Browse through some of the commendable efforts and initiatives by our students.
Pallavi was chosen to be a part of The Youth Fashion Summit held at Copenhagen in May, 2018. The Youth Fashion Summit is a programme with United Nations Global Compact that aims to create a framework for the industry on how to reach sustainable development goals. Pallavi has been working on sustainable design, focussing on making clothes using indigenous textiles and creative pattern making techniques to promote sustainability in fashion through her collections.
Surya was chosen to showcase his collection at the prestigious” Graduate Fashion Week, held in London from June 3-6, 2018. Through his creations, he has tried to portray a woman’s beauty even when she is aging and loses her perfect body shape. His creations are all red as he feels the colour is representative of a married India woman. It’s a celebration of women and their bodies and stresses that all women are beautiful and extraordinary.
Kritika exhibited widely available clothing solutions for wheelchair users bridging the gap between fashionable and functional clothing. It aims to make the idea of adaptive clothing mainstream keeping an array of clothing options available for the consumer, irrespective of age. Her project was titled Tashreef Rakhiye – Please have a seat.
It's the little things in life. Good music and Long drives, good food and fine wine, old books and quiet nights, deep conversations and wide smiles. Life is filled with such small moments that seem prosaic until one has the distance to look back and see the chain of large moments they unleashed. These moments are hidden between the mediocrities of lines and life just happens. These little moments just happen. Out of the blue. In between the lines.
“ CHANDRAVALI”a festive wear 19 collection is inspired by the rich and authentic art of Pichhwai paintings from blue city Udaipur(Nathdwara),which poetry’s the unique style of combining luxury and sustainability,as a concept of up cycling the old vintage banarsi and patola sarees from the soul of Kashi and patan,for young Indian women’s,celebrating the tradition of Indian fabrics.
“Monica Geller falls in love with Op Art.” The idea is to depict Monica Geller’s personality: organised, systematic, aligned, symmetric which also reflects Op Art through lines, creating marbling patterns, stripes, checks, mitering, pleats using neutral colors, shades of blue and red and monochromatic palette of black to white.
Taking wisdom from past while rediscovering our roots and reconnecting with heritage in its present state. It calls to unlearn the previous notions of beauty. And to acknowledge beauty which is beyond perfect and pristine. An unapologetic nod towards accepting and appreciating beauty of conveniently mended aged haveli, than becoming a muted bystander watching them disappear into nothingness. This virtue of mending conveniently to increase its longevity is translated into the collection ‘Quaint within’. Surfaces have aged, dusty, forgotten feel to them, further enhanced by washed out color.
Sinning with Dots and Blots The idea is to Let Go off the emotions that are caged within us because they are considered to be a sin, and accept them as it is. Inspiration being the, Seven Deadly Sins, which are Lust, Pride, Sloth, Greed, Gluttony, Envy and Anger, the idea is to depict them through different forms of doodling and scribbling. Each Sins are depicted through different form of art and lines, which includes, water marbling, black magic, attack paintings, line variations, dot variations, gradations in them through Black to White monochromatic scale, which helped in bringing out the purest form of the Sin. The sins are the deepest and the untouched desires of every living and hiding them only creates a layer above it. So instead of trying to tame these emotions just let it out of the system to accept one and move along with them. Explorations on each sin was felt, lived and then created.
Inspired by her struggle to prove that there is potential in a creative profession, jewellery design student Shubhangi Palawat choose a humble engineering product like pipes used by civil engineers and deconstructed it to make something beautiful. The USP of this body adornment is that it transforms from a flat 2D object to an interesting 3D form, and achieves all this with very simple joinery.
Avani, a communication design student, developed a font based on the Lepcha script of Sikkim, an endangered language according to UNESCO. She worked on the font in order to preserve the beauty and uniqueness of Indian culture. She created a functional font showing it to the local Lepcha community the ways to introduce the script back into their everyday life.
Akangksha Sarmah, a communication design student, worked on project #Redeafine. It is a designer-driven awareness campaign to make an active effort to address and gain a deeper understanding and sensitivity of the society towards people suffering from this disability. It is also an attempt towards inclusivity, empathy and an endeavour to create better opportunities for them.
Dhriti’s aim is to develop an experience centre for all the crafts of Varanasi. Her work has been inspired by an initiative taken by the Textile Ministry of Government of India. In 2016, the Textile Ministry had launched a mission called ‘Guru Shishya Parampara’ to highlight the 8 btypes of crafts and the work of the craftsmen. Dhriti developed a space using the latest technology which would provide an opportunity to anyone who is interested in interacting with these craftsmen and learn their craft. The higher objective of this was to revive the dying crafts and promote it by generating people’s interest in the same.
Interior architecture and design students Jugal Desai, Anushka Sarawgi and Yashika Dhamija designed a light called ‘lithe’ which means graceful. They took inspiration from the famous building of Zaha Hadid, Heydar Aliyev Cultural Center located in Baku, Azerbaijan. The subtle irregularity of ‘lithe’ means that their silhouette changes depending upon the view of the angle. It is a wall light which has a fluid form and does not follow geometry. This product was part of EDIDA 2018' competition which was conducted by Elle Decor India for product designers all over India. The students finished as first Runners up in Student Category International Elle Décor Awards In Lighting Design.
Arvind Narayanan has worked towards rebranding a football team. Realizing the need to revamp the football club, ATK with renewed energy which was losing its sheen after it parted ways with Atletico de Madrid, Aravind, attempted to create a new logo for ATK and renamed it as Bengal Baaghs Football Club. The logo embodies pride and supremacy which Arvind believes Indian Football must have.
'Avantika is a storyteller and through her book ‘NA MARD' she has highlighted stories of struggle of 23 Indian women who came forward and confided in her and shared their experiences. Na MARD is a visual book which constitutes hard drawn illustrations and each illustration comes with another set of gateway sheet on top of it depicting how modestly the society 'expects' a woman to dress thereby restricting her freedom.
'Perturbed by the growing racism, bigotry, stereotyping and harassment faced by people from northeast, Karishma has developed a magazine titled ‘Other India’ that aims to throw light on these subjects. Through her work, Karishma tries to portray the battle that every Indian from northeast fights – the identity crisis.
Inspired by Cuba and its identity, Riona focussed on discovering the myth of the ‘Cuban Identity’ in terms of its budding fashion scenario, textile traditions and the myriad visual cultures of this country which turned 500 years old in 2018. Through her work, Riona has portrayed how Cubans love to express themselves and their style of clothing which is inspired by nature.
Priyankaá product is an experimental short film - NAMASTE, an audio-visual art form, which is appropriate to experience the psychedelic experiences, as psychedelia is a state of mind after taking drugs. The plot line revolves around self-conflict of Anna (the protagonist). The film highlights psychedelic fashion and styling.
Paridhi Garg’s work is about Islamic fashion and how it has influenced Muslim women’s attire in India. By creating a fashion promo, Paridhi attempts to cater to the needs to Muslim women and tries to influence the way a Muslim women dress. By collaborating with Islamic clothing brand ‘Modest Forever’ Paridhi has tried to reach out to the segment of people who are still unaware with the changes in Islamic Fashion across the world.
Designing isn't everything except for it some way or another gets into everything, when I read this statement it struck me how perfect it is, 90 percent of everyday issues can be unraveled with the correct implementation of Design. And while this thought in mind, I felt designers or designing in India is looked as the luxury not as a problem solver, and the least difficult explanation behind this thought can be the absence of awareness among individuals. What's more sad, in this event is, that if some Designers tries to make something innovative, very few among them gets succeed and reason for same could be the absence of resources given to them and then again on contradictory urban communities like Dubai, Singapore have planned areas like National Design Centre of Singapore or Dubai Design District, which are solely dedicated to Designers, with the proper resources to grow and innovate.
Few bodies like ADI have stepped up with regards, to make a community for designers which are succeeding and helping promoting creativity with full positivity and to take this mindset or community forward, I tried to work on the similar tangent in this Design. The area will be a development or innovation Center for creative personalities now when I say creative personalities I mean one who can possibly enhance or add something , is welcomed to be part of the center.
From the initial bit the thought was extremely straightforward, it was to make an open and private space which welcomes creative personalities to come work, talk about or discuss and team up or collaborate and enhance the design, the design Centre will have the essential requirements for the Design process there will be trained mentors to guide in every step of the process and adding to it the centre will also have rapid prototyping and material labs to explore the development of the product and finally the community can be tied up with a perceived body like ADI, IID, FDI which can take the Innovation to Larger gathering of individuals.
I worked on boundary less as the design concept for this project as I believe designing is a collaborative effort and each designer say Interior or fashion or product some way or another have a typical overlapping lines, to which I am concentrating on , and now clarifying the idea of boundary-less, the idea is to dilute that overlapping lines to such An extent that the space should resemble a typical space for Creative People and not for a specific specialized Designers which directly will result in creating a community particularly for creative personalities and not for individual Designers.
Purposefully or unexpectedly, every space has an experience in it; some have a Memorable or Good experience and some may have an impartial experience yet experience is what makes a space memorable and individuals tend to visit the space more than once. Likewise, one of my focus for this Innovation centre is to make an everlasting experience in users mind and the explanation for the same is to make user visit the space more than once and cherish that experience every time.
SITE- Sanskar Kendra, Paldi, Ahmedabad, Gujarat.
Before choosing the site for the innovation Center, I had a blur image of overall look and feel of the site. And some key points which should add to the existence of the site. Sustainable or Energy Efficient Building since one of the design objectives was to eliminate or try to avoid the environmental issues exists due to buildings, like emission of co2 from the Glass box equipped with Air conditioners. Location should cater to the masses and the site location should have that element of design in it.
The Design Hub of India. Ahmedabad has a great history with the evolution of design in India. Starting from the contribution of renowned Architects like Le. Corbusier and Louis khan, to the home for some of the best Design institute in India like NID(National Institute of Designing) and CEPT Ahmedabad.
Sanskar Kendra was designed by Le Corbusier in year 1954; the design idea behind the cultural centre/Museum for Ahmedabad was to create a Museum of ultimate expansion, which in future can have an open- theatre, studio and gathering offices, archaeological and anthropological rooms. There was likewise an expectation to broaden the centre structure and have “magic box” theatre at the eastern side however none of these expansions were ever figured out.
The Museum or cultural centre is not as famous as it should have been and today apart from permanent museum the building is used for, voting centre, exhibition centre, display area and so on but luckily, The Vastu Shilpa Foundation has reformed, the building by transforming the space into a city museum reflecting the living heritage of the city, Ahmedabad. The museum depicts the history and the transformation of life from old city to the new.
WHY SANSKAR KENDRA?
Considering all the facts and details about the past and present scenario of the building, I feel there is still scope for the transformation of the space and what would be better then transforming the space in a design or innovation centre and keeping the existing museums as it’s, it might attract lots of likeminded and interested individuals and might justify the main purpose of the building.
Rape is a global adversity. Even with increasing awareness apropos rape, the stories of rape victims, however, are too often kept silent. There are many reasons for this silence, some having to do with the victim’s difficulties telling about the rape experience and some having to do with society’s reluctance and difficulty hearing what rape victims have to say when they do venture to speak. More often than not, a notable percentage of the society disregards rape as an actual traumatic event, blames the victim instead of perpetrators, trivializes sexual assault and cease to remember incidents of rape within a week of its report.
1. This spatial experience strives to inculcate empathy and understanding towards rape victims by means of guiding its occupants along the journey of various traumas elicited on rape victims and triggering certain emotions in its occupants by means of space modulation.
2. This experience serves as a reminder of how numerous rapes take place every single day in the rape capital, Delhi.
3. Primarily the victim’s testimonies are relied upon to chart the phenomenology of rape, that is, the subjective experience of rape from the victim’s point of view. Although each rape case is unique, certain themes emerge across victims’ stories. Themes are broad categories of feelings and meanings that capture core features of the rape experience. The various themes are fear, helplessness and shame, loss of meaning and sustaining beliefs, legitimacy and validation, self- blame and guilt betrayal and loss of trust, isolation and alienation diminished sense of self, grief and loss are prevalent in most rape cases.
Clean Air Asia initiated a project called 'Clean Air Video Challenge' which aims to involve youth in creating short videos/films on the rising issue of air pollution. Alumnus Raghav Sharma's project - 'Dhundh' is one such film, created with an aim to spread awareness and motivate people to work towards finding a solution to combat the issue.
Raghav's project has been selected as one of the top three entries at the ADI - Battle of projects at Pune Design Festival 2019.
Click here to watch: https://www.youtube.com/watch?v=0QOQHcZgufY&feature=youtu.be
With private offices being equipped with modern technology and design, the banks and government offices still prefer the old school way. Workplace is an essential part of our lives where a person spends 8-10 hours a day. It’s very important to keep these people happy for a successful trade.
State Bank of India (SBI) is the largest commercial bank in India with a network of over 24000 branches spread across India. SBI is now present in all time zones, and has the largest overseas network among all Indian banks with 198 foreign offices spread over 35 countries.
The state-owned State Bank of India, after merging with its five associated banks will be the largest lender in the country. The five associated banks would exhibit the SBI’s signage and logo from April 1, 2017, with its sterling keyhole set. The logo of SBI indicates its role of a custodian that will keep customers’ money safe.
With SBI now becoming a leading player in SBI banking sector and having an extensive overseas network it was a perfect place to start with. The private banks have something called a private banking branch which is slightly more high-end than the normal branch. The idea was to go even beyond this private branch and make a flagship branch/office for this newly merged bank. The design of this branch would also be used as a system of design
language and aesthetics that would in-turn be used to design other branches/ offices.
The site is a 520 m 2 3.6 m high ground floor site located in one of the malls in Rajouri Garden amid many commercial organizations big and small. It already has a specific area allocated for the wet functions and specific points from where mechanical services ducts and pipes can be taken. It stands on a capital and tie beam structure thus does not have any columns interfering the floor plate.
The branch is broadly divided into two areas. Firstly the customer zone where, as you enter an installation inspired from ship catches your eye. This symbolizes the SBI overseas network and that it is sailing towards new boundaries. The ship also acts as a seating for customers. This area is made up of simple curves and straight lines inspired from the logo but has multiple variations in volume. The central circulation that is slightly curved is mostly defined by slats suspended from ceiling and a change in flooring material. Some parts of the curve use partitions made up of metal and glass as and where necessary. The central circulation uses tiles whereas the other areas use carpet to give a more warm and comfortable feel. The general lighting in this area is in the range of 4000-5000 K since the
blue light from this temperature reduces sleep and laziness creating a more energetic environment whereas the ambient lights are in the range of 2500-3500 K to create a more welcoming and warm environment for the guests. The colour palette is inspired from the SBI logo with a touch of green and beige to create a contrast. A fair bit of wood/ veneer has been used to add to the warmth and contrast.
The second area is the staff area which houses activities that do not require customer involvement. The areas dedicated to the functions taking place here have the same design concept as the customer area except some. Apart from the essentials like meeting rooms, storage units etc. this area houses a breakout zone where the employees get to relax, which I feel is important for any office. The breakout zone uses a 3000K range light for general
lighting and 2000-2500K range light for ambient lighting. It has some common materials with the customer areas like metal, wood with some additional ones like dark grey coloured flooring like eco-friendly linoleum from forbo and artificial turf as and where necessary. The colour palette for upholstery has been selected to give a fresh feel with a dash of energy from yellow in the lights and some of the furniture upholstery.
Apart from the lighting and colour palette, universal accessibility has been kept in mind while designing the space. Natural light has been used at every possible area through large glazing. The glazing has a glass film attached to it at the bottom to maintain visual privacy of the bank from the atrium and the outside street while showing enough to the customers to make them wonder what’s inside. Majority of natural lighting enters from the atrium thus is
diffused, so there won’t be a lot of heat. The design also allows it to penetrate deep inside. The cabins with glass would have blinds along with the film. There are some overhung shading devices already present at the entry that would stop unwanted sunlight. Artificial lighting will be equipped with automation to save on energy. Walls would be finished with eco-friendly Nippon Paints. The carpets would be made from recycled nylon. They also trap
dust inside them until vacuumed, keeping the air clean. Overall the materials selected will have low embodied energy and low maintenance cost thus having fewer changes in the future. Clearances for mechanical services have been kept in mind while providing the volumes. The mechanical services would we exposed in some areas while covered in some(refer to RCP).
Sustainability may seem as an emerging trend worldwide, but in India, it has always been part of our tradition. Locally in India, when we used to mend or patch anything, the practice was called “paiwand lagana”. The label Paiwand is inspired from the same ideology and is an ode to the lost culture. We aim to mend the damaged environment with our little efforts.
Paiwand aims to develop a collaborative movement, which will transform social and environmental standards in the fashion industry. We aim to motivate people to use the limited resources efficiently and effectively, at the same time look absolutely fashionable.
Paiwand’s business concept is simple and transparent. We buy, gather, collect textile waste from different fashion brands, design houses and artisans. The waste it further cleaned and assorted. For Paiwand fabric, we up-cycle the textile waste and create fabric out of that through hand weaving process. The fabric is sold to the design houses
and brands, which can be further used by them to create a sustainable range for their clientele.
For Paiwand clothing, we create gender neutral, zero waste, one in a kind and sustainable apparel for the upper-middle-class segment in India.
Paiwand fabric works on B2B model. We work on a circular economy model. Any brand working or willing to work on sustainable fashion is our potential client. Since, the application of our fabric is endless, we are not focused only on apparel brands but also the brands working in home décor, furnishing and accessories. Presently we are working with some leading design houses in India. Some of them are Amrich designs, Raffughar, Kharakapas and an Indian block printing artisan, Sufiyan Khatri.
Paiwand clothing on the other hand aims to work on B2C model. We plan to target the upper Indian middle class segment in India with an income group of 15000- 25000 USD with an age segment of 30-45 years. Since, we are producing gender neutral clothing, we are targeting a bigger audience. We are not only tapping the clients on the
sustainable material of the product, but we are offering aesthetic, higher quality, and wear ability. We are offering high fashion garments. We plan to sell these collections through e-commerce platforms like amazon, jaypore
and TATA luxury.
The price for fabric is $11/mtr , which is derived through industry feedback from various
designers and potential customers. The average price for a piece of garment is $140-
We are EBITDA positive in first year only as our fixed costs are not really high. In the 3rd
year, the revenue should increase to around $420,000 as we adopt new cluster of
weavers in Panipat, Haryana (North India). By the end of 5th year, the revenue should
touch $ 1.1 mln as Paiwand aims to adopt two more clusters of weavers in Bihar and
West Bengal (Eastern India). The main focus of the business will remain on Fabrics as
60% of the total revenues are generated by it.
By the end of 1st year we aim to up-cycle 1,100 kgs of textile waste which will save 3,800 kgs of CO2 emission. By fifth year Paiwand will be equipped to up- cycle 7,200 kgs of textile waste and produce more than 54,000 mtrs of up-cycled fabric.
The environmental and social impact remains a key motivator for the team. We at Paiwand, believe in fair and ethical trade practices and look forward to a sustainable tomorrow.
History is witness to the lives of strong, bold women who challenge the societal status quo and alter our interpretations of beauty. One such being is an inspiration to the very ingenious themselves. Frida Kahlo and her surrealistic paintings are an expression of a rare kind.
Standing 5 ft 2 inches and against many evils of the society, which still linger, she effortlessly voiced her pains, frustrations, the deepest and the wildest of emotions; something a woman would be condemned insane for in those time. Patriarchy led to her being overshadowed by her husband for the most of her life. It is in death that her melancholy language has come to be appreciated. This is her gift to all the delicate but rebellious hearts of then and now.
Her works are engraved with elements of Mexican folk culture – wearing an attire that defined her indigenous Mexican peasant clothing, making her an evasive figure – for she was not traditional in any sense of the word. She sought to examine the depths and complexities of being a woman. Proudly carrying her body hair, a visible unibrow with a feminine touch of flowers worn around the head, complete with a blush on her cheeks, even when she was barely a shy one – the signature look of Frida Kahlo is daring and iconic.
A woman stronger than steel, her fight with bronchopneumonia didn’t stop her from participating in a demonstration against the CIA’s invasion of Guatemala or from helping establish an asylum granted to Leon Trotsky by the Mexican government. It’s hard for one to miss the significance of the icon of feminism and daring beauty, and her influence across races and sexualities.
We, at Pearl, draw inspiration from her and continue to define our fashion with the deepest of emotions. Through various forms of our work, we rise far above the conventional concepts and make space for more acceptance of individuality in the world. Inspired by Kahlo’s style, we played with a vivid colour palette to achieve a new alluring demeanour of her image, in an attempt to break the cliched ‘pretty girl’ look.
“People stop in their tracks to look in wonder,” said Edward Westin, who photographed her during her visit to San Fransisco in 1930. Frankly, so did we, seeing these student-models replicate her style with pride. Breaking chains becomes necessary to be able to walk with one’s head held high and in all glamour. Our heartiest thanks to Frida Kahlo through this interpretation for making the unexpected, beautiful. Her wit and originality is a landmark in the battles fought each day against the ordinary and the standard. Let these battles continue.
Aditi is a Fashion and Beauty blogger. In one of her blogs, titled, ‘ONE SLIP-DRESS INTO THREE OUTFITS’, she talks about accessorizing one outfit into three different looks. Here’s more about her project.
Wearing an oversized denim in summer is something that all of us enjoy. This look is very casual and feels comfortable. You can carry this look for your vacation plans, a day out with your girls and to college too.
So for this look I let my accessories take the charge and I have literally just worn an Indian junk necklace at waist, paired it with junk earings, Indian Chappal and that’s pretty much about it !
Of course couldn’t escape from the ongoing trend ! Wore a rose gold fanny bag along with similar contrasting heels and that’s it ! you’re good to go!
Finding home away from home in a liminal world
Doraha explores the contradictions, tensions and liminal space of social identity in a fluctuating world. It is an anthropological exercise that raises the question, “Can identity ever be stable?” The geographical borders we draw across the globe in harsh lines that forge race and nation are imaginary, after all. The need to define one’s identity has a greater urgency to it today than it did a century ago, due to high-powered increase in connectivity, mobility and information exchange. Drishti’s final thesis project, Doraha narrows in and explores
what is known as the “Hybrid Indian Identity,” which develops over the course of time through exposure to diverse influences that transcend regional boundaries. The definition of “Indian” has always been a complex one since our country has been home to multiple ethnic groups, languages and religions. This definition has been further complicated by the impact of colonialism, rise of globalisation and rampant emigration. Almost 30.8 million Indians reside outside the country today. All of these forces have created a crisis of identity for the modern day Indian, caught between the ground of tradition and contemporary culture.
The objective of Doraha was to address such a crisis through an online platform that enables meaningful conversations around the theme and supports micro-communities of “Hybrid Indians” worldwide through social media networks. What is unique about Doraha is that it does not ask one to label themselves while joining its movement. It allows one to be rooted in their culture, while maintaining a progressive worldview at the same time. The social media platform will work as a mobile application helping people connect through geo location and form micro-communities. Members gain access to events and narratives by pioneering Indian creatives all across the
world. This digital community has successfully unified artists and individuals resonating with this crisis of identity from all over the world.
Gesu Seth’s “Khaas Libaas” is a visual study of India’s transgender community. The title of the photography project is derived from an Urdu phrase translating to “Special Attire.” The word “Transgender” is an umbrella term describing anyone whose gender identity does not fully match their assigned birth sex. It is a broad category which includes transsexuals and cross-dressers too. But for centuries in India, all these terms have been compressed into a single word filled with disgrace- “Hijra”. This sect of people has a long history of being regarded
as deviants, criminals and societal pariahs.
“Khaas Libaas” honors the bravery of individuals within this community. Instead of recoiling with shame and trying to fade into oblivion, Hijras fought back for freedom and respect. Gesu’s photographs examine the bold and colourful ways India’s third sex adorns themselves in the face of rejection. The eye of the camera dwells on the clothing, jewellery and other embellishments worn by the shunned members of the “Hijra” community. Her portraits expertly draw out the vulnerability, rebellion and beauty in each subject. There is no shame or restraint in the exaggerated femininity, vibrant makeup or choice of clothing. We see pride. We see confidence.
“They don’t only want to look beautiful, but intimidating as well and this is what makes them stand out,” Gesu points out, after interacting with several Hijras over the course of her project. “It’s high time we should accept the transgender community as an integral part of our society.” Despite being denied basic human rights, the people of this community stand loud and proud. Though society has finally begun to restore dignity to the third sex by allowing them into our circles through employment and acceptance, India still has a long way to go in terms of eradicating deep-rooted prejudices. Khaas Libaas is not just a work of art, but an activist’s cry for social justice and universal respect.
Form follows function: Compact, multifunctional design
In today’s age, most modern cities are experiencing a shortage of space. The average living area is getting smaller and smaller in size due to high population density. For instance, in China’s Beijing, the average living area is only 21 square meters per person. Transformable space saving furniture is designed based on the concept that the furniture’s design must involve at least two forms of appearance and function. It should have both an ordinary appearance and transformed appearance. This saves the owner time, space and money. Angad used this premise of thought and designed a product for compact spaces.
Going ahead with this was no easy task. Several factors needed to be taken into consideration before the final product was made. The form of the product needed to integrate with it’s surrounding space.. After several iterations exploring various permutations and combinations, a concept was finalized that balanced all the parameters of dimension, functionality, shape and surrounding space. Based on the selected combinations, a product was finalized and fine-tuned to ensure that the form integrated the function without foregoing the aesthetics and the other parameters as well.
Since the attempt was to make a multi-functional product, it was important to integrate as many necessary functions within a compact packaging. To do this, the different components of the product were utilized to serve the required function; one part, two functions. All this effort resulted in a successful multi-functional product that saves space!
Feminist activism and digital networks. Between empowerment and vulnerability in a hyper connected world.
What happens when you mix feminism with social media? You get IMPOWER, Divya Kalra’s powerful online campaign that combats discrimination against women. Our Fashion Media Communication student singlehandedly launched the “I am Power, I Empower” war cry into digital space through the portals of Instagram, Facebook and a dedicated website. The hashtag #IAmPowerIEmPower binds together like-minded women who convene at this virtual space to support each other against objectification.
The mission statement of the Empower Campaign is to “decrease self-objectification resulting from temporal and peer comparisons that stem from the social media culture.” In short, #IAmPowerIEmpower seeks to reduce the feelings of de-personalization that results from carefully curating and editing an online persona, while constantly measuring it up to the filtered projections of others.
Community members align with the Impower Movement by signing a pledge. By doing so they vow to “be critical of what they consume on social media” and to “honour everyone’s expression of themselves” online. Such a pledge seems necessary in a world where there have been countless suicides of young teenagers who were bullied on various social media platforms. Divya’s #IamPowerIEmpower campaign persuades her peers to become aware of the distorted sense of self virtual reality perpetuates and the pitfalls of communicating with each other while remaining hidden behind a screen. Her project is an important wake-up call for a selfie-obsessed culture and an excellent strategy for educating the youth on how to use the medium of social media in a way that promotes positive self-image, content sharing and empowerment.
Dyslexia is a type of learning disability. The word dyslexia comes from two Greek words: dys, which means abnormal or impaired, and lexis, which refers to language or words. A person with a learning disability has trouble processing words or numbers, making reading comprehension, speaking and writing difficult. It is not surprising that people with dyslexia have trouble expressing themselves and getting ahead in school. Communication Design student, Ayushi has spent her life trying to work around her own learning disability by finding different strategies to learn and express herself. Her final thesis project at Pearl Academy centers around this theme, reflecting her desire to change the general perception people have towards Dyslexics.
Maya’s Golden Cap is a brilliant tool for dyslexic children to overcome typical psychological setbacks they face while communicating with others. The board game is portable, economically designed and encourages the exchange of positive affirmations between 2 players through a series of lively, problem solving activities. The main goal of the board game is to encourage children diagnosed with dyslexia to feel at ease during the learning process. Emotional support for people with dyslexia is very important. They often get frustrated because no matter how hard they try, they can’t seem to keep up with other students while results in feelings of worthlessness.
Ayushi’s mentors at Pearl Academy encouraged her to develop her board game while immersing herself in research. In order to get a clinical understanding of the disorder, Ayushi attended therapy sessions with dyslexic children at Fortis Hospital in Gurgaon. Here, she observed that these children did not like to attend these dry therapy sessions. She also noted that these sessions were quite expensive and unaffordable for families that weren’t financially secure. The board game she designed tackled both these issues by being entertaining, interactive and conveniently priced.
Preserving and transmitting tradition and folklore through a children’s storytelling box
Can a story be told by a box? Ria Gureja believes so. She launched her very own brand Katha Prastuti to create unique “storytelling boxes” for children to learn and play with. The designs of these boxes are derived from traditional Indian art styles and are individually handcrafted with visual depictions of folklore and mythology. The stories come alive when the wooden doors are opened and closed, leadingthe young audience through a narrative that’s not bound to a linear progression of words.
The creation of Katha Prastuti is a byproduct of Ria’s lifelong fascination with the art of storytelling. Stories have power. Whether in the form of a novel, short story, film, TV series–or even a video game–a good story can transport people from everyday reality to a dimension of fantasy, creating excitement and wonder. Ria reminds us that storytelling does exist merely for the sake of entertainment, it has been an important tool for human societies to preserve tradition, cultural values and lessons so that they may be transmitted to the newer generations and imbibed.
The goal of the storytelling box is to educate modern day children with art, tradition and culture so that they grow up with a better understanding of their heritage. Ria has succeeded in making the learning process novel and engaging. The connection between play and culture has an important role helping young children acquire cultural values, skills and abilities that help them through everyday experiences. Ethnographic research has shown through several cross cultural comparative studies that the kinds of play children engage in influence their attitudes towards gender, socialization, environment, historical change and morality.
Being visually impaired shouldn’t hinder one’s ability to dress fashionably. Parul Sachdeva is a budding fashion designer motivated towards changing the perception of visual impairment through her love of design. Her creative project “Dots” raises awareness of the loss of sight and proves that people who cannot see should not be limited in their creativity or self-expression. The garments in this collection are made from high quality fabrics, easy to wear and affordable- making them a great choice for the visually challenged who want to feel attractive and confident in their clothing choices.
Clothes are one of the most basic necessities of our lives, and yet for many, just putting them on is an arduous challenge. Visually impaired people have a difficult time selecting clothing for themselves because of their inability to perceive form and colour. They can only resort to tactile impressions to get a sense of objects around them. “Dots” was created to empower these individuals to be able to dress themselves without using someone else’s help in putting outfits together. Parul explored ideas that leverage, rethinks and includes the needs of these individuals to integrate solution-based design concepts in her clothing.
Each item goes beyond the visual language of fashion by involving the other senses. Namely that of touch. She incorporated Braille — the tactile system of reading and writing used by people who are blind — into the creation of articles of clothing to give greater autonomy to sightless people when clothing themselves. Hence the name “Dots” which refers to the tiny bumps or raised dots that help people to read without having to see. These dots would help the blind distinguish one item of clothing from the other and allow them to identify pockets, collars, panels and belt buckles. In addition to this, Parul incorporated textural elements to increase a sense of engagement and enjoyment in the wearer, through layered pockets, cording, embroidery, piping overlapping panels and other thoughtful touches.
Tandoor is a big part of North Indian cooking. In Sanskrit, the tandoor was simply referred to as kandu (pot). The Persians called it tanūr while some claim its name to be combination of the words tata and andhar—literally translating to ‘hot inside.’ The tandoor may have originated in Rajasthan, India, where archeologists have found tandoor remains dating from 2600 B.C. — about the same time as the pyramids. The first tandoors were used to bake flatbread, a tradition that survives in Indian roti, Afghan naan and Turkmen chorek.
Working with a tandoor is an art and takes quite a lot of experience to get it right with hot coals and the traditional clay apparatus. There is no perfect way to gauge the heat inside a clay tandoor other than to feel with the naked hand, which comes with practice. The process is difficult and hard to execute at home. Traditional tandoor is an art that’s perfected mostly by street food vendors and high end restaurants. Alisha’s project was born out of her love for North Indian street food and desire to bring tandoori cooking back to domestic kitchens. She was determined to find a way to cook her favourite style of food in the comfort of her own home, without losing any authentic flavours.
Her invention the “Domestic Tandoor” is a modern twist on the cooking apparatus for Tandoor.
This new product makes the process of cooking Tandoor much less time consuming. Baking naan and grilling occurs simultaneously on the device. The shape and other components of the product cooks a single naan to perfection in about 30 seconds after preheating the product for 15-20 minutes. Alisha’s idea was to create a product that preserved authentic flavour and delivered value to the consumer through high-quality performance.
Social impact projects are not measured through lens of profit but through the positive change it is able to create. Good design should ultimately empower, facilitate and support the user. “Gomi” is an effort to improve hygiene and sanitisation in the rural communities of India. It is a tool designed to help young girls and women, by limiting direct contact with infectious manure. Over two-thirds of India’s 1.3 billion people continue to rely on dung-based fuel for cooking, due to a lack of access to clean fuel. The prolific use of manure causes staggering damage to human health, especially to the women and children of the house who spend much of their time collecting fresh cow dung for this purpose. Anmol dedicated three months of her life to conducting intensive research on this phenomenon in the villages of Rajasthan where she gathered information through interviews and experiments. She learnt about the manure gathering process and numerous ways rural women used this substance domestically. Anmol’s goal was to provide these women with dignity as they performed this laborious task by creating a product that would inhibit contamination. She went back and forth between prototypes and ideation to tackle the challenge of keeping the design as simple as possible in aspects of usability, manufacturing and maintenance.
Gomi’s two part design is simple to use and easy to manufacture. It features two ergonomic handles; a horizontal handle for carrying heavier loads for longer distances and a vertical handle for better leverage while dumping. The scraper while not in use attaches to the hook provided in the cavity of main body and rotates out when dumping. Fabricated out of mild steel and weighing under 1 Kg. It is durable and can supports up to 8kg. Anmol’s inspiration for Gomi was the ‘Wello wheel’- A container that can be rolled to and from remote places to collect water. Anmol used a design strategy called system thinking to identify and address the root cause of the problem in a sustainable way.
Every year, India’s capital becomes one of the most unlivable places on the planet. The quality of air becomes severely toxic, particulate matter of varying sizes soar; administrators in charge flail helplessly trying to control the problem. There seem to be several factors causing Delhi’s pollution crisis. People point fingers at the surging traffic, construction sites, the Yamuna river, garbage disposal practices, the burning of stubble, weather patterns and even Delhi’s geographical location. Despite the efforts of the central government, concerned state departments, civil society, research institutions and concerned activists, there seems to be no end or solution in sight.
Archana’s project was born in the light of ‘The Great Delhi Smog’ that took place on November 2016 and 2017- a period which also marks India’s wedding season. She was acutely distressed by how almost everyone she met responded to the environmental crisis with apathy and continued to host lavish wedding celebrations without a care in the world. Archana filmed a video in response to the indifference she witnessed, in an attempt to shake people out of their stupor. The short film she created featured women in traditional bridal wear wearing embellished pollution marks as a social statement against the menace. Her project was displayed at FDCI Amazon Fashion Week, March 2017. India’s breakneck development is coming at a great cost as pollution from a wide range of sources is leaving a toxic trail on the environment.
Millions are poisoned, suffer from reduced neurological development, damaged immune systems, and long-term health problems. The number of people affected by pollution is comparable to those affected by HIV/AIDS, according to the Blacksmith Institute, a nonprofit that studies solutions to problems caused by toxic pollution. Archana’s project questions why our society does not take a step back in the face of a crisis and realize that our insatiable pursuit for convenience and excess causes such imbalances in the first place.
The jewellery collection is inspired by ISCKON (A Krishan Consciousness Movement). The temple interiors are decorated with flowers and the Idols are beautifully adorned with ornaments made of flowers. The sensory stimulation created by colouful flowers and their aroma creates an Aura that soothes the mind and the Soul. I observed the devotees receive the prasad in the form of flowers, cotton dipped in ITTAR, sandalwood sticks and Tulsi leaves. Devotees get emotionally and spiritually connected to them and preserve them for years. My jewellery is for the lord himself, made of delicately crafted flowers with a small container for ittar dipped cotton swabs, so that god can adorn himself with everlasting fragrance.
Journey at Pearl: I am from Meerut and I grew up with two siblings an elder sister and a younger brother. My father is in the transportation business and my mother is a devoted housewife. However, it’s my father strong belief that girls should become independent that has allowed me to aspire to pursue something I like. Fighting all odds my father has decided to fund my studies.
When I walked into Pearl Academy Jaipur I was afraid that everyone there would be from affluent backgrounds and I may be a misfit. To my surprise I found that inside the classroom there was no such thing as family background,
everyone was treated same and it allowed me to become stronger and confident. I feel I have learned to face my fears and now I am able to trust my abilities and present them confidently. I have understood that life is an
ongoing process of facing the challenges and learning from them. In one sentence I can sum it as “the zest is in the journey and not in the destination" And at Pearl Jaipur, I got a good start to my journey.
Modern lifestyle has become synonymous with stress, and coping with stress has become a constant struggle for many. My collection "Feeler Mind" incorporates fidgeting into jewellery and promotes the concept of 'help the
self'; where the user playfully interacts with jewellery to restore balance and calm. Contemporary form embellished with amethyst, blue sapphire, lapis lazuli, pink coral and rose quartz redefines healing Jewellery.
Journey at Pearl:
My life at Pearl has been truly amazing and aspiring. Being challenged at every step and pushed by a great tutor team to perform beyond expectations, the experiences have translated into great exposure and helped me grow as a confident independent individual. Pearl Academy helped me self-enlighten the path to discover, innovate and create.
Our Communication Design student Anushka Rajesh Tendolkar from Pearl Academy, Mumbai illustrated a beautiful representation of JRD Tata's characteristics to celebrate his 114th birthday.
The project, 'A-Z of Entrepreneurship, told through the life of JRD Tata' was designed by using each letter of the English alphabets to depict 26 qualities of the great man. This creative representation was featured on Tata Group on his 114th birthday.
Students of Interior Design from Pearl Academy, Mumbai participated in an art installation competition titled 'Expressions' at FOAID.
Here's a brief of their concept:
GROWTH, depicted through the five faces in this pentagonal exhibit is symbolic of the 5 successful years of FOAID.
As one rotates the frame around, it symbolizes the ongoing process of understanding and developing oneself in order to achieve one's fullest potential. Concurrently by spinning the frames of change, it causes the clockwise movement of the helix, which shows the constant cycle of change, adaptation and moving forward that makes this process so beautiful and inspiring. The different stages of growth and experiences combined with time and effort from each component make up the energy that moulds this vision into a reality.