krishna mehta
TRANSCRIPT
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SUBMITTED BY:
ANITA SIHAG
M/TD/09/03
TD-III
NIFT MUMBAI
TRADITIONAL
INDIAN
TEXTILES
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KRISHNA MEHTA
Krishna Mehta`s tryst with designing began in February 1982. Accomplishing
the fashion-designing masters in 1987 from Sophia Polytechnic, Mumbai,
Bachelor of Commerce degree from Sydenham College of Commerce &
Economics, Mumbai in 1981 and an extensive training in weaving at the
Weavers Service Centre, Mumbai, Krishna joined the family business of
garment exports in 1982. Working her way up from a Co-ordinator to
merchandiser to fabric incharge and then to designer in a span of nine years.
In 1991 Krishna took the fledgling Indian fashion industry by storm with her
menswear. Her perfectly cut and impeccable finished lines soon established her
as a respected name in men`s fashion. She was the first one, to introduce the
batik and the tie and dye shirts, and bring back the achkans and the angarakhas
in natural, and Indian fabrics for the new generation men, which established her
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as a respected name in men`s fashion. The first menswear designer soon came
up with Indo-west line
and fusion lines for
women in 1994, which
were also indeed the first
of their kind to be seen in
the country. In 1989,
Krishna, being the first
Indian menswear
designer, who took the
fledgling Indian fashion
industry by storm with
her perfectly cut and
impeccably finished
modern lines.
Krishna Mehta opened her flagship store " Krishna Mehta" in Mumbai in
January 1996, specialising in Indian, Indo-west and Western Couture garment
lines for men and women. This was followed by the opening of a "Krishna
Mehta`" franchisee store in Ahmedabad. In order to make her garments within
the reach of a larger market, Krishna launched "K2", her label for ready-to-wear
garments for women and men in 1998. oday, Krishna Mehta is one of the fastest
growing fashion brands in India for the ready to wear collections, which are
being retailed from more than 40 outlets within the country and internationally.
Her quest for providing perfect quality with immaculate finish & attention to
detail for every garment; has earned her respect globally and has also seen her
business grow likewise.
Krishna Mehta collections canbe found in the US, UK,
Middle East & selected stores
of Europe, including the
fashion capital, Paris. Her
brands `Krishna Mehta` and
`K2` are available in her
Signature store in Mumbai,
Ensemble in Mumbai andDelhi and across all `Be` stores
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in India and Dubai besides XLNC, Mebaz, Da Design St. -Hyderabad, Collage,
LNB Textiles - Chennai, Deepam, Rain Tree -Bangalore, Celebrity -Baroda,
etc.
Innovate or evaporate,” happens to be designer Krishna Mehta‟s mantra. She is
known for introducing batik, and tie „n‟ dye on men‟s shirts and Indo-fusion
wear for the new-age working woman. Right from 1988, when she began her
career, to Milan Fashion Week in 2004, Krishna has come a long way. She has
also been honoured with the Fabled Peacock Award and the CMAI award. The
designer will showcase her collection at the finale of Beyu Awards Fashion
show on Sunday.
Krishna, who is also the first men‟s wear designer of the country, recalls her journey. “There were eight such designers when I began my journey. Therefore,
it was easy to make a mark. The other designers were concentrating on
women‟s apparel. I wanted to do something different and so, I decided to design
for men,” she says. Krishna definitely makes it
sound like a cakewalk. She does not appreciate
heavy sequins or embroidery, because she feels, “A
designer should not impose his design on the
wearer‟s personality. I design to enhance people‟s personality.”
Sticking to her mantra, Krishna had introduced
batik prints when stripes were in fashion. “Eighteen years ago, I had launched a
men‟s batik collection in Bengaluru, after Mumbai. Observing a response to the
collection, I had realised that every individual wants to look striking,” she says.
Krishna says that she is very particular about the fit and finish of her garments.
Insisting on the fact, she compares designing to cooking. “While cooking, we
garnish as much as we can to make a dish perfect. Why should designing be anydifferent?” she asks.
Founder of PALAK, Gujarat, Krishna is also a social worker. “I have set up a
block printing unit in Palampur where I only employ differently abled persons.
They might make mistakes but, working with them gives me pleasure,” she
says.
Krishna is in love with the city and is looking forward to her show here. “People
in Bengaluru are open to trying new things. While experimenting, I look
forward to the response from this city,” she says. The designer rates the city
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high on fashion quotient and says, “While launching a new line, Bengaluru
always gets a priority.”
Krishna Mehta is known for introducing BATIK, and TIE „N‟ DYE.
TIE ‘N’ DYE
Tie-dye is a process of resist dyeing textiles or clothing which is made from
knit or woven fabric, usually cotton; typically using bright colors. It is a modern
version of traditional dyeing methods used in many cultures throughout the
world.
Tie-dyeing is accomplished by folding the material into a pattern, and binding it
with string or rubber bands. Dye is then
applied to only parts of the material. The
ties prevent the entire material from being
dyed. Designs are formed by applying
different colors of dyes to different sections
of the wet fabric. A wet t-shirt is mucheasier to use rather than just dyeing on a
dry t-shirt. Once complete, the material is
rinsed, and the dye is set.
Although many different kinds of dyes may be used, most tie-dyers now dye
with Procion MX fiber reactive dyes. This class of dyes works at warm room
temperatures; the molecules permanently bind with cellulose based fibers
(cotton, rayon, hemp, linen), as well as silk, when the pH is raised. Soda ash
(sodium carbonate) is generally used to raise the pH and is either added directly
to the dye, or in a solution of water in which garments are soaked before dyeing.
They do not fade with washing, but sunlight will cause the colors to fade over
time.
Plangi and tritik are Indonesian words, derived from javanese words, for
methods related to tie-dye, and bandhna is a term from India, giving rise to
the Bandhani fabrics of Rajasthan. Ikat is a method of tie-dyeing
the warp or weft before the cloth is woven.
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PROCESS
Tying the fabric on the marks with fine thread. Tied and ready to dye.
Measuring the dye for the fabric.
Mixing the dye in water and heating to make the dye bath.
The dye bath ready to add the fabric.
Dip dyeing the fabric in one colour.
The first colour is ready.
The dyed fabric is carefully rinsed ready for the second colour.
Tying the fabric and binding with polythene to resist the second dye.
Dip dyeing the fabric in the second colour.
After the second dyeing the fabric it is rinsed in cold water.
The knots are removed after the fabric is dried completely.
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TIE ‘N’ DYE TECHNIQUES
KNOT TYING
Hold the cloth at both ends and twist into a long rope form
Tie this long rope into a knot and tighten as much as you can
without damaging the cloth. Knot tying works best on long
sleeves and light-weight material. You can tie as many knots as
you have room for. Rubber bands or string can be tied over the
knots to reinforce them as well as provide fine lines in the
pattern.
SPIRALS
Lay your material on a flat surface. Place your thumb and a
couple of fingers together on the cloth at the point which willbe the center of the design. Using the weight of your fingers to
hold the cloth in place, start twisting. After each twist, flatten
the material with the palm of your hand to keep the folds from
rising. With your other hand, bring the loose ends into the circle
and continue to twist until the whole thing looks like a fat
pancake.
Now take rubber bands, and without disturbing the shape of the
pancake slide the bands under the cloth so that they intersect at
the center. Use as many as necessary to retain the circular
shape, about twice the number shown in the illustration at rightfor most tie-dyes. If you decide to immerse, instead of
squirting, just set the cloth gently in the dye bath, do not stir.
For an interesting effect, prevent the cloth from submerging,
either by using less water or by placing the cloth on a prop to
hold it out of the dye a little. Some materials will float
automatically. Then sprinkle a different color dye in powder
form over the top of the cloth, being careful not to get any in
the other dye solution.
MARBELLING
Gather cloth together in small bunches until it is shaped like a
ball. Try to expose as much of the cloth to the surface as
possible. This effect works best on thin materials.
Wrap the string or rubber bands loosely around the ball in as
many directions necessary to retain the ball shape, and set
gently in the dye bath. Do not stir. Just turn over once in a
while.
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LEHRIA
A Lehria is many little circles, touching or overlapping each
other.
Wrap string or rubber bands several times around the base of all
the circles which have been gathered together. Continue to
wrap to the tip and back, making sure your ties are very tight.
PLEATING
Lay cloth on flat surface. Place thumbs of both hands together
firmly on the cloth. Position fingers about an inch or two in
front of your thumbs, and pinch the fabric to raise a fold.
Continue to pinch up more pleats until you reach the end of the
cloth. You can change directions as often as you want by
gathering more material in one hand than in the other.
Be careful not to lose any pleats. Loop rubber bands or string
very tightly around all the pleats several times and knot. You
can use as many ties as you want. This useful technique is also
employed in tying ovals, squares, diamonds or any shape you
can imagine which has symmetry.
SOME EXAMPLES OF TIE „N‟ DYE
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*IMAGES FOR REPRESENTATIONAL PURPOSES ONLY
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BATIK
The word "batik" comes from Java and means "printing in wax.” This method
of decorating has been practiced for centuries many Asian countries. The
process involves using wax to resist the effect of fabric dye – the parts of the
cloth coated in wax remain the original colour.
It is also a type of resist printing.
The Batik Process
Hot liquid wax is applied to fabric either drawn by hand or printed by
hand using a pattern block.
The fabric is then dipped into a dye solution – the waxed areas protect the
cloth and the dye can only penetrate the unprotected areas. That‟s Batik put simply but the methods used in Indonesia are more elaborate with
successive waxing, dying and re-waxing to achieve highly beautiful and
intricate designs.
The canting
The Canting, Sometimes called a wax pen, is a small copper container with a
small tube mounted on a bamboo handle. The copper container is filled with
melted wax and the artist uses the canting to draw the wax onto the cloth. The
spout can be as small as 1 mm in diameter for very fine detailed work. Larger
spouts are used to fill in large areas also parallel lines and dots can be drawn
with canting that have up to 9 spouts.
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PROCESS
Step One – first waxingWax is applied to white or beige fabric over a penciled-in outline with the
Canting
Step Two - first dying
The fabric is dyed and the area of the cloth where the wax was applied
will remain white.
Step Three – second waxingThe colour of the second waxing is a dark color to help distinguish it
from the first waxing. The parts covered with this wax application will
protect the colour of the first dying.
Step Four – second dying
The fabric is dyed with a second colour and areas that are not covered by
wax will be dyed. At this point the fabric will have three colours – the
colour of the cloth, the first and the second dye colours.
Step Five – removal of the wax.
All the wax is removed by heating with hot water and scraping and
sponging off.
These steps can be repeated as many times as the design requires.
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SOME EXAMPLES OF
BATIK
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*IMAGES FOR REPRESENTATIONAL PURPOSES ONLY
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GARMENTS CREATED BY KRISHNA MEHTA USING
TYE’N’ DYE AND BATIK TECHNIQUES.
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