Revolution
A Very Happy New Year!!!
Another year passed, another ahead. It is very easy to take all these changes for granted. This holiday I got reminded why each and every hour counts- what you make of yourself during your time is what makes all the difference.
The year 2018 was a huge one for me- especially academically, as I got to work with so many people with different projects very close to my heart. In the previous post I revealed my Industry Internship Project with NEDFi on Water Hyacinth Crafts. And in the later half of the year I got introduced to Sericulture and all its glory- a new dimension unexplored. This post is all about a Revolution.
The fashion industry today is merging the traditional handloom and handicraft into the western ensembles thus creating a
niche market for the new-age designers. In Mizoram, designers are venturing out of their comfort zone to create garments
from the traditional handloom textile called puan. In this project a product is designed: a textile design hand-woven, hand-spun fabric by
weavers of Mizoram under the Department of Sericulture, Mizoram.
The Mizo textile industry is booming now more than ever. However, the market is still subjected to only certain parts of the country where its audiences are the Mizo themselves residing outside the state of Mizoram. The limitation to the textile of the state is the fact that it is woven in only a certain dimension meant for the traditional wrap called “puan.” Any western clothing designed with the Mizo textile uses the puan itself as there are no “than” weaved in the handloom clusters. If the puan is extended to any other size, it is usually customized for home products like bedspreads, table cloth, table runners, pillow cases, etc. This lacuna in the fabric manufacturing sector does not stop the local designers from creating garments out of the traditional puan, and the demand for such garments seem to increase now more than ever. However, this limits the possibilities in terms of the garment designs itself since only panels can be used in the currently available dimension and design. The need for change in pattern and motif arises because the existing patterns are all engineered patterns weaved keeping in mind the designs that will show and those that will overlap. The average puan developed today uses acrylic yarns purchased from other states of India. In this project I developed an ethnic handloom fabric which is made exclusively in Mizoram.
The Mizo textile industry is booming now more than ever. However, the market is still subjected to only certain parts of the country where its audiences are the Mizo themselves residing outside the state of Mizoram. The limitation to the textile of the state is the fact that it is woven in only a certain dimension meant for the traditional wrap called “puan.” Any western clothing designed with the Mizo textile uses the puan itself as there are no “than” weaved in the handloom clusters. If the puan is extended to any other size, it is usually customized for home products like bedspreads, table cloth, table runners, pillow cases, etc. This lacuna in the fabric manufacturing sector does not stop the local designers from creating garments out of the traditional puan, and the demand for such garments seem to increase now more than ever. However, this limits the possibilities in terms of the garment designs itself since only panels can be used in the currently available dimension and design. The need for change in pattern and motif arises because the existing patterns are all engineered patterns weaved keeping in mind the designs that will show and those that will overlap. The average puan developed today uses acrylic yarns purchased from other states of India. In this project I developed an ethnic handloom fabric which is made exclusively in Mizoram.
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| MOODBOARD |
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| MOODBOARD |
For the project, I studied the existing motifs in our traditional puan, made my own changes to accommodate yardage textile design, and got a master weaver to weave this beautiful piece. The motif used is phengphelep, meaning butterfly. What makes the piece so unique is also the fact that the cocoon used is all reared in the state and the yarn is all hand-spun, making it khadi. The puan thus created is safely 100% Made in Mizoram. The garment constructed is a kurti-dress. This is to show the versatility of the puan and its potential in the mainland Indian market.
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| Model: Aishwarya |
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| PC: Jeremy Hauhnar Studio. |
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| PC: Jeremy Hauhnar Studio |
I am thankful to the below mentioned people, the hands behind the success:
1) Mrs. Lalsiampuii, master weaver
2) Mrs. Lalmuansangi, Sericulture Promotion Officer.
3) Mrs. Susan R Ralte, Designer and Design Researcher
4) Employees at Cocoon Reeling Factory, Zemabawk, Aizawl
I've always had many aspirations for my career, some I've realised early in life and some learned on the way. For all of them I'm thankful.
Do drop in a comment or email me feedbacks. I'm always open to them!
Thankful to be born in a community like mine and thankful to have helpful people around me all the time.
Have a good year ahead!
2) Mrs. Lalmuansangi, Sericulture Promotion Officer.
3) Mrs. Susan R Ralte, Designer and Design Researcher
4) Employees at Cocoon Reeling Factory, Zemabawk, Aizawl
I've always had many aspirations for my career, some I've realised early in life and some learned on the way. For all of them I'm thankful.
Do drop in a comment or email me feedbacks. I'm always open to them!
Thankful to be born in a community like mine and thankful to have helpful people around me all the time.
Have a good year ahead!
This is such an awesome breakthrough! Genius! I'm so proud of you and your innovative mind that will bring the Mizo traditonal Puan to significant versatile heights. Wishing you all the best in this revolution! May this revolution on puan grow lengthier and broader!
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