FINAL DOC 2!!

INDUSTRY INTERNSHIP DOCUMENT 2015

INTERNHIP DETAILS:

[Document subtitle]

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INDUSTRY INTERNSHIP DOCUMENTATION

2015

U FASHION (by Niranjan R.)

DEPARTMENT OF FASHION DESIGN

BATCH 2012-2016

NATIONAL INSTITUTE OF FASHION TECHNOLOGY

CHENNAI

SUBMITTED BY

DHANYA

BD/12/566

FD V!!

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INTERNSHIP DETAILS:

Company : U Fashion (A unit of Par Excellence)

Company Mentors : Mr. Niranjan R. Iyer

Project Mentor : Mrs. Pratheepa (Assistant Professor)

Internship Coordinator : Prof. Matthews Abraham (Professor)

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ACKNOWLEDGEMENT

I, Dhanya (BD/11/294) of FD VII would like to thank Mr. Niranjan R. Iyer who was my mentor

in U Fashion and guided me throughout in making the internship collection by sharing his

knowledge on the different sections of the organisation and giving the opportunity to explore

my creative skills and individual style according to commercial means and would also like to

express my gratitude to Mr. Siva and Mr. Laxman who had constantly been there to clarify

doubts and impart their knowledge on the production and packaging process.

I am very much obliged to the Internship mentor, Mrs. Pratheepa (Assistant Professor of FD

dept.) and Internship Coordinator, Prof. Matthews Abraham ( Professor of FD dept.) who was

always present from the beginning to the completion of the Project in briefing, clarifying doubts

and helping out in the best of their efforts to sort out any issues that are faced and would also

like to thank Mr.Sridhar (Associate Professor of KD dept. and SDAC) who brought up this

opportunity of working in U Fashion.

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TABLE OF CONTENTS

1. INTRODUCTION : INTERNSHIP PROJECT ......................................................... 10

1.1. OBJECTIVE ........................................................................................................ 10

1.2. THE TWO MONTH PLAN ................................................................................... 10

1.3. REQUIREMENTS FOR ACADEMIC ANALYSIS ................................................ 11

2. COMPANY PROFILE ............................................................................................... 12

2.1. ABOUT PAR EXCELLENCE ............................................................................... 12

2.2. ABOUT U FASHION ........................................................................................... 12

2.3. ABOUT THE DESIGNER .................................................................................... 13

2.4. THE LOGO ......................................................................................................... 15

2.5. LIST OF PRODUCT VARIATION ....................................................................... 16

2.6. THE LAYOUT ..................................................................................................... 17

2.5.1. Exterior Layout of U Fashion ..................................................................... 17

2.5.2. Interior Layout of U Fashion ...................................................................... 18

2.5.3. Interior Layout of Par Excellence .............................................................. 20

3. LIST OF MACHINERY .............................................................................................. 21

4. ORGANIZATIONAL HIERARCHY ............................................................................ 23

5. SOURCING ............................................................................................................... 25

5.1. LIST OF FABRIC SOURCES .............................................................................. 25

5.2. TYPES OF SAREES SOURCED ........................................................................ 26

5.2.1. Ikat Sarees ................................................................................................... 26

5.2.2. Chanderi Sarees ......................................................................................... 28

5.2.3. Chiffon Sarees ............................................................................................ 29

5.2.4. Other Sarees ............................................................................................... 29

5.3. SOURCING OF TRIMS AND ACCESSORIES ................................................... 30

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6. SAMPLING ............................................................................................................... 33

6.1.PROCESS FLOW ................................................................................................ 33

6.2. DESIGNING ........................................................................................................ 34

6.2. QUALITY MEASURES ........................................................................................ 34

6.3. PATTERN MAKING ............................................................................................ 34

6.3.1. Size Chart .................................................................................................... 35

6.4. LAYING ............................................................................................................... 36

6.5. CUTTING ............................................................................................................ 37

6.6. DESIGN CONFIRMATION AND FIT CHECK ..................................................... 39

7. EMBROIDERY .......................................................................................................... 40

8. HAND- PAINTING ..................................................................................................... 43

9. PRICE FIXATION ...................................................................................................... 45

9.1. THE CALCULATION ........................................................................................... 46

10. FINISHING AND PACKAGING ............................................................................... 47

11. MARKETING AND MERCHANDISING .................................................................. 49

11.1. VISUAL DISPLAY ............................................................................................. 49

11.2 LIGHTING .......................................................................................................... 51

11.3. DISCOUNT ....................................................................................................... 51

11.4.CUSTOMER SERVICES ................................................................................... 51

12. THE COLLECTION ................................................................................................. 53

12.1. DESIGN BRIEF ................................................................................................. 53

12.2. Collection 1 ...................................................................................................... 53

12.2.1. Concept Note – Bars ‘N’ Angles ................................................................ 53

12.2.2. Mood Board ................................................................................................ 54

12.2.3. Colour and Fabric Board ............................................................................. 55

12.2.5. Garment 1 ................................................................................................... 56

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12.2.6. Flat Specifications ....................................................................................... 57

12.2.7. Garment 2 ................................................................................................... 58


12.3. Collection 2 ...................................................................................................... 60

12.3.1. Concept Note .............................................................................................. 60

12.3.2.Mood Board ................................................................................................. 61

12.3.3. Colour and Fabric Board ............................................................................. 62

2.3.5. Garment 1 ..................................................................................................... 63


12.3.7. Garment 2 ................................................................................................... 65


12.3.9. Garment 3 ................................................................................................... 68

12.3.10. Flat Specifications ..................................................................................... 69

12.4. Collection 3 ...................................................................................................... 70

12.4.1. Concept Note .............................................................................................. 70

12.4.2. Mood Board ................................................................................................ 71

12.4.3. Colour and Fabric Board ............................................................................ 72

2.4.4. Design Process of Garment 1 ....................................................................... 73

12.4.5. Garment 1 ................................................................................................... 75


12.4.7. Garment 2 ................................................................................................... 78

12.4.8. Process of Garment 3 ................................................................................ 81

12.4.9. GARMENT 3 ............................................................................................... 82

13.CONCLUSION ......................................................................................................... 84

14. BIBLIOGRAPHY ..................................................................................................... 85

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.TABLE OF FIGURES

Figure 1.Mr.Niranjan R.Iyer ......................................................................................... 13

Figure 2.Embroidered logo of U Fashion in the shop, in Kormangala. .................. 15

Figure 3.External view of U Fashion, Kormangala. .................................................. 17

Figure 4.Outside view of the opposite road from inside the shop. ......................... 17

Figure 5.Interior Layout of U Fashion ........................................................................ 18

Figure 6.Interior Layout of Par Excellence. ............................................................... 20

Figure 7.Steam iron used. .......................................................................................... 22

Figure 8. The brands of sewing machine used are of Brother and Gemsy. ........... 22

Figure 9.Organisational hierarchy ............................................................................. 23

Figure 10. Pure Silk Ikat Sarees. ................................................................................ 27

Figure 11. Black Chanderi Cotton Saree ................................................................... 28

Figure 12.Chanderi saree with bagh print ................................................................. 28

Figure 13. Double - hued chiffon saree in the U Fashion boutique in Kormangala.

...................................................................................................................................... 29

Figure 14. Blue Chiffon Saree with pale antique gold border (in U Fashion) ......... 29

Figure 15.Silk threads and dori with tassels. ............................................................ 31

Figure 16. Embroidery thread samples with code nos. ........................................... 31

Figure 17. Variety of beads. ........................................................................................ 32

Figure 18.Metallic Sequins ......................................................................................... 32

Figure 19. Flow chart of the production process ..................................................... 33

Figure 20.Metal Planks used as weights and torso blocks being placed on the lay.

...................................................................................................................................... 36

Figure 21. Marking onto the lay, along the lines the block. ..................................... 36

Figure 22. Manual cutting of basic kurti pattern and curves are the tricky part. ... 37

Figure 23.Layers of fabric evenly cut and ready-to-stitch kurti pieces. ................. 37

Figure 24.Clip used for holding the lay together and a band-knife ......................... 38

Figure 25. Cutting along the traced lines. ................................................................. 39

Figure 26. .Punching holes using a needle tip and the white chappa paste. ......... 41

Figure 27. Smudging the paste across the pinned design with a rough cloth. ..... 41

Figure 28. The traced design. ..................................................................................... 41

Figure 29.Machine Embroidery and Ari Work/ hand embroidery ........................... 42

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Figure 30. Artist at work and nature- inspired paintings. ........................................ 43

Figure 31. Mughal miniature paintings. ..................................................................... 44

Figure 32..Ravi Varma Imitation and modern tribal style ......................................... 44

Figure 33. U Fashion Label ......................................................................................... 47

Figure 34.The U Fashion Price Tag. ........................................................................... 48

Figure 35. The U Fashion paper bag .......................................................................... 48

Figure 36. Window display of U Fashion ................................................................... 49

Figure 37. Short kurtis hung on racks and sarees neatly hung/folded in the

shelves. ........................................................................................................................ 50

Figure 38. Ethnic party wear ...................................................................................... 50

Figure 39. Dress materials and readymade saree blouses. .................................. 52

Figure 40. Discount sales poster. .............................................................................. 52

Figure 41. Garment 1 of Bars'N' Angles .................................................................... 56

Figure 42. Front and back Flat sketch of garment 1 in Bars 'n' Angles. ................. 57

Figure 43.Garment 2 of Bars 'n' Angles .................................................................... 58

Figure 44. Flat sketches of Garment 2 in Bars 'N' Angles ....................................... 59

Figure 45. Garment 1 of Racing Flags. ...................................................................... 63

Figure 46. Flat Sketch of Garment 1 of Racing Flags ............................................... 64

Figure 47.Garment 2 of Racing Flags. ....................................................................... 65

Figure 48. Flat sketch of outer garment of garment 2 .............................................. 66

Figure 49Flat Sketch of inner kurti of garment 2. ..................................................... 67

Figure 50. Garment 3 of Racing flags. ....................................................................... 68

Figure 51. Garment 3 of Collection 2. ........................................................................ 69

Figure 52. Sketching and Pinning of Kathakali design. ........................................... 73

Figure 53. Hand- painted kathakali face by the artist ............................................... 73

Figure 54. Design derivation. ..................................................................................... 74

Figure 55. Process of painting (self-done) ................................................................ 74

Figure 56.Garment 1 of Kathakali collection. ............................................................ 75

Figure 57.Painted sleeves(self-done) ........................................................................ 76

Figure 58. Flat Sketch of Garment 1 of Kathakali collection ................................... 77

Figure 59. Front and Back of Garment 2 ................................................................... 78

Figure 60. Inner kurti of garment 2 of collection 3. .................................................. 79

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Figure 61.Crop top of Garment 2, collection 3 .......................................................... 80

Figure 62. Hand painting of sleeves .......................................................................... 81

Figure 63.Hand embroidered belt .............................................................................. 81

Figure 64.Garment 3 of the Kathakali Collection ...................................................... 82

Figure 65.Garment 3 0f collection3. ........................................................................... 83

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1. INTRODUCTION : INTERNSHIP PROJECT

The Internship Project is conducted in order for the students to obtain a basic layout of

how an organization related to the field of apparel functions, the role of a designer and

how to adapt to the commercial needs of the market, whether it be an international brand/

a well- known fashion designer or even in an upcoming boutique. The Project is

conducted for a period of two months and a group of two to three students are sent to the

assigned company and they are required to create a collection (per individual) of four to

six ensembles or individual separates of eight to twelve pieces and a document (per

individual) which explains about the experience and knowledge acquired during the

internship period, including the individual collection.

1.1. OBJECTIVE

Aims at providing the students with knowledge regarding entrepreneurship, partnership,

capital requirement, designing, sourcing ,fabrics, production process, packaging, quality

assurance, business management, pricing, marketing , merchandising etc. of an apparel

related organization( e g: Export house, Buying house, Boutique, Established Brands etc)

1.2. THE TWO MONTH PLAN

The first two to three weeks of the Project involves company orientation and coming into

terms with the mode of functioning of the organization and adapt accordingly. The

remaining five to six weeks is the time period for the students to design and execute a

collection (ensemble/separates) as per the design brief specified by the company.

During this period, the student should be able to have an idea of the psychographic and

demographic profile of the company’s clientele so that the collection can be made as per

the commercial needs of the respective market. The Internship mentors will keep a check

on the student’s work status in at least once in two-weeks time and the student should

also maintain responsibility of keeping in touch with the mentors as well, by updating their

work progress via mail on a weekly basis so that both the mentors as well as the student

are aware of the time taken for the completion of each product as well as the knowledge

gained along the way. The student is also required to maintain a learning diary which can

be used later on as reference for the preparation of the document.

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1.3. REQUIREMENTS FOR ACADEMIC ANALYSIS

Weekly Report of work progress (which is to be send via mail to the department)

Learning Diary

A collection of four to five ensembles or eight to twelve separates.

Completion Certificate of Internship

Feedback Form from the respective organization (which grades the student’s

performance during the time of internship)

Internship Document

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2. COMPANY PROFILE

2.1. ABOUT PAR EXCELLENCE

The first unit of Par Excellence was established in 1995 by Mr.Niranjan R.Iyer, located in

Frazer Town, Bengaluru. The organization was VAT (Value Added Taxes) registered

during this year. Later in 1997, it was shifted to Sivaji Nagar, Commercial St., 2nd Cross,

in Bengaluru.

Par Excellence was initiated for the purpose of catering to the wardrobe needs of the

working women and women of the upper class for traditional Indian attire. Whether it is a

casual kurti with chikankari work for a day out or a classy anarkali with intricate

embroidery for a wedding party, this petit boutique has it all. As of now, Par Excellence is

functioning as the work unit for U Fashions.

2.2. ABOUT U FASHION

U Fashion is the brand which was Trademark registered in 2007 and located in

Kormangala, Bangalore. This was a hectic and profit booming year for the company since

there was a second unit in Sivaji Nagar and used to supply in bulk quantity to the shops

in Commercial Street, Sivaji Nagar. U Fashion also used to supply their products to

Lifestyle and Shopper Stop (in Bangalore) as well.

After a short period of time the unit in Sivaji Nagar was shut down and U Fashion stopped

catering to the needs of Lifestyle and Shoppers Stop, since it restricted the designer from

further exploring his creativity and became more mass-production oriented. Now, U

fashion is an independent brand that covers traditional casual and party wear for women

and is slowly adapting and blending to the tastes of modern Indian women by

incorporating slight hints of a western twist to their collections without loosing the essence

of ethnicity.

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2.3. ABOUT THE DESIGNER

Figure 1.Mr.Niranjan R.Iyer

Mr. Niranjan R.Iyer was born on 7th April, 1965 in Hassan, Karnataka. Being the youngest

in a family of advocates (his father), accountants (late elder brother) and engineers

(relatives), he leaned more towards the creative side, including two of his sisters who are

into art works and crafts. He had already started to do freelance designs for boutiques

while studying B.Com and after he received his degree, went ahead to pursue his passion

for fashion design by attending a six month course in JD Institute of Fashion, Bangalore.

In 1995, Mr.Niranjan initiated Par Excellence, which focused on Indian casual wear for

women and later on started to design wedding ensembles and occasional wear as well

and in 2007, U Fashion – the brand was established.

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When asked about the dissolving of the second unit in Sivaji Nagar and quitting of

designing for Lifestyle and Shopper Stop, he responded by saying that it restricted his

creativity since everything from fabrics, colours and even design is pre-fixed and hence

nothing much left to work on and many a times the designs had to be changed as per

their preference and eventually, the designer’s originality/individuality is lost.

Being an artist at heart, Mr.Niranjan has incorporated various styles of hand painting onto

kurtas and sarees by taking inspiration from Mughal paintings, Ravi Varma’s works,

nature’s flora and fauna Buddha and even Egyptian hieroglyphics and it is mostly

combined with different types of embroidery. Motifs like lotus, leaves, paisleys, bamboo,

peacocks and other birds are some of the signature motifs he uses in his collections. This

unique incorporation of hand painting is what sets his work apart from other designers in

the arena.

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2.4. THE LOGO

The logo of U fashions is unique as it is and goes with the tag line which is, “Be Unique,

Be U”. The letter “U” seemed apt since that single letter says it all, i.e, how an individual

stands out from others due to their different sense of style, character and preferences .

The letter U is in white on a pinkish red background, which has intricate branched out

designs that twists and turns in a circular pattern. The colour combination was fixed as

white on tones of reddish pink and orange since it was apparently a rare colour

combination at the time the brand was established.

Figure 2.Embroidered logo of U Fashion in the shop, in Kormangala.

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2.5. LIST OF PRODUCT VARIATION

Table 1. In-house and outsourced products of U Fashion

IN-HOUSE PRODUCTS OUTSOURCED PRODUCTS

Casual kurtis (long and short) Kurtis

Churidar Western tops

Readymade Saree blouses Stoles

Anarkalis/ Occasional wear( according to the order)

Sarees

Party Wear

Leggings

Dress Materials

Dupattas

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2.6. THE LAYOUT

2.5.1. Exterior Layout of U Fashion

Figure 3.External view of U Fashion, Kormangala.

Figure 4.Outside view of the opposite road from inside the shop.

U Fashion- the shop is located in Kormangala, on 5th Main, 5th cross street. Its location is

placed among a hub of cafes, restaurants, boutiques and other petit shops. Directly

opposite to the boutique is another boutique called Fulki which is known for its party and

occasional wear for women ( a mixture of western , Indian and contemporary).

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2.5.2. Interior Layout of U Fashion

Figure 5.Interior Layout of U Fashion

Total Area: 1300 square feet

R+S(b) – Rack with a shelf below

R(cl)+S(b)- Closed rack with a shelf below

Tr.Rm- Trial Room

Disp.Pltfm- Display platform

- Door

- Rack (Fixed onto the wall)

- Open, multiple branched racks

- Star- crossed racks

- Multiple branched racks beneath a glass table

- Mirror fixed onto the wall

-Pillar

SYMBOLS & ABBREVIATIONS

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As shown in the layout, on entering through the entrance on the west, four individual racks

(cross- shaped) showcasing casual long length kurtis of various sizes and designs. On

the north-western side, more casual short kurti and long kurta tops are displayed onto the

wall-attached racks and below these racks there are chudi bottoms of different colours

and sizes and dupattas of different colours and fabric displayed in the bottom racks. The

two open-multiple branched racks on the northern side, displays a collection of chikankari

work kurtis in various colours and design. The two shelves below it (as shown in the

figure) has neatly folded short and long kurtis in different sizes and designs, mostly

showcasing new arrivals.

The shelf next to the pillar also has folded kurtis displayed, of the previous collection. The

glass- tabled rack between the two pillars display formal kurta shawls and sarees. Casual

stoles are showcased on the two cross-branched individual racks placed on either side

of the pillar. The glass - tabled racks on the east displays dress-materials for churidars.

The two closed-racks towards the north-eastern side and eastern side showcases Indian

party wear.

The shelves on the south-western side has a variety of sarees for all occasions displayed

and some of them hung on the glass-tabled racks. Ready-made saree blouses are hung

on the glass-tabled racks.

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2.5.3. Interior Layout of Par Excellence

Figure 6.Interior Layout of Par Excellence.

Total Area: 1500 square feet

Abbreviations:

Cup.Bd- Cupboard

Ir.Table- Ironing Table

Steam Ir.- Steam Iron

Sew.M.-Sewing Machine

Ovlck.M.- Overlock Machine

Emb.M- Embroidery Machine

Sew.M.(no Mot.)- Sewing machine with no motor

(used in case of power cut)

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3. LIST OF MACHINERY

Table 2.List of machines in Par Excellence

MACHINES NO. of MACHINES

Sewing machine (with motor) 5

Sewing machine (without motor) 2

Overlocking Machine 2

Embroidery Machine 3

Band-Knife 1

TOTAL NO. OF MACHINERY 13

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Figure 7.Steam iron used.

Figure 8. The brands of sewing machine used are of Brother and Gemsy.

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4. ORGANIZATIONAL HIERARCHY

Figure 9.Organisational hierarchy

As shown in Figure 4., Mr.Niranjan is at the peak of the flow chart since he is the sole

owner of and designer for U Fashion and the work unit Par Excellence. One of his direct

subordinates is the manager, Mr.Laxman who keeps in check of all the workers, records

the time spent on the production of each garment, material requirements, etc.

TheDesigner/Owner-Mr.NiranjanR.Iyer

The PatternMaster- Mr.Shiva

Tailors

(No. of Workers: 5)

Skilled Tailors: 3

Semi-skilled Tailors: 2

Embroiderers

(No. of workers: 7)

Machine embroiderers:

Skilled: 2

Semi skilled: 1

Hand Embroiderers:

Skilled : 2

Semi Skilled: 2

Artist-

Mr. Patel

The Manager-

Mr.Laxman

The Accountant -

Mr.Ravi

The Store Manager-Mr.Sajeed

The Assistant Manager-

Ms. Anugraha

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The Accountant- Mr.Ravi, the Store Manager and the Assistant Store Manager,

Mr.Sajeed and Ms.Anugraha respectively, are answerable to the Manager.

The pattern master, Mr.Shiva is the other direct subordinate of the designer, who

prepares the patterns and ready-to-stitch pieces and overlooks and guides the work of

the tailors, the embroiderers and the artist.

As observed in the given chart, in this organization, the pattern master and the manager

are somewhat on the same level of power since both of them have the similar duty of

keeping in check of all the workers.

The total number of staff amounts to eighteen people. There are five tailors employed in

the company, out of which there are two skilled and three semi – skilled tailors and the

embroidery section is classified into two, i.e, machine embroidery and hand embroidery.

There is a total of seven embroiderers, out of which there are three machine embroiderers

and four hand embroiderers. Under machine embroidery, there are two skilled

embroiderers and one semi-skilled, and in hand embroidery, there are two skilled and two

unskilled workers.

Since it is a small-scale organization there aren’t any separate departments as such

since work, like laying the fabric, pattern cutting etc. is done by the pattern master himself,

with the help of the manager or the tailors.

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5. SOURCING

Handloom fabrics are mostly used in producing majority of the garments, which are

sourced locally as well nationally. Dress materials and sarees are sourced from different

states. U Fashion focuses on using fabrics which are eco-friendly and has the traditional

touch of block printing, embroidery, bandhini etc. For example, handloom cotton fabrics

are sourced from Chennai, Ikat from Hyderabad, Printed cotton from Jaipur etc.

Party/Occasional wear are mostly outsourced from Mumbai and Delhi.

5.1. LIST OF FABRIC SOURCES

Table 3. List of places from where U Fashion sources its fabrics.

COMPANY DETAILS STATE

FFAB CREATIONS Pvt. Ltd Bangalore

K.G. Handloom – Handloom Silk Fabrics Chattisgarh

Mysore Saree Udyog LLP Bangalore

Aparnaa Creations Bangalore

Ramesh Cotton Inc. Bangalore

Porwal Bros Bangalore

Shambu Silk and Sarees Bangalore

Lucnow Chikan House Bangalore

Pooja Handlooms Bangalore

Mitesh & Co Bangalore

Dressline Creation Mumbai

Trusha – Wholesaler of dress materials and Suit Pcs Mumbai

Parmani Bros – Textile Merchants and Commisssion Agents Mumbai

Bhimnath Fabrics- Fancy Dress Material Mumbai

Shobhana Fabrics- Exclusive dress material & Ethnic Wear Mumbai

Nipa Enterprise – Fancy dress materials Mumbai

L.P.FAB- Specialized in unstitched suits Mumbai

Kaaya Clothing Company Andhra Pradesh

Sreekishan Siddharth Kolkata

Dupatta World Mumbai

FFab Creations Private Limited are one of the sources to be highlighted since it is an

organization that has fabrics which are modern, up to date with the latest trend. FFab has

a number of designers who produce exclusive fabrics that consist of various prints,

surface design techniques, and exploration in digital printing.

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FFab is a leading company when it comes to innovation, manufacturing and sales of

premium fabrics in India and other countries. Though petite , the Company has a strong

focus on innovation and design for its product line of Apparel and Home Furnishings.

The highlighted part of their services is, when the samples are provided to their clients,

they showcase a number of colour options for a single print itself and they will suggest on

what sort of fabrics the same type of print can be incorporated and it takes around five to

eight weeks time minimum for a customized fabric to be produced, sometimes longer,

based on the order. They get orders from many apparel houses in India as well as from

foreign countries, such, is their demand.

5.2. TYPES OF SAREES SOURCED

5.2.1. Ikat Sarees

Pochampally Saree or Pochampalli Ikat is made in Bhoodan Pochampally, Nalgo nda

district, Telangana State, India. They are popular for their traditional geometric patterns

in Ikat style of dyeing. The intricate geometric design find their way into the hands of

skilled weavers and make it to the market as beautiful sarees and dress material.

Pochampally Ikat uniqueness lies in the transfer of intricate design and colouring onto

warp and weft threads first and then weave them together globally known as Tie and Dye

textiles. The fabric is cotton, silk and sico - a mix of exquisite silk and cotton. Increasingly,

the colours themselves are from natural sources and their blends.

Pochampally saree had received Intellectual Property Rights Protection or Geographical

Indication (GI) status in 2005. Pochampally Ikat be the registered property of Pochampally

Handloom Weavers Cooperative Society Ltd and the Pochampally Handloom Tie and

Dye Silk Sarees Manufacturers Association.

https://en.wikipedia.org/wiki/Bhoodan_Pochampally

https://en.wikipedia.org/wiki/Nalgonda_district

https://en.wikipedia.org/wiki/Nalgonda_district

https://en.wikipedia.org/wiki/Telangana_State

https://en.wikipedia.org/wiki/India

https://en.wikipedia.org/wiki/Ikat

https://en.wikipedia.org/wiki/Geographical_Indication

https://en.wikipedia.org/wiki/Geographical_Indication

27

Figure 10. Pure Silk Ikat Sarees.

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5.2.2. Chanderi Sarees

Chanderi sari is a traditional sari made in Chanderi, Madhya Pradesh, India. These

chanderi sarees are produced from three kinds of fabric i.e,

pure silk, chanderi cotton and

silk cotton.

Motifs which are commonly used are:

Traditional Coin motif

Floral art motifs

,Peacock motifs and Geometrics are woven into different chanderi patterns.

Figure 11. Black Chanderi Cotton Saree

Figure 12.Chanderi saree with bagh print

https://en.wikipedia.org/wiki/Sari

https://en.wikipedia.org/wiki/Chanderi

https://en.wikipedia.org/wiki/Madhya_Pradesh

https://en.wikipedia.org/wiki/India

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5.2.3. Chiffon Sarees

Figure 13. Double - hued chiffon saree in the U Fashion boutique in Kormangala.

Figure 14. Blue Chiffon Saree with pale antique gold border (in U Fashion)

5.2.4. Other Sarees

Other than Chiffon Sarees, Georgette sarees and sarees of net material with embroidery

work or sequins work are mostly popular and commonly bought by ladies in Bangalore

for occasional or party wear. The sarees which have simple zari borders with a plain body

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is normally paired with a contrast blouse or a heavily sequined blouse or a faded metallic

gold or beigeish blouse.

5.3. SOURCING OF TRIMS AND ACCESSORIES

Some of the trims and accessories used are as follows:

Fabric covered /wooden buttons

Dories or tie-up cords

Ball- shaped Tassels

Beads and sequins

Silk/Cotton Threads

Zippers

Press Buttons

Dress hooks

The fabric covered /wooden buttons are sourced from Shivaji Nagar in Bangalore and the

dories or tie –up cords which are attached to the neckline (front/back) of the garment are

hand stitched in Par Excellence itself and the thickness of the cord can vary from 5mm to

2mm. The ball-shaped tassels are both hand-stitched or sourced from Shivaji Nagar.

While hand-stitching, the balls are made by either stuffing cotton or covering a bead with

fabric of the required size and decorated by sticking plastic stones or beads onto it.

The beads and sequins are sourced mostly from Mumbai and Shivaji Nagar, Bangalore

and Silk/Cotton threads used for stitching purposes are mostly of two-ply and are sourced

from FFAB CREATIONS Pvt. Ltd. as well as from Shivaji Nagar, located in Bangalore.

The embroidery threads are sourced from Natesh Embroidery Yarns, Bangalore. In Par

Excellence, the cotton threads are used for stitching and the silk threads are used for

embroidery, mostly for hand-embroidery. The closures like zippers, press buttons and

dress hooks are sourced locally from Bangalore itself.

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Figure 15.Silk threads and dori with tassels.

Figure 16. Embroidery thread samples with code nos.

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Figure 17. Variety of beads.

Figure 18.Metallic Sequins

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6. SAMPLING

6.1.PROCESS FLOW

Figure 19. Flow chart of the production process

DESIGNING

QUALITY MEASURES

PATTERN MAKING

LAYING

CUTTING

DESIGN CONFIRATION AND FIT CHECK

EMBROIDERY

HAND PAINTING

PRICE FIXATION

FINISHING AND PACKAGING

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6.2. DESIGNING

After the sourcing of fabrics, the designs and fabrics for the season is decided by the

designer, Mr.Niranjan ,according to the current market trends. When producing for the

shop, the designs are made after sourcing of fabric and when the garment is produced

for a customer, the designer illustrates the sketch and after getting confirmation from the

customer, the fabric is sourced accordingly. Then it is discussed with the pattern master,

who prepares the patterns and instructs the tailors and embroiderers accordingly.

6.2. QUALITY MEASURES

The fabrics are checked for defects before they are taken up for cutting.

First the fabric is checked for any stains or holes throughout its length, if any stains

found, either whitener is used or that portion of the fabric would be omitted.

It also undergoes a shrinkage test, by cutting a small sample of the given fabric in

a square shape and washing it and then after drying, the sample fabric is measured

in order to calculate the percentage of shrinkage.

For coloured fabrics, it is checked for colour running by washing it. If the colour

runs, the fabric is discarded and another fabric of better quality is sourced.

6.3. PATTERN MAKING

The patterns are prepared by the pattern master. The patterns specialized in this

organization are for garments such as :

Kurtis

Kurtas

Churidars

Anarkalis

Lehengas

Palazzos

Saree blouses

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The basic pattern blocks used are the torso block and the bodice block, and sometimes

blocks are not even used by the master due to years of experience, measurements are

by heart and hence he draws the pattern directly onto the fabric by hand, using a fabric

chalk marker. The blocks are mostly used only when there is a design variation which is

slightly difficult or complicated.

6.3.1. Size Chart

The patterns are mainly made for four sizes ie, XS, S, M, L and XXL. The following table

shows the measurements for each size.

Size XXS XS S M L XL XXL

Chest 32” 34” 36” 38” 40” 42” 44”

Waist 29” 31” 33” 35” 37” 39” 41”

Hips 35” 37” 39” 41” 43” 45” 47”

Sleeve Round 9.5” 9.5” 10” 10.5” 11” 11.5” 12”

Sleeve Length 11” 11.5” 12” 12.5” 13” 13.5” 14”

Short Kurti length – 26”

Mid thigh length – 32”

Knee Length – 36”

Long Kurti – 41”

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6.4. LAYING

Fabrics shortlisted by the designer, is stacked in layers and spread along the length of

the pattern making table which is around five to six feet. The fabric is placed in a straight

lay (the lay may consist of ten to fifteen layers of fabric stacked one above the other) on

the table and it is checked that all the sides are placed evenly by the pattern master with

the help of the manager. Two long metal planks are placed on either side to prevent the

fabrics from shifting while cutting. A ruler is used to smoothen out any extra folds or

creases and each layer of fabric is ironed before the next layer is placed over it. Then,

the torso blocks used for basic kurtis is placed side by side on the lay consisting of

different sizes i.e, XS, S, M, L, XXL, ready for cutting.

Figure 20.Metal Planks used as weights and torso blocks being placed on the lay.

Figure 21. Marking onto the lay, along the lines the block.

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6.5. CUTTING

After the tracing of blocks onto the lay, the next step is cutting.The cutting of fabrics

involve two methods :

Manual cutting

Band-Knife Cutting

Manual Cutting involves cutting out the pattern from the lay of fabrics, with the use

of fabric shears along the chalk marked lines . While using this method, the

sharpness of the shears has to be checked since there are multiple layers of fabric

which need to be cut, all at once. This method requires a lot of effort ,time and

accuracy, since there is a tendency of slippage while cutting. Due to years of

practice and experience, the pattern master is able to cut the lay to perfection.

Figure 22. Manual cutting of basic kurti pattern and curves are the tricky part.

Figure 23.Layers of fabric evenly cut and ready-to-stitch kurti pieces.

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The other method is Band-Knife cutting that involves the usage of a machine which has

a sharp blade fixed to it vertically and when switched on ,the blade starts to move in an

up-down motion at really high speed, such that the blade cannot be seen and becomes

just a blur. It has a handle bar attached to it, so that the machine can be steered through

the fabric in the required pattern.

The same procedure is followed prior to cutting, i.e, the fabric is layed ,folds and creases

are cleared out, each layer of fabric is ironed and the basic blocks are placed onto the lay

and traced with the help of a chalk. The added advantage of using the band knife is also

‘cause of the equipment which comes along with it, and it functions like a clip,i.e, it helps

to keep a firm hold of all the fabrics together, making it easier to cut the fabric without any

difficulty.

Using a band knife is both easy and risky to use at the same time. Since the blade moves

at an incredible speed, accuracy should be maintained and the user should be careful to

steer their hands clear, at a safe distance while cutting. Metal gloves are suggested for

safety. Compared to manual cutting, this method gets the job done with less effort and

time.

Figure 24.Clip used for holding the lay together and a band-knife

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Figure 25. Cutting along the traced lines.

6.6. DESIGN CONFIRMATION AND FIT CHECK

After the fabric patterns are cut, it is taken to the designer for confirmation. ( Note: The

above mentioned method of multiple cutting is used only for mass production of garments

for the shop in Kormangala in various sizes. For customized garments, the cutting won’t

be done on such a large scale, more focus would be given to the customer’s preferences.)

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The designer shortlists certain design variations which can be done on the ready- to-

stitch fabric patterns. He makes sure that the designs are in such a way that fabric

consumption is kept to a minimum.

Then the pattern master instructs the tailor regarding the stitching and a sample is first

made. Then the sample is shown to the designer for approval, once approved, it goes on

for mass production and is stitched in different sizes as per the size chart.

7. EMBROIDERY

The design for embroidery is first confirmed by the designer and it is drawn onto the

tracing sheet, either by the designer or by the artist. Then the traced design is placed onto

a slightly soft surface and holes are punched along the lines of the design by using the

tip of a needle which is bound onto a thin wooden stick. For simple designs, the sewing

machine is used to punch the holes. Then a solution called chaapa is used for tracing the

design onto the given fabric, i.e, by dipping a tissue in the chaapa solution and smudging

it all across the poked design, so that the design will be imprinted onto the fabric. There

are two types of chappa used:

White Chappa – Mixture of kerosene and white chalk like powder. It is used for

tracing designs onto dark coloured fabrics.

Black Chappa – Mixture of kerosene and ashes of burnt newspaper. It is used

for tracing designs onto light coloured fabrics.

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Figure 26. .Punching holes using a needle tip and the white chappa paste.

Figure 27. Smudging the paste across the pinned design with a rough cloth.

Figure 28. The traced design.

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There are basically two methods followed for embroidery:

Machine Embroidery

Hand Embroidery

Machine embroidery is usually preferred for designs that do not have to many

curves or circular designs since it is difficult to keep turning the fabric and stitch.

This type of embroidery is mostly preferred when they have to do filling stitches

which are similar to satin stitches. This method of embroidery is less time

consuming. Cut work is another type of work which involves machine embroidery

and the usage of soldering iron.

Hand Embroidery or Ari work which is used here is more popular in demand since

it involves intricacy. It is a time consuming work which can range from three days

to one month for completion, depending upon the intricacy of design. The Ari work

is done with the help of a hooked needle that takes the thread in and out of the

fabric in a looped motion.

Figure 29.Machine Embroidery and Ari Work/ hand embroidery

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8. HAND- PAINTING

Initially, the designer discusses with the artist about what type of painting to be used with

the help of a reference or the designer himself draws a rough sketch and shows to the

artist and it is also coordinated with the pattern master regarding the placement of design.

Then the master cuts the fabric pattern on which the design is to be painted and guides

the artist with the required measurements for the painting.

Apart from embroidery, hand-painting is one of the major highlights of U Fashion. All the

painting works are done by a single, artist- Mr.Patel. With a reference, he has the unique

skill, to incorporate the given artwork’s style and mix it with his own style and create

something new, he has created miniatures of Ravi Varma’s paintings and Mughal

paintings onto pallu of sarees and kurtis as per the designer’s preference. The artist’s skill

is very much flexible and hence can try out any style of painting, including Egyptian

hieroglyphics. Mostly acrylic paints are used for doing these artworks. The same method

of chappa is used here as well before painting.

Figure 30. Artist at work and nature- inspired paintings.

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Figure 31. Mughal miniature paintings.

Figure 32..Ravi Varma Imitation and modern tribal style

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9. PRICE FIXATION

The following factors are taken into consideration for calculation of price.

Time taken for pattern making, tracing and cutting by the pattern master,

Time taken by tailors to stitch the garment

Time taken by the artist to complete the artwork (if any)

Time taken by the embroiderers (machine/hand) (if any)

Fabric consumption

Paint consumption (if any)

Usage of trims and accessories

Salary of the pattern master

Salary of the tailors

Salary of the artist

Salary of the embroiderers

By taking all these factors into consideration, the first price is calculated, i.e, without the

profit margin. The percentage of margin is decided by the designer and after adding the

margin, the final price is fixed. If the designer feels that the customers may not buy the

garment for such a high price and the design is simple, then he will adjust the price

accordingly.

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9.1. THE CALCULATION

Pattern master’s salary X Time taken = C1

Tailors salary X Time Taken = C2

Artist’s salary X Time Taken = C3 (if included)

Embroiderers’ Salary X Time Taken = C4 (if included)

Fabric Consumption= Meters used X Cost per meter = C5

Trims and Accessories = Pieces used X Cost per piece = C6

TOTAL = C1+C2+C3+C4+C5+C6 = First Price (F.P)

Margin % = eg : 60%

F.P X 60% = F.P (new)

F.P + F.P(new) = MRP

In case of discount, the percentage will be decided by the designer according to the

season or when overstocked with certain garments, before it goes out of trend.

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10. FINISHING AND PACKAGING

After the completion of the stitching process, the garment is re-checked for any defect

and then the company tag is stitched onto the inner back neckline of the garment, which

consists of the U fashion logo, size and contact details. Then the garment is neatly steam

ironed. In case of beaded or sequined embroidery, the garment is placed onto a piece of

foam while ironing. After that, the price tags are attached onto the garment, which consists

of the company’s quality assurance policy and wash care details.

Then the garments are properly folded and put into a plastic sachet. These garments are

put into the company’s eco- friendly brown paper bag, which has the U fashion logo

printed onto both front and back. The bags are mainly of two sizes, M & L.

Figure 33. U Fashion Label

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Figure 34.The U Fashion Price Tag.

Figure 35. The U Fashion paper bag

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11. MARKETING AND MERCHANDISING

11.1. VISUAL DISPLAY

Figure 36. Window display of U Fashion

The window display of U Fashion is very eye catching as a certain colour theme is

followed throughout. Every week the display is changed with new arrivals and arranged

according to tints and shades of a single colour. Due to the clear glass display, even by-

passing customers can easily get a complete view of all the products in the shop at a

single glance and special discount sales or offers are known by putting up posters onto

the display glasses.

50

Figure 37. Short kurtis hung on racks and sarees neatly hung/folded in the shelves.

Figure 38. Ethnic party wear

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On entering the shop, one can see casual kurtis of all designs and sizes hung on racks

in an orderly fashion. The dressy casual kurtis and some with chikankari works are hung

on single or branched racks size wise and the daily-wear casual kurtis are neatly folded

onto racks with respect to size and length.

Party wear/occasional wear like anarkalis, masakalis, lehengas are continuously hung in

an L-shaped closed rack and is categorized according to the latest arrivals. Beneath the

L-shaped racks are placed leggings of a range of colours gradient wise. In front of it in

four rows of branched racks consists of churidar dress materials arranged according to

price range and discount value. A variety of stoles are hung on two branched racks so

that it makes it easier for customers to glance through them in a short time.

Ready- made saree blouses and new arrival sarees are hung on a low-branched rack

and other sarees are neatly folded onto racks and shelves.

11.2 LIGHTING

The shop has spot lighting which shines a mild golden glow to the shop, making the

ethnic collections pleasing to the eye.

11.3. DISCOUNT

Special discount offers are made season-wise and on special occasions. Each discount

offer is valid maximum upto one to one and a half month only.

11.4.CUSTOMER SERVICES

For frequent customers, special discounts or offers are updated via sms. Customized

designs are stitched as per customer’s preference and fabrics are also sourced by U

Fashion. Alterations are done free of cost for any purchase.

52

Figure 39. Dress materials and readymade saree blouses.

Figure 40. Discount sales poster.

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12. THE COLLECTION

12.1. DESIGN BRIEF

Design an Indian collection of dressy casual for women of age 20 to 25 range for the

occasion of a dine-out with friends by taking the following details into consideration.

Season : Spring/Summer 2015

Market : Upper middle class – Upper Market

12.2. Collection 1

12.2.1. Concept Note – Bars ‘N’ Angles

Bars ‘N’ Angles Inspired from the vertical and horizontal lines of window bars, and the

ninety degree angles of the window panes, this collection has been given shape.

Semi-box fit and shaped silhouettes, bar-like structures, bold lines, angled cuts in the

colours of black and grey are the key components that make up this collection. The

structured and bold lines represent the solid bars of the window panes.

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12.2.2. Mood Board

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12.2.3. Colour and Fabric Board

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12.2.5. Garment 1

Figure 41. Garment 1 of Bars'N' Angles

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12.2.6. Flat Specifications

Figure 42. Front and back Flat sketch of garment 1 in Bars 'n' Angles.

Specifications F B

Full Length 29”(R)

35.5”(L)

29”(R)

35.5”(L)

Side seam Length 16” 16”

Neck depth 6.7” 4”

Neck round 16” 7”

Shoulder to shoulder 15” 15”

Centre (F/B) Length 29.5” 34”

Hem (Width) 22” 22”

Sleeve Length 4” 4”

Sleeve Round 7” 6”

Closure Zipper

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12.2.7. Garment 2

Figure 43.Garment 2 of Bars 'n' Angles

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Figure 44. Flat sketches of Garment 2 in Bars 'N' Angles

Specifications F B

Full Length 40” 40”


Neck depth 8” 5”



Centre (F/B) Length 33.3” 38”



Sleeve Round 7” 6”

Closure Zipper

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12.3. Collection 2

12.3.1. Concept Note

Checkered black and white pattern wavering in the wind as the cars flashes past with the

goal as victory…Racing Flags , the witnesses of initial speed and power is the inspiration

for this collection.

Flared silhouettes, representing the flag’s movement in the wind, checkered prints,

hound ’s-tooth prints in the classic colour combination of black and white, referring to the

black and white checkered pattern of the flag. The random alphabets signifies the

jumbling of letters “Ready, Set, Go!!” and the excited roars of the audiences !!

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12.3.2.Mood Board

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2.3.5. Garment 1

Figure 45. Garment 1 of Racing Flags.

64


Figure 46. Flat Sketch of Garment 1 of Racing Flags

Specifications F B

Full Length 37.5” 37.5”


Neck depth 8” 3.5”

Neck round 9” 5.5”

Shoulder to shoulder 14.5” 14.5”

Centre (F/B) Length 29.8” 37.2”



Sleeve Round 6” 5.7”

Closure Side

zipper

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12.3.7. Garment 2

Figure 47.Garment 2 of Racing Flags.

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Figure 48. Flat sketch of outer garment of garment 2

.

Specifications F B

Full Length 32.5” 38”


Neck depth 13” 4.7”



Centre (F/B) Length 30” 41”

Hem (Width) 25.7” 25.7”


Sleeve Round 5.5” 5.5”

Closure Press

button

Nil

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Figure 49Flat Sketch of inner kurti of garment 2.

Specifications F B


Side seam Length 13.5” 13.5”


Neck round 17.5” 7”




Sleeve Length Nil Nil

Armhole 10” 9”

Closure Nil Nil

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12.3.9. Garment 3

Figure 50. Garment 3 of Racing flags.

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Figure 51. Garment 3 of Collection 2.

Specifications F B

Full Length 37.5” 39”

Side seam Length 38.5” 38.2”


Neck round 5.6” 5.3”


Centre (F/B) Length 32” 39.5”



Armhole 8” 9”

Closure CF (Op) Nil

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12.4. Collection 3

12.4.1. Concept Note

The voluminous figure, emotions and rhythmic colours of the traditional folk art of Kerala-

Kathakali is the core concept of this collection.

Flared silhouettes, representing the exaggerated volume of the Kathakali costume,

circular motifs and spikes inspired from the make up and adornments of Kathakali and

the tinkling bells on the anklets, which give sound and emphasis to the Kathakali

performance, among the Navarasas or “the nine expressions”, the four basic human

emotions, i.e, happiness, sadness, anger, and fear are also represented, the “ Kari

vesham” or the black Kathakali which depicts the villainous character is also seen in this

collection and these are the key components of this collection. The colours are very

vibrant and the vibrancy is soothed down with the combination of white and black.

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12.4.2. Mood Board

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2.4.4. Design Process of Garment 1

Figure 52. Sketching and Pinning of Kathakali design.

Figure 53. Hand- painted kathakali face by the artist

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Figure 54. Design derivation.

Figure 55. Process of painting (self-done)

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12.4.5. Garment 1

Figure 56.Garment 1 of Kathakali collection.

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Figure 57.Painted sleeves(self-done)

77


Figure 58. Flat Sketch of Garment 1 of Kathakali collection

Specifications F B


Side seam Length 38.5” 38.5’”


Neck round 6.5” 12”


Centre (F/B) Length 39” 41.5”


Sleeve Length 16.5” 16.5”


Closure Nil Nil

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12.4.7. Garment 2

Figure 59. Front and Back of Garment 2

79


Figure 60. Inner kurti of garment 2 of collection 3.

Specifications F B


Side seam Length 14” 14’”

Neck depth 8.5” 8.5”

Neck round 19.5” 19.5”



Hem (Width) 24.5” 24.5”



Closure Side

zipper

Nil

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Figure 61.Crop top of Garment 2, collection 3

Specifications F B

Full Length 13.5” Top- 7”

Bottom-

6”








Armhole 7.5” 7.6”

Closure Nil Nil

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12.4.8. Process of Garment 3

Figure 62. Hand painting of sleeves

Figure 63.Hand embroidered belt

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12.4.9. GARMENT 3

Figure 64.Garment 3 of the Kathakali Collection

83


Figure 65.Garment 3 0f collection3.

Specifications F B








Sleeve Length I6.5” 16.5”


Closure Side

zipper

Tie-up

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13.CONCLUSION

The two months of internship in U Fashion has helped in learning about how an

organization functions and the various processes involved in order to make a product

sellable in the market.. The organization has encouraged in exploring creativity through

the medium of hand painting and embroidery.

This Project helped create more awareness about an organization and its functions and

a sneak peek at the business world of Indian fashion.

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14. BIBLIOGRAPHY

Information collected from the company mentor Mr.Niranjan, the Pattern Master-

Mr.Shiva and the Manager- Mr.Laxman

www.linkedin.com

www.teluguone.com

www.wikipedia.org

www.craftsvilla.com

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Documents

FINAL DOC 2!!