National Institute of Fashion Technology, Kannur INDUSTRY INTERNSHIP Submitted in Partial Fulfilment of the Summer Industry Internship of BACHELOR OF DESIGN (TEXTILE DESIGN) Batch : 2023 - 2027 Student : Harshita Garg Mentor : Dr. Afrose Farid SUKETDHIR Balin World Pvt. Ltd. F-574/B, 2nd Floor, Anuvrat Marg, Lado Sarai, Mehrauli, South Delhi, Delhi, 110030 1

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Copyright @2026 Department Of Textile Design, National Institute Of Technology, Kannur-670562 All rights reserved; No part of this document may hereon be reproduced or used in any form or by any means - electronic, mechanical, photocopying, recording or otherwise without prior permission from the National Institute of Fashion Technology, Kannur Student Name: Harshita Garg Faculty Mentor: Dr. Afrose Farid Textile Design: 2023-2027

National Institute of Fashion Technology, Kannur INDUSTRY INTERNSHIP Submitted in Partial Fulfilment of the Summer Industry Internship of BACHELOR OF DESIGN (TEXTILE DESIGN) Batch : 2023 - 2027 Student : Harshita Garg Mentor : Dr. Afrose Farid SUKETDHIR Balin World Pvt. Ltd. F-574/B, 2nd Floor, Anuvrat Marg, Lado Sarai, Mehrauli, South Delhi, Delhi, 110030

S U K E T D H I R

Jury Member Name of the Industry/ Organization Signature with date JURY EVALUATION SHEET The evaluation jury recommends Ms Harshita Garg BD/23/6624 for the evaluation of Industry Internship from National Institute of Fashion Technology, Kannur after evaluating her/his report and fulfilling the requirements set by the institute and the jury members Remarks: Centre Coordinator - Textile Design NIFT, Kannur

CERTIFICATE OF COMPLETION

S U K E T D H I R

This is to certify that the document entitled "Industry Internship" submitted by Harshita Garg BD/23/6624 (Batch: 2023-2027) student of B.Des (Textile Design) at National Institute of Fashion Technology, Kannur is the record of work carried out by her during the period from 01/06/2026 to 25/07/2026 at SUKETDHIR , Balin World Pvt. Ltd. F-574/B, 2nd Floor, Anuvrat Marg, Lado Sarai, Mehrauli, South Delhi, Delhi, 110030 under the guidance of Dr. Afrose Farid (Professor, Textile Design Department). Harshita Garg Dr. Afrose Farid (Professor, Textile Design Department) CERTIFICATE OF ORIGINALITY

I would like to express my heartfelt gratitude to SUKETDHIR for providing me with the opportunity to intern at their esteemed organization. The experience and knowledge gained during my time there have been invaluable in shaping my career. A special recognition goes to my industry mentor, Ms. Kashvi Khaushal, Assistant Fashion Designer at the SUKETDHIR for her guidance and constant support throughout the tenure of the internship. I would also like to thank Mr. Suketdhir, Founder and Creative Director for her valuable guidance and suggestions. I would also like to acknowledge the guidance and support provided by my faculty mentor Dr. Afrose Farid (Professor, Textile Design Department). Her constant encouragement and constructive feedback have played a significant role in my professional growth. Lastly I am grateful to my family for their constant support and having faith in me. I express my heartfelt thanks to SUKETDHIR, the production team and my colleagues for their invaluable support and guidance I have received throughout my journey. ACKNOWLEDGEMENT

Brand Overview 16-51 1.1 Company Profile 1.2 Organisational Chart 1.3 Infrastructure and Machinery Set Up of the Industry 1.4 Product Range and Brands 1.5 Market Segment (or) Export Market 1.6 Materials and Manufacturing Process 1.7 Design Studio Team (or) Design Management 1.8 Design Process and Sample Development 1.9 Order Processing and Production Planning 1.10 Quality Control and Inspection Methods 1.11 Product Costing Methods (Industry Costing Sheet of all the Product Range) 1.12 Product Marketing and Distribution Channels 1.13 Corporate Social Responsibility Industry Project / Freelance Project 52-106 2.1 Praja Print 2.2 Orchard Print new Motif Developement 2.3 Introduce New manipulation Techniques 1 2 C O N T E N T S 3.1 Learning Outcomes 107-114 3.2 References 3.3 Annexures 3

SUKETDHIR01

Less is More The brand focuses on reducing unnecessary elements while giving importance to fabric, fit, finish and small design interventions. Details such as jaali stitch finishes and buttons sewn with multicoloured threads have become recognisable characteristics of SUKETDHIR.OUR STORY SUKETDHIR is a Delhi-based luxury fashion label founded by designer Suket Dhir. The brand is known for its understated approach to Indian fashion, combining contemporary silhouettes with Indian craft, textiles and detailed finishing. The brand describes its aesthetic as indo-centric and craft- intensive, bringing together contemporary minimal silhouettes, luxurious textiles and elements of Indian culture. Textiles are reinvented to create garments that emphasise comfort, detailing and individuality. SUKETDHIR began with menswear and later expanded into womenswear. The brand currently offers categories including shirts, kurtas, trousers, blazers, jackets and other ready-to-wear pieces for men and women.ABOUT THE BRANDBRAND PHILOSOPHYfig 1. Main studio20

COMPANY INFORMATION DETAILS Brand SUKETDHIR Founder Suket Dhir Co-founder Svetlana Dhir Industry Luxury Fashion / Apparel Location Lado Sarai, New Delhi Address F-574/B, 2nd Floor, Anuvrat Marg, Lado Sarai, Mehrauli, South Delhi, Delhi – 110030 Phone +91 8447656660 Email info@suketdhir.com Website www.suketdhir.com COMPANY DETAILS 21

SUKETDHIR THE FOUNDER Suket Dhir is a NIFT graduate and the founder and designer behind the label. His design approach combines minimalism with intricate details, playful textiles and traditional Indian influences. His first retail presence was through Good Earth, and he later gained international recognition after winning the 2015–16 International Woolmark Prize in the menswear category.fig 2. Founder 22

SVETLANA DHIR CO-FOUNDER Svetlana Dhir is the co-founder of the brand and has played an important role in its development. With a background in psychology and experience as an analyst, she became involved in the management of the design house. She also served as an important muse for Suket Dhir and inspired the brand's expansion into womenswear.fig 3. co-Founder 23

AESTHETICSSUKETDHIR’s aesthetic is modern Indian minimalism, where the emphasis is on clean forms and simple shapes, juxtaposed with rich fabrics, intricate detailing, and unexpected accents. The brand is heavily influenced by Indian culture and traditional craftsmanship, which are reinterpreted in a modern, relaxed, and sophisticated way. SUKETDHIR designs are minimalist, understated, and elegant, letting the fabric, texture, construction, and detailing take center stage. SUKE TDHIR embodies a ‘less is more’ philosophy, where the focus is on subtle detailing, as opposed to excessive ornamentation.24

USPThe USP of SUKETDHIR lies in its ability to reinterpret Indian textiles and craft into contemporary, wearable luxury. Instead of going heavy on ornamentation, SUKETDHIR creates difference through fabric deconstruction, using unexpected textile juxtapositions, handcrafted detailing, relaxed tailoring and impeccable finishing. Details like unusual stitching, buttons, and construction are added to make a statement, which adds personality to otherwise understated designs. Indian craftsmanship meets minimalist luxury in this label’s recognizable aesthetic.fig 4. Wine golfer25

Finance and Administration Marketing and Communications ORGANISATIONAL STRUCTURE The organization maintains a small yet highly skilled team of employees and professionals. The Design section is led by Mr. Suket Dhir with the assistance of an assistant designer Ms Kashvi Khaushal and interns. The employees involved in the production process operate under the Guidance of Mrs. Anjali. The sampling process is done by the head master who then gives the samples to Mrs. Anjali for approval. The finance wing is managed by Mr. Ajay whereas the administration is handled by Ms. Svetlana Dhir with the help of Mr. Prabhat. Suket Dhir Assistant Kashvi khaushal Interns Harshita GargFounder/Creative DIrector Suket Dhir Design Team Head Ajay Finance head Karan Assistant Shivam Tailors and Artisans Production and Manufacturing Human Resource Sales and Distribution Head Arushi Head Amit Head Mr. Prabhat Head Svetlana Dhir Interns Assistant Anjali 26

INFRASTRUCTUREThe SUKETDHIR workspace is organised across four floors, with each floor serving a specific function within the design, retail and production process. The layout allows the brand to maintain a connection between retail, design development, embroidery, tailoring and production within the same workspace.fig 5. Studio27

RestroomWorking AreaSofa AreaTrial roomTrial roomTrial roomPrivate Client AreaDesign StudioLibraryStore RoomRestroomRestroomKitchenFinance and Administration AreaConference roomRack 1Rack 2Rack 3FLOOR 1 — RETAIL STORE The first floor functions as the retail store, where the finished collections are displayed and presented to clients. The floor includes dedicated display racks, a sofa/seating area and two trial rooms, allowing customers to browse and try the garments in a comfortable setting. FLOOR 2 — MAIN OFFICE & DESIGN STUDIO The second floor houses the main office and design studio. This is the primary space for the design team, where design development, discussions, planning and day-to-day creative work take place. The floor also includes areas for meetings, working, storage and client interactions. 28

Embroidery UnitEmbroidery UnitFabric and Production UnitQuality CheckTailor head masterjiTailor head masterjiRestroomRack 1Rack 2Rack 3Rack 4FLOOR 3 — EMBROIDERY & PRODUCTION UNIT The third floor is dedicated to embroidery, production, quality checking and packaging. It also serves as a space for storing and handling the required raw materials. The embroidery work is carried out by a team of approximately 10 artisans. After production, garments undergo quality checking before moving towards packaging. FLOOR 4 — TAILORING UNIT The fourth floor functions as the tailoring unit. The unit consists of approximately 10–15 tailors, supported by 4 working ladies and 2 head tailors who oversee and coordinate the tailoring process. The floor plays an important role in translating the developed designs and samples into finished garments. 29

Roshan V Neck Kurta Muga Satin Blue Rs. 42,650.00Shikari Jacket Cotton Silk Check Cobalt Rs. 38,650.00SD Leap Rana Blazer Silk Brocade B/W Rs. 68,650.00Quilted Jacket Silk Check Dhagai Terracotta Rs. 58,650.00Janbaaz Bomber Jacket Silk Damask Champagne Pink Rs. 54,650.00Trench Silk Brocade Ice Blue Rs. 115,850.00Vest Coat Silk Brocade Oyster Grey Rs. 38,650.00Panchatantra Udaan Shirt Teal Silk Dupion Rs. 28,650.00Phillauri Dress Silk Check Dusty Mauve Rs. 42,650.0030

Padmini Dress Silk Check Lilac Rs. 28,650.00Shorts Silk Brocade Rose Rs. 22,650.00Albela Jumpsuit Silk Brocade Mustard Rs. 88,650.00Classic Trousers Silk Brocade Ice Blue Rs. 42,650.00Box Pleat Skirt Silk Brocade Black Rs. 88,650.00SD Azaad Trousers Fuchsia Pink Silk Damask Rs. 34,650.00At SUKETDHIR, women’s clothing includes shirts, kurtas, dresses, skirts, trousers, blazers, jackets, bombers, jumpsuits, coats and trench coats. The current price range varies from approximately ₹8,650 to ₹1,15,850, depending on the design, fabric and detailing of the garment. Women’s wear was formally launched in 2018 with the “He for She” capsule collection, which interpreted the label’s classic menswear through a feminine prism. It featured sharply tailored pieces in menswear silhouettes such as blazers, pantsuits, bomber jackets, jumpsuits and more, available in women’s sizes. Womenswear Product Library 31

SD Golfer Classic Shirt Red Linen Rs. 22,650.00SD Forest Blossom Bade Miyan Kurta Orange Navy Sik Brocade Rs. 44,650.00SD Orchard Bush Shirt Heavy Cotton Mint Rs. 18,650.00SD Classic Trousers Linen Winter Sky Rs. 22,650.00SD Golfer Bade Miyan Kurta Mustard Silk Brocade Rs. 44,650.00Palazzo Silk Brocade Red Rs. 44,650.00At SUKETDHIR, men’s wear includes shirts, kurtas, bandhgalas, blazers, bomber jackets, gilets, trousers, pyjamas and more. The price range varies from approximately ₹9,650 to ₹88,650, depending on the fabric and construction of the garment. Menswear Product Library 32

SD Bandhgala Ajrakh Midnight Silk Velvet Rs. 88,650.00Rana Blazer Silk Brocade Fuchsia Golfer Rs. 88,650.00SD Rainforest Bandhgala Beige Silk Brocade Rs. 88,650.00Rana Blazer Linen Blue Rs. 58,650.00 SizeBandhgala Velvet Green Rs. 88,650.00Shaan Gilet Heavy Linen Black Rainforest Rs. 38,650.00SD Shaan Gilet Emb Teal Heavy Linen Rs. 58,650.00SD Safari Jacket Beige Satin Linen Rs. 48,650.00SD Classic Shirt Teal Silk Check Rs. 22,650.0033

MARKET: Premium / Luxury Fashion TARGET: Design-conscious consumers MARKET: India + International EXPORT: Worldwide online shipping RETAIL: Luxury multi-brand stores + Direct-to-consumer website SUKETDHIR brand specializes in premium and luxury fashion clothes. The company develops contemporary clothing high-quality fashion clothes, and unique details for men and women. SUKETDHIR brand offers a wide range of elegant and high-quality products from cotton t-shirts and trousers to more expensive jacket styles, kurtas, dresses, and other outfits. This clothing brand is famous for its customer-centric and creative approach to developing unique products with a luxury feel. Moreover, the company has a diverse customer base that prefers to buy clothes in the premium segment. SUKETDHIR brand has both national and international markets for its products. For example, in the Indian national market, the company supplies its luxury fashion clothes to luxury multi-brand retailers such as ogaan. These multi-brand retailers also resell other clothing brands. Besides, providing clothes to luxury multi-brand retailers, SUKETDHIR brand also sells its high-fashion clothing, accessories, and other products on its website on a global scale. Thus, the company’s international market is represented by their online shop, and the international market is supplied with clothes from the New Delhi warehouse. MARKET SEGMENTfig 6. Farhan Akhtar in Suketdhir 34

Age: 25-45 years young professionals and mature consumers with a well- established sense of personal style. Gender: Men and women; the brand appeals to both genders. Location: Urban and metro cities in India as well as customers from other countries with an interest in contemporary Indian clothing. Income: ₹15 Lakh and above with a steady income and sufficient disposable income for luxury items. Lifestyle: Urban and established professionals with an interest in art, architecture, design, fashion, and culture. Values: They value craftsmanship, authenticity, luxury, comfort, sustainability, and Indian cultural heritage. Fashion: Their preferred styles include understated luxury, relaxed tailoring, and contemporary designs made from natural and exotic fabrics with some unique features. TARGET AUDIENCEfig 7. Babil Khan in Suketdhirfig 8. Poorna Jagannathan in Suketdhir 35

DESIGN ELEMENT AND MANUFACTURING PROCESS

fig 9. Orchard print

Colours Of SUKETDHIR38

Colours Of SUKETDHIR MUSTARD TEAL CHARCOAL BLACK OYESTER GREY ICE BLUE NAVY BLUE SAGE RANI PINK SALMON RED 39

Muga CottonJaal BrocadeZigzag BrocadeVelvetDamask60 linenCotton Crepesilk twillsilk 50glinen jerseyheavy cotton80gm linencotton silksilk boracdesilk damasksilk twillSUKETDHIR works with a mix of traditional Indian textiles and fine contemporary fabrics. These include Ikats, Jamdanis, Banarasi brocades, khadi, linen, cashmere, merino blends, satin, velvet and pashmina. The fabrics are sourced from different weaving regions and artisans and are further enhanced through printing, dyeing and embroidery techniques. Fabrics Of SUKETDHIR 40

zig-zag brocade cotton crepe silk twill silk 50gm linen jersey heavy cotton cotton silk silk brocade velvet denim damask muga satin muga cotton jaal brocadefig 10. Fabric Swatch 41

Brand’s Print Design Language 42

The print language of SUKETDHIR is an exercise in minimalism with a contemporary craft-led aesthetic. The prints are more about complementing the garment and not overpowering the design language of the silhouettes in question. They play with motifs inspired by nature, Indian motifs, geometry, and abstraction, interpreted in contemporary prints and sophisticated color palettes. The print language works in tandem with there textiles, embroidery, and relaxed tailoring to create recognizable motifs while being minimalist in their impact. The design language is contemporary Indian, organic yet sophisticated, minimalist yet detailed in execution – print-led aesthetics with a craftsman’s touch.fig 11. Crimson Panchtantra43

SOURCING SUKETDHIR prioritizes Indian textiles and traditional craftsmanship. Textiles are sourced directly from local artisans and weavers. Traditional fabrics such as ikats, jamdanis, and brocades are sourced from West Bengal, Banaras, and other indian cities. SUKETDHIR works with a wide variety of materials ranging from mill-made cashmere, merino, satins, and velvets to locally made pashmina from Nepal and Kashmir. SUKETDHIR works with 32-count khadi and linen from Banaras, SUKETDHIR collaborates with specialists to execute specific surface treatments. Block printing is a specialty of a local trader based in Amroha. Dyeing is done by the house hand who has been with the house for nearly two decades. The aari and hand embroidery are done by specialist, in-house workers who take a lot of time perfecting every minute piece of work. Trimming tailoring is done locally and customized according to the project’s garment requirements.fig 12. Fabric storefig 13. Head pankaj bhaiya 44

WORKFLOWSUKETDHIR has three key stages of their work flow; Design, Production and Post-Production. Research, client analysis, theme exploration, print development, silhouette and colourway explorations are some of the activities involved in the design phase before finalising the design. Then the finalised designs go through pattern making, cutting, embroidery, tailoring, finishing seams and hems, attaching labels and last alterations, and quality checks prior to final production. Finally, post production includes; costing, lookbook creation, fittings and photo shootings. The final collection is then uploaded on the website, advertised on social media and later packed and shipped to their destination, thus completing the whole process of design development to final product and presentation.ResearchClient AnalysisTheme ExplorationPrint DevelopmentWORKFLOWDESIGNPRODUCTIONPOST PRODUCTIONSilhouette style explorationColourway for designPattern makingCutting, embroidery and tailoringSeam and hem FinishesFaggating and embroidery on finishesAttaching labelsAlteration, if any and quality checkCostingLookbook creationModel FittingsPhotoshootSocial Media Marketing45

46Embroidery Unit HAND EMBROIDERY MACHINE EMBROIDERY TAILORING UNIT PRODUCTION TEAM Fabric Inventory Pankaj Bhaiya Sourabh Bhaiya Arif Bhaiya Shibu bhaiya ( khaka expert ) Firoz , Yusuf , Aftab , Mayoor Pattern Master Tailoring Master Suneel Materji Uday Masterji Salman , Pinky didi , Yusuf Aftab , Usha , Sangeeta Chandni , Nadeem , Farook QUALITY CHECK Deepak Bhaiya

47fig 13. Pin board

EMBROIDERY UNIT The embroidery unit of SUKETDHIR is the place where Aari and hand embroidery works are produced and developed by expert workers. There are around 10 workers employed in this unit who make changes in the dress material according to the design specification on the garment. QUALITY CHECK UNIT The quality check unit deals with the inspection process of the made garment before it is sent for packing. In this process, the stitches, seams, hems, embroidery, measurements, finishing, labels, and overall appearance of the made garment are checked. TAILORING UNIT The tailoring unit deals with the cutting and assembling part of the dress according to the design provided to them. There are around 10-15 tailors working in this unit and 4 working ladies and 2 head tailors who manage and control this unit.fig 14. Embroidery artisansfig 15. Tailoring unitfig 16. Quality Check unit 48

QUALITY CONTROL Quality control at SUKETDHIR is done at different stages of garment production to ensure that the final products are free from defects. Thus, after tailoring, the produced items are subjected to inspection to identify any problem with their stitching, seams, hems, embroidery, finishing, and overall appearance. Any defects identified in the process are corrected before it moves on to the next stage of production. Another quality control measure is done at the final stage of production, where garments are inspected to check their overall appearance and fitness, labels, and finishing. The items that pass the inspection are then packed and prepared for delivery. On the other hand, those that do not pass the test are returned to the relevant production team to make the necessary corrections.fig 17. Ironing of Garmentfig 18. Head deepak bhaiya 49

COSTINGAt SUKETDHIR, the cost of a garment is calculated by taking into account the materials, processes and resources that go into its making. The cost is calculated from the base fabric and other components such as lining, fusing, printing, dyeing and trims are included. The total production cost also takes into account the cost of labels, packaging and consumption of resources. The total production cost is the summation of the individual costs. The profit margin and overhead are also added to the final pricing . All these add to the final / net cost of the product . The costing varies according to the design and the level of detailing as the requirements and processes varies from one garment to another.50

COSTING SHEET (CMT) Style number — Date — Description — Season — Size Range — Colours — Marker Yardage — Item Description Quantity Approx. Cost Fabric Sourced from experienced weavers ( pure fabrics) — ₹200–500 / metre Lining & Fusing Locally sourced lining and fusing — ₹60–100 / metre Printing Application of prints — ₹350–650/metre Dyeing Custom dyeing by in-house expert — ₹90–150 / metre Trims Zippers, buttons, threads, machine & embroidery requirements — ₹20–180 / piece Tags & Labels Price tag and size label — Approx₹10/piece Packaging bag and paper stuffing — Approx. ₹100 Electricity & Resources Based on hours/resources used — Approx. ₹2,000–4,000 / day Total — — As per design Profit Margin Added to production cost — — Overhead Cost Additional operational cost — Net Total Total + profit margin + overhead cost —COST SHEET.

PRODUCT MARKETING & DISTRIBUTION CHANNELS SUKETDHIR markets his products through the use of digital marketing, retail presence and direct customer interaction. The brand uses its website and social media channels to communicate new collections, campaigns and products to its audience. They also use lookbooks and professional photoshoots to visually communicate the collection and to create a consistent brand image. The brand sells through its own online platform and physical retail channels for distribution including its retail store and selected multi-brand stores like Ogaan. Finished garments are packed in the studio and ready to be delivered to customers and retail partners. The combination of direct-to-consumer and multi-brand distribution enables SUKETDHIR to cater to both domestic and international customers.fig 19. Instagram handle of Suketdhir 52

fig 20. Website of Suketdhirfig 20.1. Website of Suketdhir53

CORPORATE SOCIAL RESPONSIBILITY (CSR) SUKETDHIR markets his products through the use of digital marketing, retail presence and direct customer interaction. The brand uses its website and social media channels to communicate new collections, campaigns and products to its audience. They also use lookbooks and professional photoshoots to visually communicate the collection and to create a consistent brand image. The brand sells through its own online platform and physical retail channels for distribution including its retail store and selected multi-brand stores like Ogaan. Finished garments are packed in the studio and ready to be delivered to customers and retail partners. The combination of direct-to-consumer and multi-brand distribution enables SUKETDHIR to cater to both domestic and international customers. 54

fig 21. suketdhir on Royal enfield projectfig 22. Jacket for Royal enfield55

INDUSTRY PROJECT02

fig 23. Royal with Phone58

Brief 1 - Develop a sophisticated nature-inspired print for SUKETDHIR’s upcoming Diwali collection. The print was to explore elements such as leaves, branches, flowers, animals and dancers, while maintaining the brand’s understated, contemporary and refined aesthetic. The design needed to feel festive without relying on conventional or overtly traditional Diwali motifs. PROJECT 1 S U K E T D H I R 59

INSPIRATIONThe inspiration was drawn from Indian gardens, botanical forms, delicate foliage, flowering branches and the movement of dancers. Natural elements were observed for their organic shapes and rhythm, while dancers and animals introduced a sense of movement and storytelling into the print.60

MOODThe Mood board brings together botanical imagery, flowering branches, foliage, Indian dancers, animals, architectural details and Diwali-inspired visual references. The imagery was selected to create a balance between nature and movement, with a refined and slightly whimsical mood.61

MOTIF DEVELOPMENT 62

LEAF MOTIFS63

MOTIF DEVELOPMENTVINES64

TINY DEATILS65

MOTIF DEVELOPMENTFLOWERS66

FLOWERS67

MOTIF DEVELOPMENTDANCERS68

ANIMALS69

Composition -1 COMPOSITION 70

Composition -2 71

COMPOSITION Composition -3 72

BLOCK Block- 1 73

Block -2 BLOCK 74

Block- 3 75

COLOURWAYSfig 24. colourways for Praja print 78

blush on wine blush on fuchsia gold on voilet white on blush pink gold on gold white on antique gold 79

MOCKUP FLAT SKETCH Six colourways were explored for the kurta to study how the print changes with different base and motif colour combinations. The palettes range from soft and muted tones to deeper, richer shades, while keeping the overall look sophisticated, elegant and suitable for the Diwali collection. The colourways were developed to maintain harmony between the print and the silhouette without overpowering the delicate motifs. 80

Print mockup - 6 colourways 81

Print mockup - 6 colourwaysSix colourways were explored for the kurta to study how the print changes with different base and motif colour combinations. The palettes range from soft and muted tones to deeper, richer shades, while keeping the overall look sophisticated, elegant and suitable for the Diwali collection.The colourways were developed to maintain harmony between the print and the silhouette without overpowering the delicate motifs.82

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fig 25. lady with book84

Brief 2 - Develop additional animal motifs with quirky and playful elements for the existing Orchard print. The base print was already developed, and the focus of the project was to create new motifs that complemented the existing print language and develop suitable colourways for the menswear collection. PROJECT 2 S U K E T D H I R85

INSPIRATIONThe existing Orchard artwork, with its delicate flowers, winding branches, berries, and whimsical elements, was the main source of inspiration. The new motifs were designed to maintain the same sophisticated yet playful illustrated character.fig 26. Base for Orchard print86

MOOD Delicate, whimsical, playful, sophisticated, nature- inspired, and slightly quirky. The overall mood combines a refined botanical aesthetic with small unexpected animal characters. 87

MOTIF DEVELOPMENTSquirral and birds88

Quirky elements89

MOTIF DEVELOPMENT Placement90

Placement91

MOTIF DEVELOPMENT Selected one with colour92

Different placement 93

COLOURWAYSfig 27. colourway for orchard 94

95

fig 28. Indigo Small Scale Orchard

97

Size Chest Waist Shoulde r Sleeve Length Shirt Length S 38 32 17 24.5 29 M 40 34 17.5 25 30 L 42 36 18 25.5 31 XL 44 38 18.5 26 32 XXL 46 40 19 26.5 33MENS WEAR SHIRTFLAT SKETCHMEN’S SHIRT — SIZE CHART Measurements in inchesMens shirtNote: Measurements are body measurements and may vary slightly depending on fit and style. SUKETDHIR itself states that its size-guide measurements are body measurements. 98

Print mockup - 6 colourways99

fig 29. Dancing lady with fan100

Brief 3 - To explore surface manipulation techniques that create subtle texture and visual interest while maintaining a minimal and delicate aesthetic. The project focuses on experimenting with pin tucks, honeycomb and pleating, studying how different manipulations alter the surface, texture and fall of the fabric. The final garment translates these explorations into a refined and wearable design. PROJECT 3 S U K E T D H I R101

THEME Delicate Minimal Textured 102

PROPOSED IDEAS PIN TUCK WITH EMBROIDERY So, first pin tucks can be done on kurtas or shirts and then on top Small motifs of cranes, crabes , clouds can be done using embroidery on top Pin tuck with bead Pin tuck with Sequin 103

PROPOSED IDEAS HONEYCOMB SMOCKING First, pleates are made Patterns and images are created using smocking pleats. It requires more precision and experience as specific pleats need to be placed in certain positions to achieve the desired image. Honeycomb stitch SUKETDHIR Back of the oversized shirts Hand cuff 104

PROCESS 1). Markings are done 2). pleating with hand 3). stitched with silk thread 4). Tiny chitta embroidery is done in 2 ways 1 inch honeycomb 1/2 inch honeycomb 1/4 inch honeycomb 1/4 inch honeycomb The honeycomb samples had 3 variations of different sizes to make it look delicate this sample specifically is developed for shirts or kurtas to increase the stretch around handcuff area 105

Finished samples 106

PROPOSED IDEAS It is done on multi colour stripe fabric specifically for dresses HIDDEN PLEATS First, pleates are made 107

WOMENS WEAR KURTA FLAT SKETCH WOMENS LONG KURTA FIT DESCRIPTION Long, straight & loose fit Full-length silhouette Loose 3/4 sleeves Side slits for ease Round neck with keyhole opening FABRIC Fabric: Handloom cotton Colour: Light pastel pink Feel: Lightweight, soft & breathable PIN TUCK DETAIL FRONT BACK 108

DESIGN PROCESS 1.Pattern Making Basic kurta pattern was developed according to the required silhouette and measurements. 2. Pintuck Planning Pintuck size, spacing and placement were decided on the garment. 3. Pintuck Application Pintucks were marked, folded and stitched onto the fabric. 4. Stitching The manipulated fabric pieces were assembled to construct the kurta. 5. Finishing Seams, edges and hem were finished, followed by final pressing. TRIAL 109

PHOTOSHOOTFig 30. Draped in Karishma Kurti 110

LEARNING OUTCOME 03

I had a wonderful learning experience during my eight weeks summer internship at SUKETDHIR and it helped me understand the whole process of working in a professional fashion and textile designing environment. I am a student of Textile Design at NIFT and I had mostly worked on academic projects where the design process was explored in a limited classroom environment. During my internship I could observe the development of a design idea into a final product, and how different departments, artisans and production processes cooperate to achieve the final outcome. The internship exposed me to print development, motif development, colorways, embroidery, hand techniques, sampling, production and quality checking. During the internship I was heavily involved in the design development process, from research and references to motif development, print development and final artwork. This made me realize that a print design involves thinking about scale, spacing, rhythm, color and repeat, not just individual motifs. I was taught to regard a print as a surface in its entirety, not as a series of discrete motifs. Much of my internship was spent working on print development. I worked on the Praja print, developing and improving motifs and altering them depending on feedback. I saw how a print is made, with a lot of rounds of corrections and approvals. The final artwork had to be meticulously prepared as a seamless repeat on a 60 × 40 inch production artboard, which has given me an understanding of the technical requirements involved in preparing artwork for production. This was unlike making prints for academic presentation alone as the artwork had to be accurate, properly arranged and ready to go the next stage. I also did the Orchard print where I developed animal based motifs with quirky elements. I worked on motifs like the squirrel and humming bird and worked out ways these characters could be incorporated into the existing print. This project taught me how a designer can introduce a new visual element to an already developed print without destroying its original character. Another important learning was the relationship between the design studio and production. I saw how the work goes through different phases, starting with design research and understanding the client, then theme and print development, silhouette and colorway development and then production. I saw how pattern making, cutting, tailoring, embroidery, finishing, alterations and quality checking are related to each other. I also learned about the importance of quality control in the final product. In college projects we are usually focused on finishing the design. But I learned during my internship that even a good design can lose its effect if the execution is not accurate. Look closely at the placement of the embroidery, the stitching, the finishing, how the fabric has been handled and the overall look of the garment. 112

I also gained a better understanding of time management and working to deadlines. Working on multiple projects throughout the internship forced me to organize my tasks and complete work to requirements of the studio. I learned that professional design work requires consistency and discipline when developing several projects at a time. Overall, my internship at SUKETDHIR helped me to bridge the gap between the academic learning and industry practice. It developed my skills in motif development, print design, color exploration and surface techniques and introduced me to the practical side of production and craftsmanship. I have learned to be more attentive, accurate, and open to feedback. For me the most important thing was to learn that a successful textile design needs a balance of creativity, function, craftsmanship and the identity of the brand. The experience has made me feel more confident about tackling future textile projects and has also made me think about design as not just an artwork but rather a process that proceeds from an initial idea to a finished product. It has also informed my own interests in textile design, particularly in print development, creating motifs and combining traditional craft with contemporary design. The knowledge and practical exposure gained in these 8 weeks will enable me to look at my future educational and professional projects with a more informed and industry-oriented view. 113

Fashion Design Council of India (FDCI). Suket Dhir – Designer Profile. URL: https://fdci.org/member/suket-dhir/ Accessed: 16 August 2026, 5:26 PM IST. Forbes India. Suket Dhir: Weaving Stories in Style. URL: https://www.forbesindia.com/article/work/suket-dhir-weaving-stories-in- style/42999/1 Accessed: 15 August 2026, 3:30 AM IST. SUKETDHIR. About Us. URL: https://www.suketdhir.com/pages/about-us Accessed: 13 August 2026, 2:00 PM IST. REFERENCES 114

Fig 1. Main studio Fig 2. Founder Fig 3. Co- founder Fig 4. Wine golfer Fig 5. Studio Fig 6. Farhan akhtar in Suketdhir Fig 7. Babil khan in Suketdhir Fig 8. Poorna jagannathan Fig 9. Orchard print Fig 10. Fabric swatch Fig 11. Crimson panchtantra Fig 12. Fabric store Fig 13. Head pankaj bhaiya Fig 14. Embroidery artisans Fig 15. Tailoring unit Fig 16. Quality check unit Fig 17. Ironing of garment Fig 18. Head deepak bhaiya Fig 19. Instagram handle of Suketdhir Fig 20. Website of Suketdhir Fig 21. Suketdhir on Royal Enfield project Fig 22. Jacket for Royal Enfield Fig 23. Royal with phone Fig 24. Colourways for praja print Fig 25. Lady with book Fig 26. Base for orchard print Fig 27. Colourways for orchard Fig 28. Indigo small scale orchard Fig 29. Dancing lady with fan Fig 30. Draped in karishma kurti Fig 31. Sales poster design Fig 32. Sales poster design Fig 33. Chikankari swatches BIBLIOGRAPHY 115

ANNEXUREfig 31. Sales poster Design

ANNEXUREfig 32. sales poster design Annexure 1 – Design of Sales Poster The sales poster was an advertisement communication for SUKETDHIR. The design was aimed at presenting the product in a clean and visually appealing manner while still maintaining the minimal and sophisticated esthetic of the brand. The layout, typography, imagery and color palette were considered to create a clear hierarchy and to make the product information easy to understand. The poster helped me to understand how a fashion product is translated into a commercial visual and how design elements are used to attract the target customer.

ANNEXUREfig 33. Chikankari Swatches Annexure 2 – Swatches of Chikankari The Chikankari swatches were developed as an investigation of the traditional Indian surface embroidery. By studying different stitches, motifs and textures the delicacy and detailing of the craft was understood. Using the swatches made me realize the importance of stitch accuracy, the choice of fabric and the time consumption of hand embroidery. It was also a chance to look at how a traditional craft can be interpreted and presented in a contemporary design context. Lucknow is known for the traditional Chikankari of the city, characterized by delicate floral and nature inspired designs.

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