton Bomkai sareeBut in spite of its coarseness the saree had a very traditional and ritualistic value in the entire Ganjam district. Legends say that these sarees were used to cover the head of the bride as “UPURANA” (literally meaning covering the upper portion of the body). This was considered to be a status symbol among the lower middle class of the society and used irrespective of their caste and creed. Perhaps, this was liked because of its coarseness/ thickness so as to cover the modesty of the wearer. However, the saree has undergone some of the most dramatic changes starting in the late 1970s -80s with the initiative taken from the Weaver’s Service Centre, a government of India, Ministry of Textile organization engaged mostly in research and development

in the handloom sector. The entire get up, layout, construction, color combination and texture were transformed with a new look but its traditional motifs and character was retained. The weavers were trained and given technical guidance so as to take up this transformation. The State apex society and above all, the Directorate of Handlooms and Textiles of the state government located at Bhubaneswar with the local Assistant Director of textile at Brahmapur zone have taken the lead in this direction. Today, Bomkai saree is a craze in every household and extensively purchased as a most sophisticated, gorgeous and intricate crafted elegant hand woven saree of the state. The main attraction of the saree, perhaps is its raw look with motifs ranging from Rukha (oil lamp stand), Karela (bitter guard) to a host of naturally inspired motifs, which attracted the connoisseurs and therefore became very popular. The heavy texture with a woven designed border and an elaborate pallav of slightly over a meter length woven with ‘jala’ design are the main attractions in addition to its elegant color combination commanding the viewer’s attention immediately.

Jagatsingpur Saree:Jagatsingpur is a small town situated at about 70 kms from the city of Cuttack. The nearby areas of Jagatsingpur used to produce 100% cotton sarees in coarse counts before independence. However, due to change in customer base’s taste, gradually the weavers switched to 40s and 60s cotton sarees. The sarees were popular because of their heavy

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texture and simple plain weaving with a blend of light and dark colors.But, the local handloom weaving could not sustain for long, due to the onslaught of cheap power loom fabrics and therefore the art of handloom weaving has drastically gone down. As of today, there are a very few pockets of handloom weaving and the weavers have since switched over to different professions from daily wage earners to small time vendors.

Brahmapur Cotton and Silk Sarees:Brahmapur town in the district of Ganjam is situated at about 180 kms towards south from the capital city of Bhubaneswar. It is also the border town bordering Andhra Pradesh. Perhaps, this is the reason for having a strong southern influence on the handloom weaving of the place. They mostly belong to Padmashali weaving community which has a strong presence in Andhra Pradesh.

Figure No. 6 Brahmapur silk sareeThe specialty of weaving is that the weavers produce both cotton and pure silk sarees and dhotis with heavy texture. The weavers get the required yarn mostly from South

India. Another specialty of the silk saree is that it used to be produced in naturally dyed maroon color by using naturally available Lac collected from deep forests. The process of dyeing is time consuming. It is also an art and only very few weavers could specialize in this craft. But it was popular because of the luster and fastness of the color. Mostly the silk sarees and dhotis such produced used to have a ritualistic use in marriage functions, threads ceremonies, and visiting temples and while conducting “Pujas” particularly by Hindus. However, as on the date, Lac color dyeing is almost extinct, the dyeing craftsmanship has vanished which was confined to a very few artisans. The hand weaving industry has also witnessed a strong decline and there are very few weavers who make fine cotton and silk sarees and dhotis for the limited market. The weaving activity is also confined to a very small area of “Bada Bazar” in the old township of Brahmapur.

Kalahandi / Habspuri Saree:Kalahandi area has its own tradition of not only weaving techniques but also fabrics with its unique touch of heavy textured tribal oriented designs. The loom, that is used, is very often found to be very old pit looms with smaller widths and producing small length pieces as per the local requirement. In fact, the very existence of Kalahandi type of fabric is perhaps, only due to local acceptance of the fabric with heavy texture which can withstand heavy wear and tear as demanded by a working lady engaged in

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diverse fields of activity from the forests, to the to the construction work either building new roads or repairing roads or building of houses in urban areas. The cotton yarn that is used is very coarse ranging from 20s to 40s with a woven border and a simple anchal (Pallav). There is also a touch of tie and dye the technique of which is available from Meher community weavers in the adjoining districts of Bolargir, Sonepur and nearby areas. The length and width of the traditional saree used to be very short.

Figure No.7 Kalahandi / Habspuri SareeHowever, efforts have been made to revive the tradition of handloom weaving in the district with generous assistance from the Directorate of Handloom and Textiles, Government of Odisha and revival done by Weavers’ Service Centre, Bhubaneswar. With the Government assistance the technology was up-graded with finer texture as suitable for the ever changing market. Chichaiguda village and other nearby areas were selected for development along with training of weavers which resulted appreciable

benefits to the weavers. Another fabric which is very popular among the customers is the famous “Kapta Thans” produced with heavy texture and multi colored rib effect are often used as door curtains.

Conclusion:The state of Odisha, in the east coast adjoining Bay of Bengal is blessed with abundant natural beauties with ever green mountains, valleys, innumerable gods and goddesses. It is also a place of exotic handwoven sarees with traditional and attractive colors with amazingly laid out craftsmanship. It is with this backdrop the state produces some of the unique, elegant and wondrous handwoven sarees like the most popular Bomkai sarees, the famous most artistic Bichitrapar (wondrous of wonder) saree, Pashaplli and other ikat (locally called Bandha) sarees, religious silk and cotton Jodas, summer cotton sarees and tribal cotton beautiful sarees and scarfs from Kotpad. In Odisha no women’s wardrobe is complete without the Khandua saree woven with a bit of weavers’ soul and imagination. Natural tassar and silk sarees are also very mesmerizing with a touch of divinity religiously offered to Lords in Jagannath Temple at Puri. However, inspite of artistic excellence some of the textiles are languishing because of lack of sponsorship and loss of weavers due to migration. But some of these varieties with myriads of colors are still available for the connoisseurs of the craft.

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References:CrillRosemary (1998), “Indian Ikat Textiles”, London, Victoria and Albert Museum.

Desai Chelna (1988),“ Ikat Textiles of India”, published by chronicle books, US

Eberhard Fisher and Dinanath Pathy (1996), Jayadeva and Gitagovinda-Textiles-chapter-12,p121-133

Ghosh, G.K and Shukla Ghosh (1995), “Indian Textiles Past and Present”, APH, Publishing Corporation, New Delhi

Hacker Katherine F (2004), “Dressing Lord Jagannath in Silk: Cloth, Clothes, and Status”, Res.Autumn97, Issue 32, p106-124. 19p

Lynton Linda (1995), “The Sari” Published by Thames and Hudson Ltd, London

Meher. S.K (2007), “A Diagnostic study on Bargarh Cluster, Orissa”, Orissa State HWCS Ltd. (Boyanika)

Mohanty Bijoy Chandra (2003), “Ikat Fabrics of Orissa and Andhra Pradesh”, Published by Calico Museum of Textiles, Ahmedabad, and First edition 1974, Second revised edition.

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Author’s Biography

Dr. Sasmita Panda is currently working as Associate Professor in the Textile Design Department and as Campus Academic Coordinator at NIFT Hyderabad. Her areas of interests include Traditional Textiles, Surface Techniques, Garment Construction, Intellectual Property Rights, Craft Cluster (Handloom and Handicraft), and Design Colloquium. She was involved in various projects

like Training the Trainers in the fields of Resist Dyeing, Hand embroidery, Garment construction, Surface Techniques. She coordinated and worked for GI certification for the crafts like Patachitra Painting, Konark stone carving and Pipli applique craft of Odisha. She has coordinated and involved in various Government projects like MCH, DRDA, SERP, NEPGEL, Board of Intermediate Education, EDP, Project package scheme.

She has a cumulative work experience of 23 years in both industry and educational institutions. She is working with NIFT since 2000. She is a qualified ISO internal auditor. Many articles were published by her in National, International Journals, newspapers and in seminars.

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April 2020-September 2020 | Mahima Malik, Shweta Kapruwan

Revival of Natural Dyes: Pantry Dyes

By Mahima Malik, Shweta Kapruwan *

AbstractNothing can be just black and white; the world runs between the black-white spectrum, which is full of colors. Humans started extracting this colorful spectrum from nature (plants, animals and minerals) since ancient civilizations, as pieces of madder dyed cotton fabric were excavated in Harappan civilization. Dyeing of cloth with natural dyes was commonly practiced even years after the civilization, through the mordant-dye technique.Textile produced in 17th century India could create colors that would not fade in the sun or laundry, and was used for large-scale, hand-printed, dyed or printed textile in India.With the introduction of synthetic dyes the cost of dyeing has been dramatically reduced and characteristics enhanced, but the craft which is still being practiced using natural dyes at a smaller scale in remote areas and cultures of the country ascertain that natural dyes are much more superior in characteristics and soothing to eye and to our body. Some of these places include Sanganer, Bagru, Jodhpur (Chhiponka), Barmer and Akola in Rajasthan; Ajrakh printing in Gujarat; Machilipatnam (Kalamkari) in Krishna district of Andhra Pradesh, etc. andthis constitutes only about 1% of the total dyed textile of the country. This paper intends to bring the past into practice,by increasing an awareness about the harmful effect of synthetic dyes, and reinstating the benefits of natural dyes.Certain vegetables, plants and minerals that are probably just sitting in the kitchen can guarantee perfect results, using some scientific guidelines. Surfaces that are uniquely developed, by tying the khaddar cotton fabric and an accessoriesproduct range contribute to sustainable accessories design.

Keywords: Natural dyeing, Sustainable, Traditional technique, Intervention, Tie and dye, pantry.

Introduction Colour is the most visual attribute of a cloth, which directly impacts the mood of the wearer and the appearance of the textile. These colours are imparted to the textile with the help of dyes (colourants).

The process that involves the colouration of textile material is known as dyeing. Dyeing is a complex activity which involves basic processes such as transfer of coloured pigment/dyes from the dye bath using a liquid, containing colouring matter to the

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April 2020-September 2020 Revival of Natural Dyes: Pantry Dyes

fabric, adsorption at the fibre surface and then diffusion from the surface into the fibre. Dying can be done by using natural as well as synthetic colourants. Natural colourants play a valuable role in the world history as they were used by tribal societies in funeral ceremonies, body painting, decorative art, domestic decoration and clothing. Such colorants were extracted from various sources and can be classified into three categories based on their source i.e. vegetable dyes, animal dyes and mineral dyes. Textiles Industry produces highest rate of pollution because of the harmful, synthetic colorants that are discharged into the water bodies and the rejected synthetic/natural fabrics which end up in landfills and take hundreds of years to decompose. Over the past few decades, the growing awareness about the harmful impact of synthetic dyes and fabric on the environment, which end up in landfills because of fast fashion has revived the use of natural dyes. Researches are being done to introduce new technologies and methods, using conventional techniques, for eco-friendly,production and cleaner treatment processes of textiles. Hence, the use of non-uniform, non-tonic, environment-friendly and anti-micro trial natural dyes, has recently started to attract consumers and producers who are conscious towards such practices and this thereby leads to growing popularity of the natural dyes. Advantages of using natural dyes are, that they produce a soothing and soft color pallet which is closer to nature and is skin friendly because these dyes exhibit anti-microbial

and U. V protection properties. They are extracted from renewable, naturally occur-ring resources like plants and minerals which are produced according to the demand. Some dyes are extracted from easily available pantry items and one can easily dye at home to give old clothes a fresh new look and upgrade the wardrobe with unique natural colours.Apart from the benefits stated above, there are some drawbacks in usage of natural dyes. The dyes are not colour-fast and production of same shade is difficult. Natural dyes are non-sustainable and thus need mordants, usually metallic salts which have an affinity for both, the colouring matter and the fibre to fix the colour on. The quantity of colourant used is high, as compared to synthetic colourants and is more labour intensive, thus the cost of dyeing increases. Nowadays many startups like MATR, Bageeya, Ogaan, Doodlage and many leading apparel outlets such as Anokhi, Suvasa, Fabindia, Kilol, Mother Earth,ecologically conscious designers and design house like Bina Rao (creative bee), Anita Dongre (grassroots), Raw mango, Bhusathna, Tuach, etc. have joined hands to promote sustainable fashion, wherein people would produce, reuse, mend and lend to bring a change in the pattern of fashion consumption.The present study was undertaken with the following objectives: ▪ To document home dyeing techniques,

using colourants extracted from pantry. ▪ To document different surfaces created

using tie and dye technique

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▪ To develop a product range which, are not washed regularly and can withstand the poor colour-fastness of natural dyes.

▪ To observe results of dyeing, under the same conditions of temperature and mor-dents of different colourants from pantry like turmeric, beetroot, tea, coffee and iron rust.

MethodologyThe aim of this study is to identify original features of home dyeing and understanding the basic techniques and equipments used. This study has also brought to light how natural dyes can bring us closer to nature, providing a sustainable way of living life. The following methodology was followed in order to achieve the objectives of the study.

Sample SelectionThe sample for the study was purely selected using convenience sampling since the researcher experimented with techniques and developed textures. The aim of the study was to collect information on extracting the essence of home dyeing and to develop a sustainable product range which was only possible by being a part of the process.

Data CollectionRudimentary data was collected by observation and secondary sources of data were used. The secondary data was collected from the books, journals and web portals. The following are some of the books that were referred to, Jim Liles, the Art and Craft of Natural Dyeing.

InterventionNatural dyes were commonly used earlier but after the introduction of artificial dyes, they came to be totally rejected and now constitute only about 1% of the total dyed textile of the country. . The reasons behind this were poor colour-fastness, time consuming processes of extraction and variation in shades.This intervention was taken up for addressing the shortcomings stated above by experiment ion with different textures and development of a product range which is less exposed to water/washing.

Result and DiscussionExecutionNatural dyes, just like nature are not uniform, which is why many people get attracted towards natural dying, as the shades obtained are never same and thus create unique colour palettes. The researcher used 100% khadi cotton for home dyeing as the results come out better on natural fibres. This is due to the affinity of natural dye for natural fibres are more than synthetic fibres. Before dyeing, the fabric is washed thoroughly to remove impurities and often treated with a mordant solution. Mordants help in fixing the colour, but some might be toxic. A wide range of substances can be used as mordants. Researcher used an uncommon substances such as alum and salt as mordants. Alum is short for Aluminium Potassium, which is used in the manufacturing of baking powder. After washing, fabric is soaked in alum solution overnight.

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The process starts by putting on gloves, old clothes and possibly an apron. For preparing the dye bath, stainless steel buckets are used as bathtub as it will not retain a stain of the dye.. A couple of old wooden spoons would be needed to stir the dye mixture. The alum-soaked fabric is dried and then tied tightly according to the design with a cotton thread so as to resist the area from dyeing to achieve different textures. Here researchers tied the fabric into four different tie and dye patterns i.e crumple, folded and sunburst with metal coins, beans. The tied fabric is submerged in the dye solution and moved gently on the flame for 60 mins with a wooden spoon,so that its surface absorbs thecolour evenly. Fabric is left in the dye bath until it has achieved the desired shade, and the solution should be stirred from time to time so that pigment does not gather in the static folds of the fabric.

Step 1 : Preparation of the fabric:

Fig.1: Washing the fabricStep 2: Tying:

Fig.2: Tying the fabricStep 3: Dyeing:

Fig 3: Process of Dyeing

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Step 4: Washing

Fig.4: Washing the dyed cloth

Step 5: Drying

Fig 5: Drying the dyed fabric

Step 6: Hitching

Fig 6: Hitched cloth

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Material Used:There are many different types of materials that can be used for dyeing fibres. Anything from vegetable peels to flowers or stones can be used. The materials used by the researchers are within the limitation of pantry items which are easily available in every kitchen.

* Base Fabric- Heavy cotton Khaddar is used as a base fabric because natural dyes have great affinity towards natural fibres and are durable enough for making accessories as well.

*Colourants--Haldi: It is a member of the ginger family and abundantly grown and used in India on a daily basis.It is a key ingredient of curry and has countless health benefits. It is a perfect alternative for chemical dyes both for food as well as fabric and fibres.-Tea/Coffee: All of us have struggled to remove stains of tea and coffee from our clothes once in our lifetime. It is also a great way of adding colour to fabrics/fibres. Tea and coffee are high sources of caffeine and are aromatic as well and are used as medicinal drugs in many ethnic groups worldwide.-Beatroot: Taproot portion of a beet plant . Besides being consumed, beets have been used as a food colouring agent and as a medicinal plant too.

*Mordants-Alum- Alum is the most commonly used pantry mordants in natural dyeing. Specific compound for Alum is Hydrated Potassium

Aluminium Sulfate. It is often used in canning and as a preservative.Iron- Adding dimension to the surface design is not possible without rust dyeing. Rusting occurs naturally due to oxidation and during this process if fibres are in contact with the iron, they lock the stains and add dimensions to the pattern.

*Fixative-Salt- Salt is used as a fixative for cotton fabrics, threads or yarns. High affinity of salt for water helps dyes to dive into the textiles and leads to maximum absorption of dye molecules during the process of dyeing.

Surface DevelopmentAnother technique which is used in creating surface pattern designs is Mechanical Resist Dyeing i.e tying. In this technique the cloth is tied and restricted in a particular pattern to resist or prevent the dye from reaching other portions of the cloth. The cloth is tied with the help of a string before it is dipped in the dye bath to create unique patterns for different types of ‘tying’.Stitching patterns are to be cut with margins as cloth shrinks during the process of dyeing. 4 different types of tying techniques that were used were:*Crumple*Folding*Sunburst with coins and beans-Crumple - This is done by scrunching the pattern with the fingertips and tightly winding a cotton thread around it and securing it with a knot.

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Fig 7: Crumple

Fig 8: Crumple Results-Folding - To get a folded pattern, the fabric is placed flat on the work surface and is then pleated. The pleated fabric is then folded into half and the pleating process is repeated if needed. The folded piece is winded with a thread tightly and secured with a knot.

Fig 9: Folding

Fig 10: Folding Results-Sunburst with coin- Metallic (iron) coins were placed in a desired pattern (scattered)

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and after placing the coins, the fabric is punched from that particular place and tied with the help of cotton thread, enclosing the coin inside the fabric.

Fig 11: Sunburst with coin

Fig 12: Sunburst with coin results

-Sunburst with beans- Similarly, with beans we take beans of desired size and place it in desired pattern and tie it with cotton thread enclosing the bean inside.

Fig 13: Sunburst with beans

Fig 14: Sunburst with beans results

Product DevelopmentHumans are social beings and from childhood we all are taught that sharing is caring. Being with another person brings us joy and often we express our emotions intangible ways such as products that are soothing and crafted with natural dyes, from laptop sleeves to footwear and other accessories such products are the

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ideal way to show we care. This intervention is made keeping in mind the authenticity of couple oriented products as well as challenges faced by natural dyes i.e. poor colour fastness. The product range thus selected were Accessories,as these are rarely washed and make a real difference in the whole ensemble.*men’s tie and a women’s tie necklaceTie dyed Men’s necktie and Women’s necklace perfectly compliment each other with the sheen of luxurious breathable cotton. Hand-dyed with home pantry items in unique patterns. The natural dyes in crumpled pattern, offer a lovely harmonious look to these products.

Fig 15: Men’s Tie

Fig 16: Women’s Tie

* Tie dyed Tab sleevesTie dyed Tab sleeves for couples are perfect for protecting one’s tab, in style. Incorporated with a small wooden button on the top which makes it secure. It is fully lined with a soft yet strong interlining. The natural colours add a rustic feel, as each piece is one of a kind, one ina soft pastel peach,while the other in strong coffee browns. The sunburst pattern and rust marks add dimensions to the pattern.

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Fig 17: Tie dyed Tab sleeves

Fig 18: Tie dyed Tab sleeves

*men’s bow and women bow hair accessoriesThese puffy bows are meant to be worn standing up. They are a must-have hair accessory or for amen’s bow tie collection. Dyed in pop yellow and coffee browns, producing tinted patterns of sunburst and folding,these pairs are perfect for creating a breath-taking look.

Fig 19: Men’s bow

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Fig 20:Women’s hair bow

* Tie dyed Kolhapuris Dyed in tea browns and sunshine yellows, these elegant pairs of kolapurisare great for completing a traditional attire look. The patterns created with the help of coins give them a bohemian look and they can be easily paired with festive and traditional looks.

Fig 21: Tie dyed Kolhapuris

Fig 22: Tie dyed Kolhapuris

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ConclusionHome dyeing was done with the limited pigments available in our pantry, and different textures and products were developed. The study was undertaken with the aim of popularizing home dyeing and natural dyed accessories/ products which fulfil the need of the modern market.Technical characteristics of dyeing were identified through experimentation and different surfaces were created using Tie and dye techniques and successfully documented as well. Home dyeing techniques were followed for extracting colourants from pantry items, which were then used in development of the product range which are not frequently washed and are hence perfect considering the poor colour-fastness of natural dyes. We createda product range of unique accessories which are one of a kind and are produced using natural dyes. These practices will cause less harm to humans as well as to the environment and will help in providing sustainable income for the farmers and workers who are well acquainted with the processes and techniques of natural dyeing. It will also help in the reduction of pantry waste which would have ended up in landfills can now also be converted into dyes and eventually into beautiful unique patterned accessories and clothing.

Reference: ▪ Gillow J, Barnard N., 1993, Traditional

Indian Textile. UK: Thames and Hudson ▪ allnaturaldying.com ▪ Liles K, Jim; 1990, The Art and Craft of

Natural Dyeing. The University of Ten-nessee Press/ Knoxville

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Author’s BiographyMahima Malik completed her Bachelor’s degree in Textile Design at Satyam Fashion Institute, Noida. She has always admired textile and visual arts. Her work for home decor, apparel, lifestyle and accessories is driven by her innate need to revive crafts, culture, heritage and history.

During her craft studies, she researched on and worked with Afghan refugees living in India. She has presented her work in numerous conferences and received awards for the same.

Author’s BiographyShweta Kapurwan completed her graduation degree in B.Des. lifestyle accessories design from Satyam Fashion Institute, Noida. She is very passionate towards her work which includes capturing stories from pan India and local cultural styles. worked with different clusters like DOKRA during her craft cluster and developed jewellery collection.

Her strength lies in switching between and connecting different scales of spaces and objectives within them, rooted

in an inquiry of behaviours and materiality.

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April 2020-September 2020 The Woman’s Gaze: Clothing Culture Cues

The Woman’s Gaze: Clothing Culture Cues A Study of Representation of Women’s Clothing And Fashion, In The

Backdrop Of Visual Art Since The Inception Of Figurative Painting In India.

By Shovit Dasgupta

AbstractIndia has a recorded visual history of human representation for a long time. The earliest cave paintings in places like the Bhimbetka caves have records of representative human figures which were often symbolic or anthropomorphic. Post the mother-goddess figurines of the Indus Valley; the first idealized human figures can be found manifested in the Mauryan or Satavahana period in the elaborate murals of caves like the Ajanta. From the divine scenes of the Buddhist Jatakas and miniatures of the Pala rulers to the Mughal miniatures and later Company paintings have represented many female characters in elaborate clothing. From divinity to royalty- the changing subjects have also changed the ways they have been portrayed; and they have in turn represented the clothing and fashion of the times. The modern times have seen westernized representations of celebrities and later a contemporary Indian way of representation of idealized women.

Guided by secondary sources and following the historical method,this paper is aimed at studying the nature of visual arts in India as tools for the portrayal of the female characters through two-dimensional representations; the study of the underlying aesthetics; and the problem of the medium of portrayal in doing justice to the subject in question.

The paper will follow the process of explanation of the body language and the corresponding clothing as depicted in visual representations of women’s characters from the early examples of painting to the contemporary portrayal of women in the realm of fashion and beauty.

This paper is relevant because it would help one understand how fashion is a visual language that represents a specific time and how the India visual language is intriguingly unique from its International contemporaries. It will also aim to shed light on the representation of women in art and how fashion can act as a tool to connect a visual language to a specific time and space.

Keywords: Fashion, Art, Women, India, Paintings

IntroductionArt in India has always been a manifestation of the representation of something which is beyond the imitation of nature so valued

in the western thought. The earliest cave paintings of Bhimbetka featured symbolic male and female representations. The excavated sites of the Indus Valley have had

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April 2020-September 2020 | Shovit Dasgupta

instances of painted pottery representing symbols like the fish motif- continuing with the later painted grey ware or black and red ware cultures of the bronze and early copper ages. It is only in the first century BC that empirical evidences have been found of the elaborate painted Buddhist caves of Ajanta in modern day Maharashtra. Since the Vedic culture had mud and wood dwellings and an absence of the written word and paintings- not much is known about the artistic pursuits of the Vedic people before the advent of Buddhism as a monastic and later a patronized religion which brought forth the painted imagery and iconography in stone; thus preserving them for millennia for the contemporary audience to see. In fact, the stone architecture of the beginning including the gates of the Sanchi Stupa or that of the entrance to the Chaityas in Ajanta were modeled in stone but imitated the architectural aspects of wooden constructions. But it can be inferred that the Indian artists already knew the art and science of image making at the time of Ajanta, simply because such marvels of representation cannot be said to have derived out of nowhere. After the beginning of documentation of all the literary works during the Guptas, does modern society have proof of literary works on the canons of creative arts from painting to drama and sculpting to architecture. Few texts of the Indian medieval times focusing on the subject were the Natyashastra by Bharatamuni, Sukranitisara by Sukracharya, or Chitra Sutra of the Vishnudharmottara, an annexure of the Vishnu Purana.

The quest of representationBeauty as a concept can be explained as the “value which underlies normative standards” (Gupta, 1979). Beauty and its enjoyment cannot be only objectively analyzed- and this gives rise to the concept of aesthetics as “a philosophy of beauty and art”. This brings forth the ideas of subject and object; as well as sublime and particular representations. The object is the one which receives a meaning and the subject being the principle that attaches the meaning to the object; whereas sublime being the representation of the unconceivable, and particular being the one which is direct. It is this quest that drove the ancient artists. It is the very concept of pratyaksa and paroksa, direct and indirect; that has been reflected in the representative attribute of art. (Coomaraswamy, 1934) The quest for representing the absolute, the infinite, the world illuminated by a stroke of lightening according to Kena Upanishad; this has manifested itself in the indirect and symbolic representation of Indian art- the paroksa. Hence, according to Sukranitisara, the artist has to meditate on the form, contemplate on the image to represent divinity, and focus on representation rather than imitation. Thus exist the directives of ideals like the defined proportions or mana and pramana; the likeness of divinity to a sixteen year old youth, or the absence of representation of bones and joints and so on. It is more of a journey within, rather than being a mere copy of nature. “It is Man who by giving names to things contracts and identifies things into variety in time and

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space, and so completes the creation in its kinds”. The very creation of the image is like “tasting of the tincture”, rasasvadana: a visual representation of the lightning flash.

Concepts of RepresentationsThe term shilpa is of Vedic origin and denotes a skill practiced repeatedly, and in the Brahmanas and Samhitas, shilpa denotes rhythmic divine skill of creation, perhaps pertaining to Vedic gods Tvastr as a predecessor for Viswakarma. In Buddhist texts like the Digha Nikaya, it is said that sipphalam upajivanti; “people practicing their crafts enjoyed the fruits of their crafts”(Misra, 1988).

In the third century AD, Vatsayana enu-merates six limbs of painting, the Shadangas in his Kamsautra, and “he says he has extracted them from still ancient works” (Gupta, 1979). They are: Rupabheda, the knowledge of appearances; Pramanam, the correct perception, measurement and struc-tures; Bhava, the action of feeling on forms, the refection; Lavanya Yojanam,the infusion of grace; Sadrsyam, similitude; and Varnik-abhangam, the artistic way of utilizing brush and colours.

In the Sukranitisara, the sage Markandeya says that it was Brahma who taught a king to paint and bring to life the son of a Brahmin. It says that the knowledge of natya is important to understand painting. There are rules regarding khsaya (decrease), vriddhi (increase), and pramana (proportion); all pertaining to perspective which came in the west only in the 13th century. It

classifies pictures into chitra (simple) and vichitra (complex); uttama, madhyama, adhama; ground figure relationships and so on. It identifies four types of paintings, satya, vainika, nagara, and misra. The Sukranitisara also classifies the images of gods into sattvika, pure as the gods are naturally; rajasika, manifesting in work, depicted on a chariot or a vahana, and tamasika, dreadful and “eager for combat” (Coomaraswamy, 1934).

In Natyasastra, Bharatamuni explains the concept of rasa as an extract or a “tincture”, something that can be tasted, and compared the svada of the flavor to tasting food with layers of spices. Appreciation of kala has to be multisensory. Bharata classifies eight emotions, the sthayibhavas: namely rati, hasa, soka, krodha, utsaha, bhaya, jugupsa, and vismaya; and their corresponding rasas as shringara (adornment), hasya (laughter), karuna (sorrow), roudra (anger), bhayanaka (grotesque), vibhatsa (disgust), and adbhuta (surprise). Later, the santa or peace rasa was added. The Natyasastra also enumerates the combination of the following elements to express the sthayibhava: namely, vibhava, the actual situation represented; anubhava, the bodily expressions; and vyabhich-aribhava, fleeting emotions. There are clas-sifications of abhinaya or action, namely: angika, physical action; vachika, verbal action; sattvika, the expression of the spirit; and, aharya, the proper adornments, dresses, stage and so on.

Shilpa, is the result of anukriti, the expression of similitude as different from

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anukarana or imitation. Anukriti is clas-sified in the notes by Sayana in the Aitrey-aBrahmana, as deva (divine) anukriti and manusa (human) anukriti (Chunder, 2007). Thus, in ancient Indian texts, painting or any artistic representation covered all attributes, and explained the reasons behind doing so.

In the ancient texts, often, painting is referred to as abhasa, meaning a ’counter-image’ or a pratibimba according to San-karacharya. There are also classifications of images in the aspect of the materials used in the text Pratima-lakshana. Those of terracotta, laterite or stucco (mrinmaya, sarkara, saujaya) are movable. Those of stone, wood and mineral are both movable and immovable. Those of metal (loha) are immovable. Further classifications include ardhachitra (or high relief, where half of the body is visible), chitra (all around represen-tation as in a sculpture), or chitrabhasa (or painting as the reflection of the image). It has been said in various texts that the artist raises the wall surface through his brush or colours. The concept of shading to create an allusion to form has been referred to as vartana.

The importance of the gazeThus, it has been seen that in India, the concept of representation of the bhava to express rasa is the most important aspect of the image- as opposed to the imitation of nature as a characteristic feature of the classical western art. The very concept of nuditasvirtualis as a representation of innocence in renaissance art has been observed to be in a contrast with the

representation of an image in the Indian context since ancient times. “In the anthropocentric European view of life, the nude human form has always seemed to be peculiarly significant. On the other hand, in India, the conditions of human love, from the first meeting of eyes to ultimate self-oblivion, have seemed spiritually significant, and there has always been a free and direct use of sexual imagery in religious symbolism.” (Coomaraswamy, 1934) The idea of physical union as a representation of spiritual unity, has been the central thought process. The idea of purusa and prakriti, the male and the female have been used to represent the aspects of the manifested world; from the ideal female representation or that of fertility of nature has been an abhasa of the divine longing of every creature for the creator; every atman for the paramatma.

Thus, there are texts like the Vishnudharmottara specifying all aspects of physical representation including the ideal eyes or the ideal gaze of the represented image. The divine soul is the prakriti and the world is His vikriti, or modification. He is formless, but engages with the world through his eyes closed in meditation. Thus the representation of the eyes and the expressions change with the image presented. The apsara or the divine dancer has eyes like the deer, the king has eyes like the blue lotus petal (utpalapatrabha), daityas and danavas have round eyes, the army commander has eyes raised to the sky, the rakshasas have bewildered eyes and so on. There are

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measurements and proportions in the unit of angulas for the ideal representation. It has also been specified how each divine figure has to be represented, some benevolent, some engaging with the world, some lost in contemplation, and some focused on the divinity.

Comparative study of a few paintingsAt this stage, the paper will compare and elaborate on a few two dimensional representations of female form in India- focusing on the gaze of the subject and the clothing depicted as a representative of the time and the society portrayed. The choice of the artworks have kept in mind the point not to include the portrayal of divinity in most cases, as the portrayal of divinity is mostly characterised by strict adherence to proportion and way of representation.

1. Queen Shivali. Cave 01, Ajanta.

This cave was painted in the 5th century under the rule of the Vakatakas, and is a proof of the continued occupation and patronage of the caves. The mural

is a fine example in story telling; and talks about the renunciation of the king Mahajanaka; whence he responded to the call of asceticism and left his queen and the kingdom and became the Mahajanaka Jataka. The scene in particular depicts Mahajanaka expressing his decision to the queen Shivali. In contrast to the earlier panels showing the queen trying to entice the king so that he doesn’t leave her, here she can be seen accepting the decision though in sorrow; while the other ladies of the court react; some in surprise and the others in despair at the thought. Her gaze is fixed on the king, eyes half closed, face in three quarter view. While the king is shown with half closed eyes, in deep thought, looking at a distance. All the characters depicted are painted with immense detail and possess the sense of form through shading and highlighting.

The queen is seen wearing a striped lower garment covering the knee that has ikat (yarn dyed) patterns. It is wrapped around the waist. She is bare chested, though the probable presence of some fine textile is evident from the transparent drapery on her back. She wears an elaborate royal tiara, and her hair is in a simple coiffure held by strings of beads. She is seen wearing more jewellery than her lady attendants, and the strings of beads are depicted beautifully dangling.

2. Goddess and her attendants. Brihadeeswara temple.This mural is from the Brihadeeswara temple in Tanjuvar, Tamil Nadu; built by the great Chola king Rajaraja Chola I. These

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murals date from the beginning of the 11th century and were discovered in a secret circumambulatory path of the Garbhagriha in 1931. This particular mural depicts the Goddess Durga slaying the Buffalo demon Mahishasura. The goddess is shown in her tamasik form, engaging in real action; her body green, representing the shringara rasa and her face in blue, perhaps as a representation of the vibhatsa rasa. She wears a nose ring representing her domestication unlike the Goddess Kali. The two female attendants are seen waving a fan of yak hair (chamara) in their right hands.

The goddess, being a form of the shakti, engages with the world; and thus looks at the devotee with wide open eyes. The attendants’ gaze is focused on the face of the goddess.

The clothing of the female forms is depicted in fine details. The women of the Chola period wore unstitched fabrics called the Puduvai, perhaps 5 to 6 yards long. 11th century inscriptions say that they had tailors attached to the temple. That could explain the blouse or the Kanchuki which appears to be stitched. The fabric is silk with gold borders. The drapery is distinctly visible on the goddess. It is probably done by bringing both

ends of the fabric to the front, then pleating the left side all the way to the back; and letting the right side hang in pleats near the left thigh. The goddess and her attendants are all dressed in finery including gold temple jewellery on arms, ankles, hair and neck.

3. Champavati. Chaurapanchasika miniature. Rajput style

This painting depicts a love poem in the Chaurapanchasika style of Rajasthan. It depicts the story of a fair maiden, Champavati; and her beloved Vilhan. This kind of non-religious painting evolved in India after the Bhakti movement. These paintings carry the Mughal influence and the clothing seems to have evolved completely from the past centuries. External influences include the Persian motifs in the flag and the choice of colours. Cham-pavati has been depicted as the most beautiful woman, as evident from her lotus shaped eyes and demure glance. In other paintings of the same series, it is shown that she does not make eye contact with her lover Vilhan; too shy to even look at him in closed quarters.

The clothing of the woman seems to have

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undergone a massive change. Her choli is close fitting and covers the upper body. Her orhni is made of diaphanous cloth- the finest fabric. Her head is covered to show modesty. She wears the ghagra skirt reaching her ankles- with a pointed sash that was charac-teristic of Akbar’s times. Her hair is braided and there are pompoms hanging everywhere; from the jewellery, the orhni, the braid, to even the pillowcase and the doorway.

4. Royal women and dancers. Deccan Miniature.

This is a miniature painting from the 18th century (around 1725) depicting a scene from a fairytale. The queen of the fairies is reunited with her prince at her father’s house. This is a testimony of the time which was witnessing the fall of the Mughals and the autonomy of the Nawabs of Bijapur or the Nizams of Hyderabad. The dancer earlier considered to represent divine scenes is now employed in the court. Music and

dance are now patronized by the court for entertainment. The border depicts a style of marbling paper much prevalent in baroque Europe around that time. The royal women are demure and one of them is holding the edge of her orhni to cover her face. The dancers are relatively free in movements and gaze.

The clothing depicted was characteristic of the period; with ankle length Mughal jama attached to a skirt of enormous width. The Jama is of a diaphanous material. The dancer reveals her trousers and a sash under the jJama. The women are wearing a diaphanous orhni to properly cover their head and upper body.

5. Group of courtesans. Northern India

The 19th century saw the British traders attain administrative control in India. They stopped patronizing the miniatures so valued by the Mughals, and started a tradition of paintings, called Company paintings. They featured subjects from daily lives of people, and were painted by both British and Indian painters

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who were commissioned by rich collectors and patrons. The society was very volatile at the time, with a lot of changes in power politics. The court dancers were given the name Nautch girls, and were regarded to be of a menial profession. The painting here depicts a group of courtesans. Most of them are looking directly at the viewer.

The clothing includes a skirt of immense width, the ghagra. The orhni is transparent and exposes the breasts through a latticed choli. They are wearing jewellery and have different styles of hair. The entire ambience is quite decadent.

6. Self-portrait. Amrita Shergil

Amrita Shergil was a Hungarian-Indian painter. She was one of the pioneers of modern art in India; and drew in the post-impressionist style. This self-portrait from 1931 is a perfect example of the global aesthetics of the painter; and shows the artist in a profile, a hand intently resting on the table. She painted varied subjects from common Indian people to self-portraits. She died young, at 28 years of age.

The clothing depicted is western; perhaps

a dress with a deep scooped neck and a yellow beret- a common attire of the 1930s.

Post IndependenceIndian paintings have changed immensely since the independence. From the beginning of a post-colonial identity in the 50s and 60s, to the global identity of today; the popular culture, clothing and customs have come a long way. Postmodern art of today does not always depict the human subject; and photography is edited to celebrate an ideal form. Actresses like Priyanka Chopra grace the cover of international magazines like Vogue; and social media influencers are all vying for attention. The post Industrialized and Globalized world is always seeking new identities and conformations.

ConclusionTo conclude, it has been observed that Indian culture has always seen the form as a depiction or a representation of something beyond the human surrounding. It has overlooked the act of imitation; instead made an inward journey into the true realization of Rasa. This representation of the form, is an iteration of the same divinity that is said to create Man in His own image; “just as the Vedic Rishi speaks of the Person, who is in him, dwelling also in the heart of the sun:

“I have seen the vision,The vision of mine own revealing itself,

Coming out from within me.” – Tagore, 1930

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References: ▪ McRobbie, Angela (2000), ‘ Fashion as

a Culture Industry’, In: Bruzzi, S and Gibson, P, (eds.), Fashion Cultures: The-ories, Explorations and Analysis. London: Routledge, pp. 253-263.

▪ Anand, Mulk Raj (1989), ‘Chitralakshana- Story of Indian Paintings’. National Book Trust, India.

▪ Biswas, Arabinda (1985), ‘Indian Cos-tumes’. Publications Division, Ministry of Information and Broadcasting, Gov-ernment of India.

▪ Chaudhury, Prabas Jiban (1964), ‘Studies in Aesthetics’. Rabindra Bharati Uni-versity.

▪ Chunder, Dr. Pratap Chandra (2007), ‘Glimpses of Indian Culture- Ancient and Modern’. Indian Museum Kolkata.

▪ Coomaraswamy, Ananda K. (1934), ‘Transformation of Nature in Art’. Mun-shiram Manoharlal Publishers Pvt. Ltd.

▪ Mitra, Debala (2004), ‘World Heritage Series- Ajanta’. Archaeological Survey of India.

▪ Gupta, Shyamala (1979), ‘The Beautiful in Indian Arts’. Munshiram Manoharlal Publishers Pvt. Ltd.

▪ Kutty, Kalamandalam Govindan (1999), ‘Kathakali- The Dance Theatre’. The Asiatic Society.

▪ Misra, Rama Nath (1988), ‘Silpa’, In: Baumer, Bettina (ed), Kalatattvakosa- A Lexicon of Fundamental Concepts of the Indian Arts, Vol I, Pervasive Terms- Vyapti. Indira Gandhi National Centre for the Arts.

▪ Sharma, R.S. (2005), ‘India’s Ancient Past’. Oxford University Press.

▪ Tagore, Rabindranath (1930), ‘The Religion of Man’. Visva- Bharati Pub-lishing Department, Calcutta.

▪ https://shodhganga.inflibnet.ac.in/bitstream/10603/132001/11/11_chapter%205.pdf

▪ https://shodhganga.inflibnet.ac.in/bit-stream/10603/72008/12/12_chapter%206.pdf

▪ https://www.theguardian.com/artand-design/2014/aug/15/mural-ajanta-caves-india-birth-indian-art

▪ https://www.inditales.com/modes-of-nar-ration-in-buddhist-art/

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Shovit Dasgupta is an alumnus of Fashion Design,National Institute of Fashion Technology, Kolkata. He is currently associated with several centres of NIFT as a guest faculty in the Fashion Design department. He is currently pursuing his masters in Anthropology. He aims to incorporate anthropological knowledge in looking at fashion as a study of the ever changing visual identity of human beings.

He has been co-owner of a sustainable hand woven hand-crafted clothing brand, ‘Notlikeyou’; and has represented the same at various eminent avenues. He has also had experience of working as a freelance fashion designer and fabric weaving consultant of several sustainable clothing brands.

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April 2020-September 2020 The 3D’s of Fashion: Design, Development & Delivery

The 3D’s of Fashion: Design, Development & Delivery

By Dipti Ahuja

AbstractFashion Design is a specialized field that requires a wide spectrum of skills and creativity. It is an art of applying design principles to the garments which are functional as well as aesthetically pleasing. It includes understanding of various processes involved in designing such as learning about types of fabrics, styles, patterns, colors and trends that define the fashion. A fashion design process is the look book of any fashion designer. The fashion design development process is typically learnt by fashion students through their Institute.Designing a fashion garment requires various components such as an Inspiration behind the design, following current trends; Illustrating, creating garment technical drawings and so on. The study of these aspects reshape you into a Fashion Designer. Marc Jacobs, an American fashion designer renowned for his sartorial interpretations of trends of popular culture, quotes “The customer is the final filter. What survives the whole process is what people wear. I’m not interested in making clothes that end up in some dusty museum.”All fashion designers have their unique way of designing but then again, they always follow a design process. Fashion designers conduct research on fashion trends and interpret them for their audience. Some of the designers follow a forecast while some of them look for a design Inspiration. A fashion designer illustrates their ideas on paper, while others drape fabric in a dress form. The moment the designer is satisfied with the fit of the toile(muslin), he will consult a professional pattern maker who then makes the working version of the pattern and the sample garment is ready to be tested on a fashion model. A fashion designer’s unique style of designing, a sharp eye for customer need and satisfaction, an understanding towards the market demand, makes them a Designer.

Introduction“Fashion has always been a repetition of

ideas, but what makes it new is the way you put it together.”

– Carolina Herrera, Designer.Fashion design is one of the most promising

forms of art dedicated to designing a conceptualized garment, constructing the same and finally delivering or showcasing the designer outfit. Fashion design can be an exciting and rewarding career, where millions of people are involved in the

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April 2020-September 2020 | Dipti Ahuja

buying, selling and production of a wide range of garments, accessories and fashion products, more than any other business sector in the world. Every day workers design, develop, print, embroider, construct and transport clothing to stores. The moment we move out of our homes we see a number of advertisements on public transport, billboards and magazines that give us ideas about what to wear and how to style. The list of styles goes on endlessly for Street style, Ethnic style, Sports style, Maternity style, Executive style, Hip Hop style, Retro style, Gothic style, Vintage style, Chic style etc. Though most clothing worn for everyday wear falls within a narrow range of conventional styles, unusual garments are usually sought for special occasions such as evening wear or party dresses. Some garments are styled specifically for an individual, known as haute couture or bespoke tailoring. The biggest market for clothing style is ready-to- wear i.e. the The fashion industry is not just limited to producing apparels but it also caters to styling hair, makeup, accessories, textiles, footwear, headgear and even hand bags. All together, the fashion industry promises

a life of charm,limelight,glamour, fame, success and a high pay package to the most creative and talented people. India is one of the oldest hubs of unique, intricate, eye-catching and expressive handmade products and textiles which have taken it to the international grounds undoubtedly. Indian textiles are a blend of uniqueness and utility infashion and it has gained ample popularity internationally. Consequently, the designers have gained a lot of appreciation due to their exceptional thought process and design sense .Fashion Design is the most rewarding career to be chosen and Fashion Industry, one of the best paying industries today. Fashion Design is a lucrative career choice for those students who are artistically creative and have a good hand at sketching. Depending upon one’s interests and skills, there is a wide list of career options after pursuing a fashion designing course. As a professional, one can work in areas such as designer wear production, fashion marketing, concept management, fashion styling, fashion merchandising, design production management, quality control, promotion of brands and much more. You can also work as a designated fashion coordinator, fashion designer, costume designer, textile designer ,accessory designer, personal stylist, graphic designer, production pattern maker, quality control manager, technical designer,fashion consultant, retail buyer, apparel production manager, retail manager, show room sales representative, cutting assistant, illustrator and even entrepreneurs who form their own companies.

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April 2020-September 2020 The 3D’s of Fashion: Design, Develop & Deliver

There are some major job profiles that you can look forward to after pursuing fashion design.

Career Options after pursuing Fashion Designing:1. Fashion Designer: This is a highly creative profile and a fashion designer works in the area incorporating designing of clothing and fashion wear. A fashion designer will research current fashion trends and take inspiration from the world around, to create unique designs. Fashion designers use CAD i.e. Computer-aided design to artistically create unique designs. They work with a team to create a design prototype. A Designer should know the fashion sense of the targeted audience and what they expect from the fashion industry. Renowned designers design exclusively for celebrities and this has become the trend of the times. They are well experienced and qualified with an expertize in sense of color trends, designs and styles. In the fashion industry, every fashion designer follows a fashion design development process to design a new dress. Designers work differently to put the design ideas together and have their unique way of designing, but then again always follow a design process. 2. Illustrator: An illustrator plays a very critical role in sketching a designer’s idea on paper. Illustrators may apply different drawing and illustrating techniques to express fashion designs in detail, including colors and fabric textures. An illustrator works with images to a construct visual

displays for the clients. Apart from having outstanding sketching skills, an illustrator should have a good understanding of garment details and techniques to illustrate them. Fashion illustrators can work for many types of employers, including publications and fashion manufacturers. Fashion illustrators who excel in artistic skills and possess their own personal style may have an advantage when working as a freelancer as it helps them to earn more with time by being hired by publications, fashion designers or clothing manufacturers for different projects and assignments.3. Retail Manager: A retail manager is responsible for setting daily targets for the staff, ensuring that promotions and marketing gimmicks work smoothly, and to ensure customer satisfaction etc. They are responsible for interviewing, hiring and training new employees, as well as handling customer service inquiries. A retail manager should have a strong grasp of sales principles along with the knowledge of sales and marketing trends. The retail manager also heads the human resources and finance department in smaller enterprises. A retail manager in a departmental store or a brand is expected to understand what customers want, how to sell it and when to order more. He is responsible for smooth and well-organized functioning of the store. In all, the retail managers are responsible for daily operations of retail outlet including staff, sales and stock. They play a valuable role in the store’s business.4. Fashion Consultant: Fashion consultants also known as image consultants, help clients

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develop and enhance their professional and personal images. The job of a fashion consultant is to keep a close eye on the latest trends of the market and help the brand produce garments that will offer high sales and be in good demand. They are the keen observers of the changing fashion trends. Their personal appearance and a signature style matters the most. Their look may reflect their area of specialization, whether they style clients for corporate or entertainment sector. They must have excellent communication and interpersonal skills and be highly organized in order to manage HNI customers and schedule clients. Successful fashion consultants should have a great sense of style and with that they should be ever ready with fashion advice and recommendations on a complete makeover. There are plentiful opportunities for talented, skillful and knowledgeable individuals to work, as a Fashion Consultant.5. Fashion Coordinators: Fashion Coordinators are the pulse of the fashion industry. Their work is to research and understand all of the latest fashion trends. One would be required to manage the marketing of fashion garments. Fashion coordinators are most notably found within retail stores, working for fashion magazines, or design houses directly. Most Fashion Coordinators prepare a specific set of clothing for fashion events such as TV shows, runway shows, photo shoots, and other fashion-related promotional events such as fashion shows. Fashion coordinators are also supposed to look after

the advertising and promotions of the brand apart from organizing fashion shows and providing the firm with latest fashion trends. Good relationships with top labels, designers and celebrities help the fashion coordinators to stay ahead of the trends, and therefore offer up consultation and give advice.6. Fashion Journalist: Fashion journalism deals with the reporting and publishing of fashion-related information across various media channels including magazines, newspapers, and websites. Fashion journalism can be writing about a fashion related article or helping to formulate and style a fashion shoot. A fashion journalist is required to know the latest fashion trends within the market and as well as globally. Fashion journalism involves researching and writing about the latest fashion trends and styles. With the rapid advancement of the digital age, fashion journalism has evolved into other forms, presenting itself on social media platforms and blogging sites. Being a writer who can adapt to various new media formats can increase your chances of becoming an essential part of a fashion publication.7. Quality Controller: Quality control in the fashion manufacturing industry is incredibly important. There are various factors such as performance, durability, and perceived quality of the garment, on which quality and fitment of an apparel is based. A Quality Controller is also responsible for checking the quality of the product right from the initial stage of sourcing raw materials to the stage of a final finished garment. Good quality control also helps a company to

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optimize manufacturing and production processes to maximize profit. The quality controller is expected to set quality standards for everything planned and purchased for a new collection. In addition to that, the quality control (QC) manager also issues guidelines for each department to ascertain quality in various processes involved in the the production of the garments.8. Fashion Blogger: Fashion bloggers have a point of view, a certain taste and a unique way of presenting and documenting fashion whether visual or written. If you have amazing writing skills, you can pursue a career in writing for a fashion magazine or become an independent fashion blogger. Fashion editors and bloggers earn good for their invaluable fashion tips and hacks. A Fashion Blogger delivers ideas in the form of articles or stories on your social media. Influencers on Instagram, Facebook and YouTube earn a lot based on their views, likes and subscribers. Once you are successful as a fashion blogger, you can become a fashion Influencer and their worth is rooted in how many followers they have and who their followers are.

Fashion Design Process involves a series of steps:

Research workThe process of market research and idea generation involves research on Innovation opportunities, latest tendencies, new ideas and concepts.

It also includes research on color, shape, styling, market and catwalk reports. The research work will help you to formulate a plan of action by helping you to understand the requirements of the market.

Forecasting FashionFashion forecasting is a resource that helps in predicting trends in the fashion industry and gives the designer a collection of styling ideas put together to bring out a their collection. It helps to predict the buying behavior of the customer based on their requirements and choice. Fashion Forecasting acts as an essential tool to look for the upcoming trends which would influence the brand’s business and to understand the mind-set of their consumers.

Concept developmentConceptualization is a process where a designer develops various design boards based on the trends of color, trims, fabricsand

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silhouettes etc. The inspiration board gives the right idea of the inspiration sought and explains the idea behind. The mood board helps the designers to create the mood of the theme for the collection. The silhouette board will represent the Silhouette for the collection whereas Swatch board and color board will specify the swatches and color scheme for the design collection.

Illustration and ImplementationFashion illustration is the bridge between the designer’s idea and the style coming to life. Fashion illustration brings a new perspective by combining the factual elements in a manner that borders on fantasy. Once the research work and forecasting is done, and the concept is

finalized, the whole idea of a designer is illustrated on paper or digitally.Implementation of the Design software will transform the flat sketch into a draped illustration and give the complete look to see and analyze the collection before construction. This also helps us to understand and be sure about the focus of the brand we are designing for. The expert can try different colors, prints, silhouettes etc. to finalize the entire look of the Design collection.

Draping Pattern ArtThe draping pattern design is the art of wrapping a fabric around a desired form and fastening it into a particular shape. Fashion draping is usually done with

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inexpensive, unbleached, loosely woven cotton known as Muslin. After draping, the fabric is removed from the dress form and used to create the sewing pattern for the garment. Draping is initiated to resolve any fitting issues of a garment before cutting the pattern in real fabric.

Pattern makingOnce the fit is checked in the process of draping, the fabric is removed from the dress form and used to create the sewing pattern for the garment. Flat pattern making involves shaping a piece of fabric according to the curves of a human figure. Another important step involves the translation of the clothing design into a pattern, in a range of sizes. Pattern making is the process of creating a blueprint of your garment. Drafting a style pattern often starts from taking your existing basic pattern and manipulating it to match your garment specifications. It is used as a template to cut out fabric that matches the requirements of the design and to finally construct it into a garment.

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Garment ConstructionNow the final step is Garment construction that will convert our imagination into reality. Construction of a garment is a beautiful art, which requires expertize in understanding the requirement of the design. Handling of the fabric also plays a vital role in constructing a designer garment. It requires knowledge of fabrics, principles of clothing construction and skills to construct a designer garment. In a similar manner the complete line of garments is developed and is then ready to be showcased or delivered to the consumer. A professional designer keeps a check on the target market, lifestyle and aspiration of the customer besides seasonal and climatic considerations of the export destination and the cost and ease of manufacturer.A designer’s line is composed of a range of Design collections. There are various lines that are defined by gender, lifestyle or price point. Each line will have a new collection produced for each season. Haute couture,

ready-to-wear, men’swear, women’swear and kids wear are considered lines. While launching your own clothing line is challenging, social media and e-commerce give a platform where a brand that began in a small online store can be popularized as a renowned clothing brand. Designers can ship and deliver directly to the consumer, without having to invest in a physical shop to showcase their product lines. In all, the final stage is either showcasing your garments in a Fashion show or packaging and shipping your garments directly to their buyers. Brands put out their clothing lines in magazines and consumers get inspired by flipping the pages. Models showcase clothes in fashion shows, and designers look for the collection to be covered on television so that it reaches the consumers. It was once popular for fashion to be presented to us through glossy magazines and catwalk shows. The fashion industry creates the trendsetters and consumers follow the trends. But now, Social media has entirely reframed this structure, allowing consumers to contribute to it and not just consume fashion. Social media has changed the game and done a lot for the fashion industry such as creating fashion icons, heavily influencing fashion trends, and ultimately reforming the way people go about seeking jobs in the

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field. Social media has the power to make you a celebrity without putting shows after shows. It’s just your work shared and shown on social media that speaks for you. You can build your brand and identify your own fans and followers instead of waiting for someone to discover them. Fashion industry is one of the businesses where frequent changes occur and social media is the most convenient and cheapest way to communicate, where consumers are able to be contributors and new ideas get circulated quickly.As the social media has taken over, everyone is becoming more influenced by what styles and designs we see online. The consumer has the ability to boost or decrease sales,

through their positive or negative response and this makes fashion much more fluid and interactive today. Withthe development of social networking website such as Facebook, Twitter, Instagram, social media has become the most important runway for the fashion industry.We get a diversity of opinions on social networking sites by following various Fashion blogs, fashion weeks,runway shows and by of course shopping from online portals. The designers and brands who realize the true worth of social media are the ones who get remarkable response and a huge fan following. The power and influence of social media on fashion industry is indubitable.

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Dipti Ahuja, Creative Professional, Niftian, Academician, Designer, Author, a Nature lover and an external examiner with 16+ years’ experience which includes developing Course Curriculum, Choreographing various graduation design shows,winning best faculty award and working as centre head. With strong expertise in areas such as Portfolio Development and Design Software,I continuously strive to blend my skills and creativity to develop innovative

concepts, and help student to bring their designs to life by converting them digitally. Have been associated with Amity University since 2007, as a professor till 2017 and a Visiting faculty till date.

Interests: Explore new ventures, research work on apparel and accessories, academic affairs,creative writing,blogging, portfolio enhancement, and keeping a close eye on latest Design software.

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April 2020-September 2020 Movie Merchandise Market

Movie Merchandise MarketBy Vandana

AbstractThe present study tries to spot the concept of movie-based promotion and presents its development and prominence within the industry. There has been advancements within the film-based promotion business throughout the year. It’s very basic lately that brands and ranging media, parts of films are obtainable within the theaters and additionally also on the racks of outlets in various styles of going with things. This paper plans to research the basic qualities of film promotion and to contemplate the various types of image exchange utilized by pictures. The various forms of appearances and their history and out the duty promoting plays among alternate devices that are accessible to advance the arrival of another film. This has prompted a problem, or, in other words will see item position as something negative. Item arrangement upgrades watchers’ capability to understand brands and things within the purview of viewing a picture, whereas the positions are compatible or incongruent. This investigation appearance however marks acknowledgment and is delivered and the way harmoniousness of a state of affairs will influence the cluster of the onlooker’s acknowledgment. In this, a discourse analysis was semiconductor diode with inserted units comprising of 3 center gatherings wherever the creators continued from a semi-organized meeting guide. The examination’s outcome was that 5 variables; irritation, familiarity, lack of pleasure, unnecessary and picture will have an effect on however the mark acknowledgment is formed, being able tosee the results of the middle gatherings. The examination likewise led to arrangements that are compatible to the cluster of onlookers and are acknowledged, whereas non-tolerating things are in congruence. A situation’s compatibility is influenced by the components; hope and applicability, saw match and individual judgments, and plot association.

Keywords: marketing, culture, merchandising, movie consumption, consumer, product placement, congruence, brand recognition, audience acceptance.

IntroductionThe term promotion is for the most part utilized in three methodologies: as a procedure (which includes each procedure that intends to effectively bring another item into retailing), such as the type of offers in

retail (particularly for the sellers of expansive amounts of quick moving purchase products) and as the mass promoting scholarly items.The last interpretation can be associated with the term ‘image transfer’ as well, when product lines are built around certain

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April 2020-September 2020 | Vandana

intellectual properties (like theatrical movies, television shows etc.).

The promotion procedure works brilliantly on account of motion pictures. One may effortlessly discover the toy figures of the current energized films in the children’s feast contributions of cheap food chains however it is similarly prone to keep on running into film related gifts in boxes of breakfast cereal or discovering pictures of characters on garments, discovering them in a diverse arrangement like books or video games or even essential foodstuff – at the same time taking care of business. The dramatic films to be full scale promoting efforts where the essential objective is to include everybody in devouring.

Merchandise can be characterized as items dependent on movie, characters or pictures that are planned, created, and advertised for direct deal, and not associated with the set up items or administrations. Promotion can be thought of as the mechanical demonstration of making or offering an item dependent on a copyrighted property.

There is a great degree of assortment of film-based stock, including things dependent on a particular motion picture, character, or topic, or continuous movie characters and subjects. While there has been a solid accen-tuation on youngsters’ toys, amusements and different things (lunch boxes, school supplies, etc,) and on computer games, other motion picture based stock incorporates home goods (tickers, towels, bedding, mugs, phones), apparel, adornments, stationery things, print material, food (especially

cereals and candy), and decorations (such as Christmas ornaments).

Likewise, there are other, more surprising, less mass-created things that occasionally go with (or pursue) motion picture dis-charges, including “craftsmanship objects, for example, prints, models, artistic figures, and activity sets. For example, in 2005 one could buy models of the greater part of the characters from Lord of the Rings, including a bronze statue of Gandalf for around $6,500. Other stock depends on the Hollywood stars (for example, items with pictures with Marilyn Monroe and James Senior member are abundant), or nonexclusive film or studio topics. Without a doubt, a large number of the majors highlight studio visits, finish with very much supplied blessing shops offering an extensive variety of stock including their natural corporate logos.

Film-based promotion can be seen as a major aspect of the expansion of commercialization in Hollywood, the increment in vivified highlights, and the re-release and changing of movies with promptly identifiable, continuous characters and topics (or establishments).This kind of movement likewise is a piece of a bigger, broader marketing and permitting pattern. For example, whole TV projects and characters—particularly those for kids—are an undeniable and predominant type of promoting, while sports groups and players, heroes, and melodic gatherings have long chronicles of authorizing and marketing exercises.

Entertainment licensing in the promotion of business has been affected by the

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development of stock, dependent on different kinds of properties, there is little inquiry into it, as per numerous specialists that film, authorizing keeps on commanding the authorizing market. Entertainment licensing is likewise the most focused sort of stock business, with only a couple of expansive players (the real motion picture studios and broadcasting organizations, for example, Disney, Fox, and Viacom) rule the permitting movement.

Origin of Movie Merchandise MarketOn one hand the results of marketing can be fit into the conventional specialized tools of films, among publications, trailers (mysteries, television spots and so on.), generation pictures (promotion shoots, film stills and so on) and electronic materials. Then again, in the light of its jobs made reference to in the presentation, marketing means to go well beyond the basic demonstration of promotion.

While the root of current marketing can be followed back to the nineteenth century while talking about its advancement furthermore, efficient utilization it is more typical to note Walt Disney as the primary pioneer of the field. He was most certainly not just the first to pitch the rights to utilize his character, Mickey Mouse on the front of a note pad for 300 US dollars (USD), in 1929, however through the procuring of Kay Kamen in 1932 he made a much more noteworthy commitment to later progressions. In the next years, Kamen – who is frequently referred to as the “father figure of modern licensing” – raised the quantity of items bearing the Mickey Mouse char-acter to over one thousand. A short time later advancement blasted rapidly, among the different energized also, comic book related picture exchanges it ought to be noticed that by the late fifties many surely under-stood identities (originating from the fields of diversion and films or even with political foundations) have likewise begun to give their name and similarity to items, for the most part to apparel lines.

In the seventies andeighties, they effec-

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tively set up full-fledged promotion frame-works for the unmistakable motion pictures furthermore, their driving characters (like Star Wars, E.T. the Extra Terrestrial or Rambo). The development of income was critical too, while the promoting division of Disney had an income of 27 million USD in 1978, just a single year later Kenner Items effectively beat 100 million by offering items dependent on the characters of Star Wars.

By the nineties promotion was not just observed as an extra mean to pick up income (“on the sides”), be that as it may, as a com-pletely swore thing in the films spending prop-osition. This thus squeezed the studio officials to make more gainful assertions in the ventures dependent on authorizing. The 1994 with the arrival of Disney’s blockbuster The Lion King was a point of reference in such manner as in addition to the fact that it reached a residential film industry consequence of 422 million USD, yet additionally made 1.5 billion through deals made in retail marketing. Or on the other hand we can think about the late 1989 arrival of Warner Brothers’ Batman which made such prevalence for the dark T-shirts with the Batman logo, that made a deficiency of dark Shirts through and through in the entire apparel industry for some time. Another sig-nificant point of reference deserving of notice is the 1997 arrival of the primary Harry Potter, which among the huge accomplishment of the book and film arrangement likewise increased genuine consideration in the field of marketing too. It served fundamentally as a subject to toys, videogames and outfits however they even constructed an entire amusement stop

with respect to the ‘Wizarding Universe of Harry Potter’ in the United States.

First Mickey Mouse Merchandise for Kids

First Lines of Star Wars: The Force Awakens Merchandise Unveiled

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Types of Movie MerchandiseMarketing might be appropriate in all business handle that are dependent on commercial and is known to be exceptionally productive. It ought to be noted however that as a rule the different characters, well known people or brand marks are not utilized by the first expectation of their makers. The items, administrations and brands made from these genuine characters and film may have extensive variety (as in, one must acknowledge the fundamental idea of what The Lion King’s Simba is doing on an espresso mug), in addition we will introduce the principle regions of utilization for motion picture promoting.1. Entertainment Products and Services:

This was really the simple first appearance of promoting on account of Hungary, through an eatery astutely named after The Flinstones’ lead character, Fred (they even had nourishments on the menu alluding the characters, similar to “Fred’s top choice” and “Barney’s goodies”). Other examples include the Walt Disney Park and Resorts, incorporating amusement stops in Japan, China, France and the Assembled States. We can likewise list the majority of the amusement items that depend on film, be it book adjustments (like the Star Wars novelization, or to some degree the reprints of books that existed well before their film partner, however this time with spreads and symbolism utilizing stills of the movie, as they did with the Lord of the Rings set of three), comic books,

age limited computer games and unique movie soundtracks.

Disney Park and Resort

2. Products Aimed for Children: Among the items and administrations that are made in light of the more young category we should feature the different toy figures (action figures, vehicles etc.), computer game adjustments, garments (ensembles and every day garments alike), stationery items (note pads, pens, pencils, school sacks and so forth with cartoon film sym-bolism on them) and foodstuff.

Marvel Merchandise for Kids

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3. Sportswear and Accessories: While the organizations behind sportswear and adornments are essentially concentrating on universal competitors and groups to underwrite their items, in specific cases they likewise utilize films for premise of their advancement. Models for this are the 2015 Nike campaign that dependent on the shoes prophesized in the Back to the Future film series (in the 1989 film the main characters went through time into 2015.

Nike shoes inspired from Back to the Future Movie4. Gifts and Decoration: Regularly film

related things went for grown-ups, like sculptures, exhibition figures and acces-soriesbelong in this category. Even by the last Christmas season and taking a look at the items identified with the Star Wars establishment we can see a wide range of items like wristwatches, show planes, cooking gloves, electric razors, telephone cases and numerous other intriguing merchandise all connected into the blockbuster motion picture arrangement somehow.

Star Wars Christmas Ornaments5. Apparel and Fashion: Apparel and

fashion things, the people, makers and brands reputation to be particularly featured as wearing these items can be viewed as a kind of expressive utilization, which raises the significance of what they are wearing to the customers also. A significant number of the present movie began array (be it T-shirts, caps and so on) are particularly generally welcomed as the new trend.

Marvel T-Shirts

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Movie Merchandising ProcessFilm makers and wholesalers once in a while make film-related items themselves; yet permit the privilege to pitch these items to different organizations (called licensees). In many examples there is no hazard to the maker or wholesaler (the licensor) on the grounds that the licensee brings about all assembling and dissemination costs. The maker/wholesaler regularly gets a development installment for every item, and in addition sovereignty installments, frequently somewhere in the range of 5 and 10 percent of gross incomes from deals to retailers (at the end of the day, the discount cost). In the event that the film does not succeed and the items don’t offer, the maker is faces with misfortune.

The proprietors of licensable film prop-erties are regularly the real film studios. Unique authorizing divisions regularly are composed to deal with the organization’s very own copyrighted properties, and once in a while those claimed by others also, for instance, Warner’s Licensing Corporation of America (LCA) and Disney’s Consumer Products division. In any case, much smaller fruitful film makers at times end up engaged with authorizing, as spoken to by Lucasfilm Licensing. Studios’ incomes from stock fluctuate extraordinarily basedon the movies discharged in any one year. Be that as it may, these organizations have genuine interests in marketing and buyer merchandise, as shown by the $2.5 billion incomes revealed by Disney’s Consumer Products division in 2004, and the 3,700 dynamic licensees taken

care of by Warner Bros. Purchaser Products division.

The studios understand that not exclusively can the offer of film related items create generous income, however the presales of marketing rights can now and again add to a film’s generation spending plan, as on account of Lord of the Rings, when 10 percent of the financial plan for the set of three was evidently raised by pitching rights to computer games, toys, and stock organizations. Furthermore, these items can be valuable in advancing movies and accordingly motion picture based stock is regularly part of the gigantic, composed limited time battles frequently began a very long time before a film’s released. Commonly, 40 percent of film merchandise is sold before a film is released.

In spite of the fact that film related mer-chandise frequently is normal, items dependent on movies are some of the time considered hazardous for merchandisers, as they even-tually may not be effective and regularly have short life expectancy. Licensees may need to go out on a limb at first by sinking cash into a film that isn’t finished (or now and again not by any means began). Then again, a studio may need to change a release date, particularly to agree with the lucrative Christmas season or to dodge other contending films.

Thus, for some films, authorizing speaks to a potential wellspring of salary to film organizations and merchandisers. The potential promoting bonanza speaks to sizable benefits as offers of stock authorized from films keep on developing.

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Sucessful Movies Merchandise Than the Movie ▪ Star Wars:

The Star Wars films were the originators of the possibility that merchandise deals could drive your being a fan to adore your item more than the genuine film. It’s been toys, clothing, computer games, and even toasters that create Darth Vader’s face onto your bread. As indicated by Nielsen investigators, while The Force Awakens was $2 billion in ticket deals, Star Wars marketing was nearing the $5 billion-$6 billion stamp in its very own monetary year.

Star Wars Merchandise ▪ Harry Potter

The Harry Potter films were a budgetary juggernaut. When everything was said and done, and the establishment had wrapped, the movies had made $7.7 billion in worldwide film industry deals. However, that is nothing compared to the promotion. Because of book deals, toys, scarves, and a seemingly insignificant detail called The Wizarding World of Harry Potter, the promoting establishment merits an expected $15 billion.

Harry Potter Merchandise ▪ Marvel Movies

It’s astonishing to nobody that the Marvel Cinematic Universe has made near $10 billion in overall dramatic deals. They’re Disney films about superheroes. It would stun on the off chance that they at any point lost cash, yet the “genuine cash” in the MCU isn’t in the theater, it’s in the merchandise. In 2014, Disney’s CEO Bob Iger disclosed to CNBC that the “Wonder mark has arrived and it’s extremely sound.” But what amount is the MCU acquiring with its authorizing bargains? Permit Global says that Disney made $41 billion off of authorizing in 2013, or, in other words much cash.

The Avengers/Walt Disney Studios Motion Pictures Merchandise

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▪ MinionsDespicable Me 2 just had 250 licensees, while the Minions solo film had an astounding 850, which must acquire a ton of cheddar for this establishment. In 2014 alone, followers earned $267 million from their marketing bargains – before they had their very own devoted continuation. The general money cow of the Minions has earned Universal at any rate $2.5 billion from simply retail deals.

Minions Merchandise

Movie Merchandise Market In IndiaIn India, we have an individual-or-maker overwhelmed film industry while Hollywood works on ‘studio’ design as a corporate unit. Be that as it may, now the idea of film marketing is getting on in the Indian film industry as well.

The majority of the huge standard movies these days have been thinking of film merchandise to enhance their advertising procedures. Also, on the off chance that you believe that the training is something new,

you are mixed up. The idea of motion picture promoting existed in Bollywood as right on time as 1973, when the Rishi-Dimple featured film, Bobby, was release. Around then, fans could purchase barrettes and pins worn by Dimple Kapadia. Mr Govind Shrikhande, Customer Care Associate and CEO, Shopper’s Stop, says, “It is hard to pinpoint the introduction of motion picture promoting. In any case, over the most recent couple of years, as form has cut over all age gatherings, film marketing has turned out to be more mainstream. It is certainly more mainstream globally for child’s films.” Movies have a substantial task to carry out in our lives. They influence our feelings through music, stories and in addition the main stars. Film stars likewise have huge and immense effects on mold and way of life of the mass. In the event that one thinks back in the history, Dev Anand’s haircut and in addition top, Sadhana’s trimmed hairdo, Asha Parekh’s hair bun, Rajesh Khanna’s kurtas, Neetu Singh’s chime bottoms, Jeetendra’s tight jeans had every one of the an enduring impact on mold adherents. The purple sari that Madhuri Dixit wore in Hum Aapke Hain Kaun apparently sold more than a million pieces in the blackmarket.

Diwali 2007’s exceptional present for all film sweethearts, Om Shanti Om under the pennant of Red Chillies Entertainment Pvt Ltd and Saawariya under Sony Pictures Entertainment (SPE) Films are incredible explanations behind enjoyments.Movie-makers have not left any stone unturned to make their movies a win. Film promoting is such an exertion, to the point that these

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moviemakers have settled on at a substantial scale. Sony Pictures Entertainment (SPE) Films has tied up with Indian retail gaint Future Group to advance its first Hindi movie adventure Saawariya, coordinated by Sanjay Leela Bhansali. So also, Red Chillies Entertainment has tie-up with Shopper’s Stop for the advancement of Om Shanti Om. The new kind of movie producers is innovative, showcasing sagacious, sees the whole world as their market and is changing the guide-lines. They are likewise starting to take a gander at stock genuinely and some have just had a sensible level of achievement.

Bajrangi Bhaijaan Locket

Krrish 3 School Bag

Ramleela Earrings

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Case Study On

Walt Disney Company is a $27 billion per year Global Entertainment goliath which is an American based organization was begun by Walter Disney in endeavor with his sibling named Roy O Disney in 1923. In 1928, Walt Disney made Mickey Mouse for which Walt needed to call his character “Mortimer” however his significant other persuaded him to be called as “Mickey Mouse” and from that point forward Mickey has been a traditional hit for Walt Disney. In 1937 Disney displayed their first element full length Musical energized film called “Snow white and the seven dwarfs” or, in other words colossal hit and stayed in the hearts of its purchasers for eternity.

Walt Disney perceives what is client esteem in Disney brand. They esteem a fun affair and natively constructed amusement dependent on old family esteems. Disney reacts to these buyer inclinations by utilizing the brand crosswise over various purchaser markets. Suppose that an American family heads out to see a Disney films together. They have an extraordinary time. They need to proceed with the experience. So Walt Disney offers Disney’s shopper items with

various product offerings went for particular age gatherings.

Walt Disney has been a gaint in four customer showcases in particular, Walt Disney studios and films, Disney Theme park and resorts, Disney T.V stations and media systems and Disney buyer (marketing) items.

Branding and Target Market:An effective advertising plan requires a plainly characterized and very much inquired about target market, without knowing the wants and needs of the general population you are pitching to, you can not make an item that addresses those issues. The very much characterized target advertise speaks to one motivation behind why the Walt Disney Company has been so fruitful since they began in 1940. Walt and Roy Disney began this organization not to fulfill each customer’s needs, but rather basic “To make individuals cheerful.” This immediately sectioned the Walt Disney Company’s market into kids till the time of around twelve. After numerous years, it was before long understood that the objective market isn’t just youthful kids, yet regularly incorporates the leaders. These are normally the guardians that take their children to the motion pictures and purchase the stock. Disney realizes that it’s one thing to make an extraordinary motion picture that children are amped up for however the endeavors regularly miss the mark if guardians don’t support of it.

The Company is additionally opening up amusement parks and resorts every-where throughout the world. In a monetary

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downturn, you would anticipate that them will keep down however Disney just con-tinues growing and individuals continue going to.

Marketing Objectives:Each organization, regardless of whether an administration venture, a retail shop, an eatery, or an amusement park must have one target with the end goal to be good to go. It is the sole reason one starts a new business, regardless of the amount they may have needed to enhance the lives of others. The chief objective of each business is to profit.At the time Eisner was CEO of Disney; from 1984-2005 he sustained Disney from a $3 billion organization to a $60 billion dollar organization, a demonstration of the essential objective of the business.

Parks and Resorts:Despite the fact that when Walt Disney previously opened Disney Land in 1955 he begat the expression, “The happiest place on earth,” the genuine purpose behind opening his amusement park was to draw in enthusiasts of Disney Studio Productions, advance his characters, and profit. Organizations, particularly substantial, entrenched organizations like the Walt Disney Company, utilize their benefits to do numerous things: grow their piece of the pie; innovative work; extension; new product offerings.

Disney Park and ResortConsumer Products:Disney shopper items and amusement parks are exceptionally fundamental to Disney’s definitive objective of profiting. The position of Disney items on school supplies, lunch boxes and backpacks, in shopping centers the nation over, and inside the dividers of their promoting monster amusement parks themselves is, “a day by day ad for our kid’s shows, [that] keeps them all [consumers] Mickey Mouse minded,” as expressed by Walt’s sibling Roy Disney. Regardless of the methods behind a definitive objective, the objective never shows signs of change.

Merchandise for Kids

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Media Networks:It has two classes, Broadcasting and Cable Networks. Broadcasting units incorporates the ABC Television Network (number 3 behind NBC and CBS). Link Networks incorporates the ESPN-marked link systems, Disney Channel, Disney Channel International, stakes in E! Amusement and Lifetime and the start-up link tasks, for example, Toon Disney and SoapNet.

Studio Entertaiment:The Studio Entertainment section creates a wide assortment of films, TV cartoon programs, musical shows and live stage plays. It additionally participates in the showy, home video and TV dissemination of Disney’s film and TV library. It incorporates pennants, for example, Walt Disney Pictures, Touchstone, Buena Vista, and Miramax.

Interactive Media:Disney Interactive conveys high caliber intuitive diversion encounters for Guests over all current and developing computerized media stages. Disney Interactive produces blockbuster versatile, social and support recreations, including hit portable establishment Where’s My Water?, multi platform computer game Disney Infinity and No. 1 virtual world for children, Club Penguin. Disney Interactive likewise creates unique programming and a suite of premium web stimulation goals that fill in as the on the web and portable door to everything Disney, including No. 1 kids entertainment site Disney.com and the Moms and Family system of sites, including premier parenting blogging platform, Babble.

XBOX360Disney Food Products: Disney additionally has authorized food items with its characters on its brands. For

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instance, Disney gives a Yogurt called Yo-Pals yogurt which highlights Winnie the Pooh and its companions. The four ounce yogurts are focused to preschoolers who have a shown short story under every top of the yogurt that energizes the pupil. Disney additionally has some engraved treats in vanilla and different flavors have impressions of its well known characters like Mickey Mouse, Donald Duck and so on.

Leading Hollywood movies based on merchandise sales revenue as of January 2016 (in billion U.S. dollars)

ConclusionThe Walt Disney Company’s fundamental quality is in its assets, its involvement in the business, and its minimal effort methodology. Additionally, the organization has grown unmistakably and exceptionally solid and surely understood “brand name” through numerous years. The organization has additionally possessed the capacity to enhance its activities and items to fence against diminishing deals in product offerings. As of late, it has ordered into Home Video, Film, merchandise, Radio telecom, Net-work TV and in amusement parks. It has likewise viably expanded all around its tasks from USA to Japan and Europe. The primary qualities in inside assets identify with HR and budgetary soundness. Representatives in the Walt Disney Company think, to a great degree about being innovative and they have created a few film industry preparations in these years. An organization without new thoughts is limited in the present aggressive business condition. Be that as it may, the ease corporate technique is an advantage for the organization. The organization can control expenses, and still deliver quality products and enterprises. Money related dangers have been limited by sharing beginning venture costs with a most extreme number of outside members.

While in 2017 more, than 20 films have been enhanced with a lot of promoting items and administrations, ten years back it was not as much as half of that. This ascent went ahead the opposite of film

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participation in the United States dropping right around 14% in a similar time range.Similarly, with other financial and social patterns, the improvement of the advanced innovation assumes a characterizing job on the development of promoting also. It is the essential power that manages how the customers pick between excitement sources and is progressively more pervasive on how they base their buying choices, along these lines there is a developing number of marketing items that are sold carefully. This is additionally bolstered by the way that organizations like Disney consolidate their shopper and intelligent item divisions together; narrowing the outskirt among excitement and toy classifications (they utilize computerized dispersion for the dominant part of videogames, virtual products, applications, printed and music content, inside and out compensating for around 12% of all their promotion deals). The development of the computerized fragment additionally brought about authorized items being accessible in out and out of more countries around the world.

Reference ▪ http://www.toknowpress.net/ISBN/978-

961-6914-23-9/papers/ML2018-163.pdf ▪ https://www.indianretailer.com/mag-

azine/2007/november/Film-merchan-dising-as-revenue-tool.m12-1-1/

▪ https://www.mbaknol.com/management-case-studies/case-study-on-walt-disneys-business-strategies/

▪ https://www.mbaknol.com/management-case-studies/case-study-marketing-strategy-of-walt-disney-company/

▪ https://www.academia.edu/7737125/walt_disney_2012_case_study

▪ https://www.ranker.com/g00/list/movies-that-made-money-merchandising/jacob-shelton?i10c.encReferrer=aHR0cHM6Ly93d3cuZ29vZ2xlLmNvLmluLw%3d%3d&i10c.ua=1&i10c.dv=14

▪ http://www.filmreference.com/encyclo-pedia/Independent-Film-Road-Movies/Merchandising-THE-MERCHAN-DISING-PROCESS.html

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Vandana has done Masters of Arts in Fashion Retail Management from Amity University, Lucknow and Bachelor of Design in Leather Design from National Institute of Fashion Technology, Chennai with a diverse background of four years of experience as a Leather Designer in the industry. She has participated in Vault International Fashion Week. She has been strongly committed to quality teaching and training in the field of Lifestyle Accessories Design

at Satyam Fashion Institution, Noida. She has developed many valuable skills while working diverse groups of designers. She enjoys being creative and utilizing new ideas and approaches to improve the learning environment and the innovative integration of technology across the curriculum.

Call for Paper for The Next Issue (October 2020 - March 2021)

Design Quest is Biannual Journal which encompasses different aspects of Design and is multidisciplinary in nature.

Deadlines:Abstract Submission 15th January, 2021

Review, selection and notification for authors

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20th February, 2021

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