AADYAM DOC com

GRADUATION PROJECT DOCUMENT STUDENT: KHUSHI PURI BD/22/2251 Under the guidance of MENTOR: ASST. PROF DEEPA XAXA 2025-2026 DEPARTMENT OF TEXTILE DESIGN NATIONAL INSTITUTE OF FASHION TECHNOLOGY KANGRA

Published in the year 2026 National Institute of Fashion Technology (NIFT) (Ministry Of Textiles, Government of India) Chheb, Kangra Himachal Pradesh - 176001 Website: www.nift.ac.in/kangra Text and Images copyright (Aditya Birla Group./NIFT) This document is originally submitted as a part of academic learning to NIFT and can be used for academic purpose only. The opinion expressed in the document is solely those of the author and NIFT does not bear any responsibility for the nature of its content . Edited and Designed by: Khushi Puri Email: khushipuri2810@gmail.com

JURY EVALUATION SHEET This evaluation jury recommends Khushi Puri , for the satisfactory completion of her Summer Internship Project at AADYAM HANDWOVEN ( Aditya Birla Group) , from the National Institute of Fashion Technology , Kangra after evaluating her project and fulfilling the requirements set by the institute and the jury members. Remarks JURY MEMBERS Name Afffiliation Signature Center Coordinator Textile Design Dated:____________________________

This report is a comprehensive documentation of my 17 week internship at AADYAM HANDWOWEN , under the esteemed Aditya Birla Group, as a part of the curriculum of the Bachelor of Design in Textile Design from the National Institute of Fashion Technology (NIFT). The purpose of this internship was to bridge the gap between academic learning and industry practice. It offered me a unique opportunity to understand how a leading brand in Fashion and Home textiles functions in craft sector, particularly in the domain of Handloom. This document outlines my role, key responsibilities, and the creative journey behind my Primary projects storytelling-based print collection that captures the essence of Indian rooted lifestyle and rich culture . It includes my research. concept development, design process, outcomes, and the learnings acquired during the internship. Through this report, I aim to reflect the knowledge, skills, and professional discipline I have developed over the course of the internship, and how it has contributed to shaping my design thinking and practical approach. PREFACE

I would like to express my heartfelt gratitude to everyone who supported me throughout the course of my 8 week internship with TRIDENT GROUP, the flagship brand of the Trident Group. First and foremost, I take this opportunity to express my gratitude and appreciation to all those who encouraged me during this time period of eight weeks and to National Institute of Fashion Technology, Kangra, Department of Textile Design Faculty Members for giving me an opportunity to work in the industry, I sincerely thank the design team at Aadyam Handwoven for providing me with the opportunity to learn, grow, and explore the world of home textiles through real-time industry exposure. A special thanks to my mentor and guide at Aadyam , Mr. Manish Saksena, Business Lead Mrs.Vishakha Anand , Design Manager, Devyani Prakash , Design Manager whose constant guidance, constructive feedback, and encouragement helped me stay on track and bring my creative vision to life. I am grateful to the faculty of the National Institute of Fashion Technology, especially my internship coordinator Asst. Prof Deepa Xaxa for their constant academic and professional support during this journey. Lastly, This experience has enriched me both professionally and personally, and I am truly thankful for the opportunity. ACKNOWLEDGMENT

C O N TE NT DEPARTMENT & WORKFLOW 3COMPANY’S PROFILE 1 ART OF MAKING 2

LOOM STORY 5 THE JOURNEY BEGINSAADYAM’S CATALOG 4 6

COMPANY’S PROFILE Introduction A CSR Initiative Brand Philosophy Functional Hierachy Organizationl Sturctuture

Introduction Aadyam Handwoven is an initiative launched by the Aditya Birla Group in 2015. It aims to revive and sustain India’s rich handloom heritage by supporting traditional weavers across the country. The initiative focuses on creating high-quality handcrafted textiles while ensuring fair wages, improved working conditions, and sustainable livelihoods for artisans. By blending traditional techniques with contemporary designs, Aadyam Handwoven seeks to make handloom relevant in today’s global market. Aadyam Handwoven operates as a part of the Corporate Social Responsibility (CSR) efforts of the Aditya Birla Group. It works closely with weaving clusters, NGOs, and artisan communities to provide design support, technical training, and market access. The initiative emphasizes ethical sourcing, transparency, and long-term impact, ensuring that the benefits reach the grassroots level. Through collaborations with designers and brands, Aadyam aims to create sustainable products that appeal to modern consumers while preserving traditional crafts. A CSR Initiative

. VISION & MISSION To create a self sustaining ecosystem for the finest artisans of the country by supporting them and creating a market for their craft and thereby impacting their quality of life. Aadyam currently works with three exquisite craft clusters namely Varanasi, Pochampally and Bhuj with plans of extending its reach to many more clusters, from the abundant and varied pool of traditional handwoven textiles in India. Brand Philosophy BRAND PROMISE #FEEDTHELOOM #DOGOODFEELGOOD This approach not only bridges the gap between tradition and innovation but also widens the market for artisanal textiles. By enabling strong financial independence for the weaving families and their upcoming generations, Aadyam Handwoven fosters pride in craft and thereby creates an ecosystem where artisans are valued contributors to India’s cultural and economic landscape. (सततता के साथ, धरती से लेकर…)

Grasim Industries-Fashion & Textile Grasim Industries Limited, the Aditya Birla Group’s flagship manufacturing company, is a global leader in viscose staple fibre (VSF). It plays a key role in textiles, chemicals, and building materials. In the textile segment, Grasim has a strong presence through brands like Liva, Linen Club, and its sustainable fabric initiatives. It focuses on innovation, sustainability, and circular economy practices. The company also contributes to Aadyam Handwoven through CSR initiatives aimed at supporting artisan Aditya Birla Group Aditya Birla Group is a global Indian conglomerate with operations in over 40 countries and revenue of about $70 billion (2022). It spans industries like metals, cement, textiles, chemicals, finance, and telecom. Key companies include UltraTech Cement, Hindalco, Grasim Industries, Aditya Birla Capital, Aditya Birla Fashion & Retail, and Vodafone Idea. The Group leverages its scale to drive growth and social impact. Functional Hierachy

.Manish Saksena Chief AdvisorDESIGN TEAMMARKETINGPLANNING & PRODUCTUIONHomeApparel Aadyam Handwoven - Organizationl Sturctuture Arya Prabhakan Design MangerVishakha Anand Design Manger Devyani Prakash Design Manger Dikshita Design MangerVishesh Sharma Marketing HeadJayant Harshita Prateek Michale Sumit Dahiya Planning and production HeadPlanningSourcingProductionMr. Pradeepan Planning MangerMr. Guna Pilai Production MangerMr. Cybea Kashyap Sourcing MangerCluster HeadsMr. Akshay Warehouse MangerMrs. Salith Finance MangerKhushi Puri Design Trainee

DEPARTMENTS AND WORKFLOW Departments Involed Planning & Production Department Sourcing Department Warehosue ans Quality Control Manufacturing Unit (External) Design Department

Planning & Production Department Support: Mr. Pradeepan Kumar (Planning Manager). Mr Guna Pillai (Production Manager, Ms. Salith (Finance Manager). Role: This department manages loom allocation, production scheduling and costing. They coordinate with cluster managers to plan how many looms can be engaged per season and time duration of production. The production team also supervises bulk weaving. manages deadlines, and monitors consistency. The finance department manages payments artisans and clusters, ensuring timely disbursement and wages Departments Involed Chief Advisor (Head of All Departments): Mr. Manish Saksena Role: Provides overall leadership and vision to Aadyam Handwoven. He majorly guides the Design and Marketing teams, approves themes, motifs, and collections, and ensures alignment of the brand's creative direction with market positioning Working of Aadyam Handwoven

Sourcing Department Role: The sourcing department ensures the availability of raw materials such as yarn, dyes, and zari. Since most yarns are sourced and dyed locally within clusters, the sourcing manager's role is primally coordinating with all the cluster managers to track sourcing channels, ensure quality of materials, and verify that ethical practices are followed. Warehosue ans Quality Control Role: The department is responcible for receiving, storing, and Inspecting all woven products before any sample or bulk order moves to next stagea and undergoes strict QC at the warehouse. The team also supervise the dispatchof finished products to retail stores and e-commerce channels. Along with Grading.

Design Department Role: The design team is responsible for theme research and developing product designs for both apparel home textiles. From preparing the technical drawings and design sheets and ensuring the creative vision aligns with weaving techniques . Reviewing samples , approvals of final design by collaborating closely with cluster weavers. Multiple Renders of motifs, CAD development, and color testing are done to refine each motif The layouts are carefully developed to suit the intended product category-whether sarees, dupattas, upholstery or home linens while maintaining design continuity across collections. Manufacturing Unit (External) While not directly owned by Aadyam , this unit handles finishing, stitching and final touches for home textiles and sarees. The unit ensures that the rodicts are ready for retail display and custumer use, maintaining concistency in finishing quality.

Cluster Communitry The cluster teams of Aadyam Handwoven operate through a structured framework that ensures smooth functioning from craft revival to final product development. Each craft cluster is managed by a Cluster Manager who serves as the key link between the artisans, designers, and the central Aadyam team. The cluster manager oversees artisan engagement, quality control, raw material procurement and timely production. while also addressing the socio-economic needs of the weaving communities. Marketing Department Role- The marketing department manages branding, exhibitions, promotions, social media, website design, and cultural events. They communicate Aadyam’s collection and brand story to the customers while strengthening it’s handloom positioningin addition teh team also coordinates and conducts e-commerce shoots at Studio 11 Production in Bangalore for online Retail.

MANUFACTURING PROCESSAllocation ( Planning of Loom )Sample Request FormDesign Process Sampling & Design Correction Sample QC ( Warehosue & Office )First saree development Bulk Production & QCFinishing and Stiching Final QC & Dispatch Planning and distribution of looms at each cluster. Trend, theme research, motif development Material sourcing, corrections, lab dips, dyeing Approval and QC of the samplesFull saree/yardages making after approval Making of the remaining sarees Stitching of tassels and apparel products Quality control at warehouse and packaging Technical sheet for each product to be made.

THE ART OF MAKING Trend & Theme Research Motif & Design Development Technical Translation Match Making of the Color Palatte Graphs Sampling

Motif & Design Development Once the themes for apparel and home category are finalized, the process moves into motif creation and design layouts. Here, the design team works across the apparel (sarees, dupattas etc) and home textiles. To ensure there is less chances of defects due to technical details and motif design (prevent yarn slippage). Multiple renders of sketching, CAD development, and color testing are done to refine each motif. Following specific layoyts acc to product Trend & Theme Research The process begins long before the first motit s drawn. The Design Team, under the guidance of Chief Advisor Mr Manish: Saksena, undertakes an intensive theme research exercise at the start of every season. This involves studying the global fashion & textile trend forecasts, Pantone color directions, home décor movements, and how consumer lifestyle shifts. Design Management

Match Making of the Color Palatte Once the seasonal colour palette is finalized, digital shades are converted into physical yarn samples called lab dips. In collaboration with Ghaffar Dyeing Services, multiple dye variations are created and matched under standardized lighting to achieve the closest Pantone shade. The finalized colours are then approved for bulk yarn dyeing, ensuring consistency, accuracy, and quality across the collection. The design team provides the selected Pantone shades or palette references, and the dyeing partner creates multiple variations of each colour by adjusting dye concentration, temperature, and dyeing time. Technical Translation After the designs are creatively approved, they are translated into technical language through Sample Request Forms (SRFs). These detailed sheets include yarn specifications, weave structure, colour references, repeat size, and loom settings to guide the weavers accurately. SRFs also help in costing and production planning while ensuring smooth communication between the design team and weaving clusters like Banaras, Bhuj, Gadwal, and Pochampally, minimizing errors and maintaining consistency across crafts.

Sampling Sampling is the process of creating the first woven prototype based on the approved design, SRF, and graph. It involves sourcing yarns, dyeing colours, setting up the loom, and weaving an initial sample to check the accuracy of motifs, colours, weave structure, and overall finish. The sample is reviewed by the design and QC teams, and necessary corrections are made before moving into final saree production and bulk weaving. Graphs After preparing the Sample Request Forms (SRFs), the designs are converted into graphs for weaving execution. These graphs visually map motif layouts, weave structures, repeats, and colour placements, helping the weavers accurately interpret the design during loom setup and weaving. This process ensures precision, consistency, and smooth production execution.

BEHIND THE LOOMS Cluster geography Bhuj Varanasi Bhadhoi Kashmir Pochampally Gadwal

CLUSTER’S COMMUNITY VARANASI BHADHOI BHUJ

POCHAMPALLY GADWALKASHMIR

BHUJ The artisans of Kutch weave using vibrant threads, with each piece being a labour of love. The fabric woven without the aid of a Jacquard, is an expression of heritage handed down through eleven generations. Tediously but lovingly decorated fabrics are like embroidering on the loom. The result is a raised three dimensional surface ornamentation that is highly textured and enhanced. Weaving of a piece may take days to months, depending upon the intricacy and innovativeness of the design. The result is an understated piece of fabric that astounds with its wealth of staggeringly minute detail, when viewed up close. The juxtaposition of dry arid desert lands and bright vibrant colours and ornamentation on fabrics seem to be a natural response to each other. The simple living and jovial nature of the inhabitants adds to the charm of travelling to this region PRODUCT PRICE RANGE

EXTRA WEFTTANGALIABHUJKHARADMASHRUWeaving extra loops above or below the warpWoven in pit looms, twisting contrasting threads onto warp threads, creating raised dots and intricate patterns.Kharad weaving from Gujarat's Kachchh region produces intricate rugs using camel hair, goat hair, cotton, and wool.Mashru weaving blends cotton, viscose, and silk, creating vibrant fabrics with small dotted patterns and vibrant stripes.

VRANASI Steeped in centuries of tradition, Benaras Brocades are recognised throughout the globe as a sign of opulence and elegance. Through the decades, Brocade has been worn by nobility across cultures.A Brocade fabric incorporates extra weft of different coloured silk or metallic yarns which are woven into the warp and weft to create ornate elaborate patterns, on a Jacquard loom. Using techniques that are as varied as Kadwa,Tanchoi, brocades, Khinkhwab and Gyasar. PRODUCT PRICE RANGE

KADWAGAYSARVARANASITANCHOIJAMDANIThe extraweft threads, responsible for designs wound in sirkies go around and get interlaced with the base, as each of them are controlled by individual sirkiesHeavy brocade in silk, viscose with gold and silver zari is woven on the pitloom in a width of only 23” , produced just a few inches in a day.This intricate craft uses single/double warp with multiple colored wefts, creating exquisite designs like florals, bird motifs, and geometric patterns.Artistry combining a supplemental weft with the regular one, with larger interlaced extra weft threads, resulting in intricate motifs.

BHADHOI The mesmerizing world of Bhadohi and Mirzapur, weaving clusters steeped in artistic heritage and craftsmanship. They have long been celebrated for their exquisite handwoven rugs and carpets. Here, skilled artisans weave dreams into reality, transforming threads into masterpieces that adorn homes and spaces with elegance and beauty. Every intricate pattern and vivid color tells a story, reflecting the rich cultural tapestry of the region. PRODUCT PRICE RANGE

PANJAHAND KNOTTEDSOUMAKBHADHOI /MIRZAPURThe technique creates reversible dhurries on horizontal looms using a wide-tooth unique comb. It forms intricate designs with the weft wrapped around the warp and beaten tightly.The weaver then ties each individual knot around pairs of warp threads, creating a row or "line" of knots. This process is repeated row by row. The quality and value of a hand-knotted rug is identified through knots per square inch.Its distinctive braided look comes from wrapping weft threads continuously around the warp threads. Reversible nature showcases designs on both sides, offering versatility and visual appeal.

KASHMIR In the serene valleys of Kashmir, skilled artisans weave intricate Kani shawls, painstakingly crafting each thread into a tapestry of beauty. The delicate art of Sozni embroidery adorns these shawls with elegant motifs, showcasing the rich cultural heritage and craftsmanship of the region. As you embrace the allure of Kashmiri Kani weaving and Sozni embroidery, you immerse yourself in a world where time stands still, and each creation becomes a cherished treasure PRODUCT PRICE RANGE

SOZNI EMBRODERYKANI SHAWLKASHMIRSozni embroidery, a delicate art from Kashmir, features satin stitch motifs on Pashmina shawls. This timeless fusion of artistry and craftsmanship takes 3-5 months.Art from Kashmir uses the unique "kani loom" to create intricate designs on fine pashmina shawls. It is named after the small wooden shuttle used in the weaving process called "kani"

POCHAMPALLY Ikat fabrics come from a small town called Pochampally close to Hyderabad. It is a handloom hub surrounded by lush verdant green hills. Ikat is an ancient technique that creates patterns on yarn through the laborious process of resisting segments of the yarn through tying. These carefully calculated, tied yarns are then dyed to create patterns. The yarn may then be used in the warp or weft or both to create beautifully patterned, distinct woven textiles. A tie & dye technique thread by thread which when placed together in a mathematical precision begin to create motifs on the fabric. PRODUCT PRICE RANGE

WEFT IKATWARP IKATPOCHAMPALLYDOUBLE IKKATWeft ikat involves tying and dyeing the weft threads, making it more challenging than warp ikat, as the pattern emerges during the weaving processWarp ikat is a traditional dyeing and weaving technique where warp yarns are resist-dyed before weaving, creating intricate patterns.Double Ikat is a mesmerizing technique where both warp and weft are resist-dyed prior to weaving, resulting in seamless patterns. Woven on Pit looms , blending art and mathematics into stunning masterpieces.

GADWAL Gadwal developed around a fort built by the Gadwal ruler Somanadri, from Poodoor village, known as Gadwal Samsthanam, which was a vassal of the Nizam of Hyderabad, now, Jogulamba Gadwal district has the mixed culture of Telangana, Rayalseema and Karnataka. The district is under Tungabhadra River basin. The fifth Shaktipeeth Temple of the eighteen Shaktipeethas is located at Alampur in this district and this district is named after this temple. The original cotton body with silk border was painstakingly joined by kuttu 3 shuttle technique and palla silk is joined by Neem & ash oil yarn by yarn. It’s a lost skill on the verge of extinction but then again just as synthetic colored houses in pink & lavender and mauve greet you so does the rice kolam on every door. Hope lingers. PRODUCT PRICE RANGE

KUTTU WEAVEGADWALWeaving extra loops above or below the warp

AADYAM’S CATALOG Aadyam’s Lookbaord Client Profile Product Porfolio Brand Competitors USP & Brand Positioning Partnerhip and Collaborations Events Gallery

Aadyam’s Look Board Vintage Heirloom Well thougtht through Concious Traditonal Technique Indian Handlooms

Client Profile Women of STYLE Revivalist Interior Stylists Interior Stylist Maximalist Invest in Handwoven Textiles Ethical & Concious Admirer of Indian Heirtage Collector Customer base largely consists of urban residents from metro cities like Mumbal. Deihi, Bangalore, and Kolkata, as well as NRis and global consumers who admire Indian handioom heritage

Product Portfolio Sarees Dupattas Stoles Shawls Suit Fabrics Mens Kurtas Womens Kurtas Kaftans Pocket Squares APPAREL

Cushion Covers Rugs Bedspreads Table Linen Runners Curtains Throws Placemats Napkins HOME

Brand Compitetors

USP and Brand positiong Develops collections rooted in cultural storytelling and Indian narratives Encourages collaboration between designers and traditional weavers for innovation in craft Maintains authenticity of techniques like Banarasi Kadwa, Jamdani, Ikat, and other regional weaves Backed by the credibility and large-scale support system of the Aditya Birla Group Creates a bridge between traditional karigari and global luxury markets Design/Pricing Social ImpactDastakar & Other NGO/NON profilAadyamFabIndiaEkayaRawMango and Handwoven LabelsGood Earth

Partnerships & Collaborations Aadyam Handwoven has collaborated with organizations and instiutions that ahare is vision of preserving craft and promoing handloom textiles on a langer platform Khoj Crafts: Collaboration to celebrate India's artisanal crats by showcasing Aadyam Handwoven's product range in curated exhibitions and events.. Sarita Handa Exports: A renowned name in the home decore textile Industry collaborating with Aadyam Handoven to present their handwoven products to a wider kneury clentele Craft Council of Telangana: A trusted and government authorized institution that works to. preserve and promote crafts, supporting Aadyam in showcasing Its collections in exhibitions and reaching craft-conscious consumers. Exhibiting Partners At

Study the craft of Kadwa from Varanasi Cluster and Design Suit Fabric collection for SS 27 , Indian Market. Cluster- Kadwa 4 Kadwa Fabics DESIGN BRIEF COLLECTION 1 - JOURNEY OF CREATION

Discontinuous supplementary extra weft brocade technique- Kadwa weave epitomizes Indian handloom artistry, intricately crafting motifs with precision using supplementary threads. This embrodery-like technique uses extra weft and zari on top of a base warp fabric without any loose floats at the back. The extraweft threads, responsible for designs wound in sirkies go around and get interlaced with the base. Each part of the design can have different textures and color details, as each of them are controlled by individual sirkies. Sirki is the small cylindrical pirn made by plastic that is used for making motifs by using extra weft technique. Opulent Kadwa sarees are a testament to timeless beauty and craftsmanship. Price ₹25,000–₹80,000+ Design development for Kadwa

Technical Details Generally, 160 hooks Jacquard is used for the making the border design and number of hooks for making the base varies from 160 to 640 hooks as per the size of motifs ( max repeat size 4,5'’ ) .The reed attached to the loom is called as hatha which is a wooden comb- like structure having reed wires. A very fine reed count kept between 96 and 140 is used in making these sarees. Time Frame From passing the SRF to making coverting the designd into graph and making of sample it days around 10-12 days for the butta motifs. It may also increase with the intricacy of design. Raw Materials Banarasi sarees are mainly made by using fine silk yarns where brocade work is done with silver or gold Zari threads. This zari features a cotton base with a copper coiling electroplated with real gold or silver to deliver superior shine and quality. Design Details for Kadwa

The Making Of KadwaAllocation ( Planning of Loom )Sample Request FormDesign Process Raw Materials Pre-Weaving Process Graph Making SamplingWeaving Process Final QC & Dispatch Planning and distribution of looms at each cluster. Trend, theme research, motif development Material sourcing, corrections, lab dips, dyeing Making of the remaining sarees Quality control at warehouse and packaging Technical sheet for each product to be made. Card Cutting and Card Punching Yarn DyeingYarn Winding Warping Multiple small pirns with different colored yarn and zari are used to give embroidery like effect Two weavers work together for easeAfter SRF, digital art works are converted into Graphs for WeavingThe finalized graph is converted into punched jacquard cards. These cards control the lifting of warp threads .Lab dips are developed to achieve accurate shades as per the design palette.

Making of sirkiesRepeat and motif SizesZari YarnsLoomWarpingPunch cardsMaking of sirkies

Cultural reflection Raw silk Mul cotton Sheer fabrics Royal Legacies Sacred beginnings INDIA FORECAST S/S 27 WGSN

Indian celebration Restorative warmth Embrace of sustainability Warm blush pigments Timeless appeal Expressive and confident hue

COLOR PALETTE MOOD BOARD Green – 698 Teal – 1451 Purple – 1469 Red – 620 Hot pink – 650 Apricot – 1236 Marshmallow – 987 M

Street Stories Colors Of Shringar Claasic India Confidence we carry We Desi Rangeela re

Line drawings

KADWA SUIT FABRIC SS 27

DESIGN 1MOTIF SIZE - 2'’ X 1'’WARPEXTRA WEFTWEFTWARPEXTRA WEFTWEFTCOLOURWAY 1COLOURWAY 2

DESIGN 2 COLOURWAY 1 COLOURWAY 2 MOTIF SIZE - 1.5'’ X 1'5'’ WARP EXTRA WEFT WEFT WARP EXTRA WEFT WEFT

MOTIF SIZE - 1.5'’ X 1.5'’WARPEXTRA WEFTWEFTWARPEXTRA WEFTWEFTDESIGN 3COLOURWAY 1COLOURWAY 2

DESIGN 4COLOURWAY 1COLOURWAY 2MOTIF SIZE - 1.5'’ X 1.5'’WARPEXTRA WEFTWEFTWARPEXTRA WEFTWEFT

SHOOT

Study the craft of Ikkats from Pochampally Cluster and Design Suit Fabric collection for SS 27 , Indian Market. Cluster- Pochampally 2 weft Ikkat 2 Warp Ikkat DESIGN BRIEF COLLECTION 2-

Time Frame Design development for Pochampally Ikat Pochampally Ikat textiles are mainly made using silk, cotton, and silk-cotton blended yarns. The uniqueness of the craft lies in the pre-dyed yarn technique which creates blurred yet precise geometric patterns after weaving. Motifs are usually bold and geometric like diamonds, stripes, or arrowheads because curves or tiny details are hard to achieve with tied warp threads. Fine mercerized cotton and mulberry silk yarns are commonly used for premium quality products. Natural as well as azo-free dyes are used to achieve vibrant colour combinations while maintaining colour fastness and durability. The process generally takes around 12–15 days for regular geometric motifs. The timeframe may further increase depending upon the intricacy of the ikat pattern, number of colour intersections, and precision required in tying and dyeing.

Weft IkatIn weft ikat, patterns build horizontally, row by row, as the shuttle moves across Motifs often favor diagonal or staggered layouts, which are easier to align than perfectly vertical forms. The horizontal edges seems to be blur, so the straight lines across are minimized or woven with extra attention. Motif repeats are designed based on the dyed sequence of the weft yarn.Double IkatFrom passing the SRF to making coverting the designd into graph and making of sample it days around 10-12 days for the butta motifs. It may also increase with the intricacy of design. Warp Ikat Motifs are usually bold and geometric like diamonds, stripes, or arrowheads because curves or Einy details are hard to achieve with tied warp threads. Vertical edges may blur slightly if the warp yarn alignment shifts, so designers plan motifs that can embrace this "fuzzy" effect.

The Making Of PochampallyColors and stones ( Yarn Dying )Spining ThreadsGraphingSeperating ThreadsSample ApprovalSamplingWeaving ProcessPlanning and distribution of looms at each weaver and technique .Trend, theme research, motif developmentMaterial sourcing, corrections, lab dips, dyeingBundles of yarn are carefully separated and arranged according to the graph and colour sequence.The graph acts as the technical map for tying and dyeing, helping artisans determine which sections of yarn need to resist colour during the dyeing process.Making of the remaining sarees and yardagesOnce the sample arrive designer looks at the detailing of the motifs and give the re marks accordinglingTechnical sheet for each product to be made.Tying threads using graphUntying BraidsWarpingThe weaving process is carried out manually on handlooms where the pre- dyed warp and weft threads intersect to create the Ikat patterns.StretchingAfter dyeing, the tied sections are carefully untied to reveal the undyed portions of yarn.Warp yarns are arranged parallel on the loom .

TyingTying threadsDyed yarns in tie a and dyeWeavingGraphingNatural Yarn dye

LINE DRAWING

Pochampally SUIT FABRIC SS 27

MOTIF SIZE - 4'’ X 1.5'’WARPWEFTWARPWEFTCOLOURWAY 1COLOURWAY 2DESIGN 1

COLOURWAY 1 COLOURWAY 2 MOTIF SIZE - 2'’ X 4.5'’WARPWEFTWARPWEFT DESIGN 2

COLOURWAY 1 COLOURWAY 2 MOTIF SIZE - 2'’ X 2'’ WARP WEFT WARP WEFT DESIGN 2

COLOURWAY 1COLOURWAY 2WARPWEFTWARPWEFTMOTIF SIZE - 2'’ X 4.5'’DESIGN 2

MOCK UP AND SHOOT

ReetCOLLECTION 3 - DESIGN BRIEF Sustainable design solutions for Home and Apparels , Using B Grade sarees and dupattas . 5 Patchwork reversable stoles /Dupattas fot gifting and festive season. SD CONVERSTIONS Cushions and Table Runners SS 26.

After the quality check of bulk production at the warehouse, fabrics are segregated into B-grade and C-grade categories based on the type and extent of damages. These fabrics are stored separately and are either sold at discounted prices or repurposed for sustainable and upcycling initiatives. At Aadyam Handwoven, these surplus textiles are transformed through projects such as SD & Conversions, patchwork bags, frames, and other value-added products. Extending this sustainable approach, the newly launched Patchwork Dupatta collection reimagines leftover fabrics into thoughtfully crafted pieces designed for the gifting and festive season, celebrating both craftsmanship and conscious design. WAREHOUSE B GRADE FABRICS INSIGHTS

Types of B-grade Fabric Defect Checklist Tag Colour Steadiness / Patch Stains Decolouration on Patch Broken Yarn Shortage Length Weaving Fault Unequal Ending Fabric Variation Other Selvage

Creative placementsCreative placements Taking an eco-conscious approach to quilts and cushions Royal Legacies TREND STUDY - SUSTAINABILITY

using leftover prints and fabrics from seasons past to create a covetable collaged line

PATCHWORK DUPATTA

Market trend of patchwork dupatta

BRAINSTORMING

A patchwork dupatta collection that narrates the journey of heirlooms passed through generations—each patch holding a fragment of memory, love, and a mother’s touch. Inspired by the forgotten treasures of a grandmother’s sandook, every piece becomes a ‘Sitara’, carrying stories of care, warmth, and togetherness. Rooted in maternal love, this collection draws from the tradition of handcrafted dupattas gifted to a bride—whether in Phulkari, Chamba Rumal, or other regional crafts. Beyond technique, it is the emotion that unites them: a tender moment of letting go, as a young girl steps into womanhood. This transformation is expressed through fabric, evolving from humble weaves to ornate zari—capturing the shift from innocence to responsibility. AMAANAT

Trousseau Generations Legacy Heirloom Rituals Handcrafted Moments Memories INSPIRATION

MOOD BOARD Fesvtival Shringar Girlhood to womanhood Love WO LAAL JO REH GAYA Living in harmony with nature New Beginings Her Memories

Layout and Grid Explorations

Rendering of Layout

Patwchwork Dupatta 88.5'’FRONT 38'’BACK Patchwork for front panel . 88.5'’ 38'’ Cut and Sew Applique Embroidery Use ligth weight B- Grade Saree or Dupatta seperate from the patchwork panel color palette to make it reversable.

CAD Developments REMARK REMARK REMARK REMARK

REMARK REMARK REMARK REMARK

REMARK REMARK REMARK

Front Panels

RUNNING STITCH 5 LINES GAP OF 1 ‘’NAMETECHNIQUEPRODUCT TYPEPRODUCT WIDTH ( INCHES)PRODUCT HEIGHT (INCHES)38'’ 88.5PATCHWORKARUNIMA PATCHWORK DUPATT - 001AW24RVSF172AW21RVDP095AW24RVDP127AW24RVDP143AW24RVSF656AW24RVSA244CODESREF IMAGEBACKINGBACKFRONT8W X 6.5H’’8WX 5H’’32.5 X 934.5W X 6.5H’’53H X 7.5H’’50W X 5H’’10W X 5H’’19W X 5H’’88.5'’10W X 5H’’10W X 5H’’19W X 5H’’44.5W X 9H’’10W X 7.5H’’30W X 4H’’ 30W X 2.5H’’8WX 5H’’23W X 5H’’22W X 5H’’26W X 2H’’ 26W X 5.5H’’16W X 6.5H’’12WX 9H’’38'’SS25RPDP5046WX 5.5H’’

AW24RVSF172AW21RVDP095AW24RVDP127AW24RVDP143AW24RVSF656AW24RVSA244CODESREF IMAGENO. OF PANELSDIMENSIONSBACKINGSS25RPDP50422248688.5W X 38 H43W X 8H’’, 15.4W X 12H ‘’.29.8 WX 12 H ‘’ , 17W X5H ‘’ .26.5 WX 10H’’, 26.5 WX 10H’’.40W X9H’’, 22W X 5H’’, 20WX 8H’’, 4W X21.5H’’.32 W X 9H ‘’ , 14 W X 4.8 H ‘’ , 17.9 W X 5.3 H’’ , 30W X 3 H'’, 5.9 W X 4.9 H’’ , 26 W X 2.4 H ‘’ .9 W X 12 H’’, 35 W X 5H’’, 20W X 5H’’, 18 W X5H ‘’, 26WX 6H’’, 29.8 W X9.5 H’’, 12 W X 9H’’, 10W X 4.8H’' .

8W X 8H’’40WX 5.5H’’44W X 5.5H’’21W X 3.5H’’18 X 519WX 5.5H34W X 6H’’88.553W X 5H’’32W X 5.5H’’60W X 3.5H’’55.5W X 5H’’12.5W X 6H’’40W X 5.5H’’44.5W X 5H’’43WX 2.5H’’11H X6.5W’’11H X6.5W’’BLOUSE PIECE (code not found)BACKFRONT38'’16H X 8W’’21H X6W’’11H X 6W’’13H X 6W’’17H X6.5W’’AW25RVSF163AW24RVDP127AW25RVSA5029( blouse)CODESREF IMAGE38'’ 88.5PATCHWORKTVESHA PATCHWORK DUPATT - 002NAMETECHNIQUEPRODUCT TYPEPRODUCT WIDTH ( INCHES)PRODUCT HEIGHT (INCHES)BACKINGSS25RPSA373

AW25RVSF163AW24RVDP127AW25RVSA5029BLOUSE PIECE (code not found)439988.5W X 38H12W X 6H ‘’, 18.5W X5.5H’’, 42.5W X 2.5H’’ .6W X 16'’, 12W X 4.7 H ‘’, 5W X17H’’, 5.7W X 17.3H’’ .8.7W X 12.5H’’ , 46W X 3H’’, 42.5WX 6.3H’’, 3WX17H’’, 8WX17H’’, 32.7WX5.5H’’, 53W X 5.5H’’, 40W X 6.4 H, 40W X 4.7 H.45W X 5.5H’’, 8.5 W X11 H’’, 6WX 11.5H’’, 56 W X 5.2 H’’, 33 W X 6H ‘’, 40WX6H’’, 6W X 11.3H ‘’, 21.7 X 6H’’, 14W X 11 H’’ .CODESREF IMAGEBACKINGSS25RPSA373NO. OF PANELSDIMENSIONS

38'’6W X 7H’’12 H X 6W’’13H X6W’’7W X 12H’’4.5 X 13.57WX 12H’’6W X 12H’’26H X 6W’’8.5W X 15H’’13H X 7H’’26H X 6W’’2'’12W X 12H’’13W X 6H’’9W X 13H’’22 W X 6 H’’8WX 6H’’9W X 12H’’16 X 3.512.5 W X 5H’’16W X 7.5H’’11.5W X 2H’’7W X 9H’’88.5'’13W X 21.5H’’13 W X 9H12.5 W x 12.5 H17.5 X 915.5W X8H’’RUNNING STITCH 6 LINES GAP OF ½ ‘’6.5'’BACKINGAW24RVSF172AW21RVDP095AW21RVDP343SS24RVSA387AW24RVDP127AW25RVSA502AW24RVSA272BACKFRONT12W X 10.5H’’13W X 5.5H’’38'’ 88.5PATCHWORKKAULPATI PATCHWORK DUPATT - 003NAMETECHNIQUEPRODUCT TYPEPRODUCT WIDTH ( INCHES)PRODUCT HEIGHT (INCHES)12WX 4H’’12WX 4H’’6.5W X 8H’’CODESREF IMAGERUNNING STITCH 6 LINES GAP OF ½ ‘’2W X 6.5 H8.5W X 12.5H’’17.5W X 3H’’AW25RVSA2974.5 W x 8 H7 W x 4H

BACKINGAW24RVSF172AW21RVDP343SS24RVSA387AW25RVSA502AW24RVSA272CODESREF IMAGEAW25RVSA297NO. OF PANELSDIMENSIONS24539688.5W X 38H’’.4.5W X14H’’, 15.3W X 3.2H’’.15.5W X8H’’, 17.5W X8H’’, 13W X 22H’’,7.5W X8H’’, 6W X 14H’’, 8W X 6.5H’’, 6.3W X 7.3H'’, 13WX 6.5H'’,14.5W X7.5H’’, 42.W X7.5H’’, 3W X7.5'’, 10 X 12.5H’’, 7.6W X 6.5H’’, 7.5W X7.5H’’, 15W X 6.5H’’, 7W X 12.5H’’, 7.5WX 13H’’.6.5W X26.5H’’, 11W X 8H’’, 13W X13H’’, 12.5W X 12H’,12.5W X9H’’, 9W X 13H’’, 7.5W 13H’’, 9.5W X6.5H’’, 23W X 4H’’, 3W X 8H’’.AW21RVSA200

NAMETECHNIQUEPRODUCT TYPEPRODUCT WIDTH ( INCHES)PRODUCT HEIGHT (INCHES)38'’88.5GAYTRIPATCHWORKPATCHWORK DUPATT - 004FRONTBACK38'’10W X 13.5H’’6W X 8.5H’’9WX 9H’’6H X 9W’’9WX 9H’’6H X 9W’’14WX6.5H’’17W X 8H’’11W X 4.5H’’7 X 25H X 15W’’18W X 8.5H’’21W X6H’’88.5'’4W X 88.5H’’20WX 11H’’12W X 6H’’31W X 2.5H’’4 X 88.513W X 2.5H’’13W X 6H’’14W X6.5H’’10WX13.5H’’17W X 8H’’14W X6.5H’’10W X13.5H’’9WX 9H’’6H X 9W’’6H X 9W’’6H X 9W’’AW24RVSF172AW21RVDP343SS24RVSA387AW24RVSF656AW25RVSA502AW25RVSA502AW24RVSA244CODESREF IMAGEBACKINGSS26RVDP1678.5H X 4.5W’’

AW24RVSF172AW21RVDP343SS24RVSA387AW24RVSF656AW25RVSA502AW25RVSA502AW24RVSA244CODESREF IMAGEBACKINGSS26RVDP167AW25RVSA503NO. OF PANELSDIMENSIONS2444453129.5W X9.5H’’, 20.7W X5.5H’’, 9.3W X9.3H’’.4.3W X8.7H’’, 11.6W X 4.6H’’, 12W X6H’’, 19W X 6.5H’’, 1W X9.5H’’, 15WX 7H’’.88.5W X 38H’’,16.5W X9H’’, 19.5W X11H’’,9.5W X 5.7H’’, 9.5W X 9.5H’’.13W X6.H’’, 9W X7H’’, 7W X4H’’, 14W X 5.5H’’ .18.5W X 7H’’, 21W X 5H’’, 24W X 4.5H’’, 15W X 6.5H’’.2W X 30H’, 0.5W X 18.5H’’.15.5W X 5H’’, 20W X 5.5H’’, 10.5W X 13.5H’’, 12W X 2H’’,.9.5W X 9.5H’’,9.5W X6H’, 14.5W X8.5H’’,15.5W X2.5H’’,13.5W X9H’’, 18.5W X6H’’, 19.5WX3.5H’’, 21W X 6H’’, 15W X 8H’’, 9W X 13.5H’’, 9.5W X 6.5H’’, 9.5W X 6.3H’’.

6 X 712 X 725.5 X 822W X 7H’’9.5W X 7H’’25W X 2H’’ 25 X 415W X 7H’’15 X 816WX 7H’’4 X 88.588.5'’7W X 8H’’4 X 88.516WX 7H’’10W X 7H’’24WX 8H’’15 WX 8H’’13WX7H’’16WX 7H’’15W X 8H’’7W X 8H’’25.5W X 8H’’25W X 4H'’25W X 2H’’16W X 3.5H’’16W X 3.5H’’15W X 8H’’NAMETECHNIQUEPRODUCT TYPEPRODUCT WIDTH ( INCHES)PRODUCT HEIGHT (INCHES)88.5PANKHURIPATCHWORKPATCHWORK DUPATT - 00538'’SS24RVSA387AW21RVSA200AW21RVDP343AW25RVSA502AW21RVSA200( border)CODESREF IMAGEBACKINGSS25RPSA437BACKFRONT38'’2 X 154 X 15

SS24RVSA387AW21RVSA200AW21RVDP343AW25RVSA502CODESREF IMAGEBACKINGSS25RPSA437NO. OF PANELSDIMENSIONS24371288.5W X 38H’’4W x14.5H’’, 4W x14.5H’’.25.5WX 4.5H’’, 25.5W X 4.5H’’,88W X 4H’’, 88W X 4H’’, 16.2W X 7H’’, 26W XH’’,16W X 3.5H’’, 23.5W X8H’’, 25.5W X 2.5H’’, 24W X8.3H’’, 10W X7H’’, 25.5WX 8H’’, 21.7W X 7H’’,16WX 3.5H’’, 11W X8H’’, 7.2W X 8'’, 15W X8H’’, 6.5W X8H’’, 14W X8H’’, 14W X8H’’, 7W X 8H’’, 7W X 8H’’, 15W X8H’’, 16.5W X6.5H’’, 11.5W X 7H’’, 11W X 7H’’.AW21RVSA200 ( border)

SRF Cutting The making Stitching Front Panel Cut Peices kept accordingly

Front stitchings

Shoot