krishna mehta

8/3/2019 Krishna Mehta

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SUBMITTED BY:

ANITA SIHAG

M/TD/09/03

TD-III

NIFT MUMBAI

TRADITIONAL

INDIAN

TEXTILES



KRISHNA MEHTA

Krishna Mehta`s tryst with designing began in February 1982. Accomplishing

the fashion-designing masters in 1987 from Sophia Polytechnic, Mumbai,

Bachelor of Commerce degree from Sydenham College of Commerce &

Economics, Mumbai in 1981 and an extensive training in weaving at the

Weavers Service Centre, Mumbai, Krishna joined the family business of

garment exports in 1982. Working her way up from a Co-ordinator to

merchandiser to fabric incharge and then to designer in a span of nine years.

In 1991 Krishna took the fledgling Indian fashion industry by storm with her

menswear. Her perfectly cut and impeccable finished lines soon established her

as a respected name in men`s fashion. She was the first one, to introduce the

batik and the tie and dye shirts, and bring back the achkans and the angarakhas

in natural, and Indian fabrics for the new generation men, which established her



as a respected name in men`s fashion. The first menswear designer soon came

up with Indo-west line

and fusion lines for

women in 1994, which

were also indeed the first

of their kind to be seen in

the country. In 1989,

Krishna, being the first

Indian menswear

designer, who took the

fledgling Indian fashion

industry by storm with

her perfectly cut and

impeccably finished

modern lines.

Krishna Mehta opened her flagship store " Krishna Mehta" in Mumbai in

January 1996, specialising in Indian, Indo-west and Western Couture garment

lines for men and women. This was followed by the opening of a "Krishna

Mehta`" franchisee store in Ahmedabad. In order to make her garments within

the reach of a larger market, Krishna launched "K2", her label for ready-to-wear

garments for women and men in 1998. oday, Krishna Mehta is one of the fastest

growing fashion brands in India for the ready to wear collections, which are

being retailed from more than 40 outlets within the country and internationally.

Her quest for providing perfect quality with immaculate finish & attention to

detail for every garment; has earned her respect globally and has also seen her

business grow likewise.

Krishna Mehta collections canbe found in the US, UK,

Middle East & selected stores

of Europe, including the

fashion capital, Paris. Her

brands `Krishna Mehta` and

`K2` are available in her

Signature store in Mumbai,

Ensemble in Mumbai andDelhi and across all `Be` stores



in India and Dubai besides XLNC, Mebaz, Da Design St. -Hyderabad, Collage,

LNB Textiles - Chennai, Deepam, Rain Tree -Bangalore, Celebrity -Baroda,

etc.

Innovate or evaporate,” happens to be designer Krishna Mehta‟s mantra. She is

known for introducing batik, and tie „n‟ dye on men‟s shirts and Indo-fusion

wear for the new-age working woman. Right from 1988, when she began her

career, to Milan Fashion Week in 2004, Krishna has come a long way. She has

also been honoured with the Fabled Peacock Award and the CMAI award. The

designer will showcase her collection at the finale of Beyu Awards Fashion

show on Sunday.

Krishna, who is also the first men‟s wear designer of the country, recalls her journey. “There were eight such designers when I began my journey. Therefore,

it was easy to make a mark. The other designers were concentrating on

women‟s apparel. I wanted to do something different and so, I decided to design

for men,” she says. Krishna definitely makes it

sound like a cakewalk. She does not appreciate

heavy sequins or embroidery, because she feels, “A

designer should not impose his design on the

wearer‟s personality. I design to enhance people‟s personality.”

Sticking to her mantra, Krishna had introduced

batik prints when stripes were in fashion. “Eighteen years ago, I had launched a

men‟s batik collection in Bengaluru, after Mumbai. Observing a response to the

collection, I had realised that every individual wants to look striking,” she says.

Krishna says that she is very particular about the fit and finish of her garments.

Insisting on the fact, she compares designing to cooking. “While cooking, we

garnish as much as we can to make a dish perfect. Why should designing be anydifferent?” she asks.

Founder of PALAK, Gujarat, Krishna is also a social worker. “I have set up a

block printing unit in Palampur where I only employ differently abled persons.

They might make mistakes but, working with them gives me pleasure,” she

says.

Krishna is in love with the city and is looking forward to her show here. “People

in Bengaluru are open to trying new things. While experimenting, I look

forward to the response from this city,” she says. The designer rates the city



high on fashion quotient and says, “While launching a new line, Bengaluru

always gets a priority.”

Krishna Mehta is known for introducing BATIK, and TIE „N‟ DYE.

TIE ‘N’ DYE

Tie-dye is a process of resist dyeing textiles or clothing which is made from

knit or woven fabric, usually cotton; typically using bright colors. It is a modern

version of traditional dyeing methods used in many cultures throughout the

world.

Tie-dyeing is accomplished by folding the material into a pattern, and binding it

with string or rubber bands. Dye is then

applied to only parts of the material. The

ties prevent the entire material from being

dyed. Designs are formed by applying

different colors of dyes to different sections

of the wet fabric. A wet t-shirt is mucheasier to use rather than just dyeing on a

dry t-shirt. Once complete, the material is

rinsed, and the dye is set.

Although many different kinds of dyes may be used, most tie-dyers now dye

with Procion MX fiber reactive dyes. This class of dyes works at warm room

temperatures; the molecules permanently bind with cellulose based fibers

(cotton, rayon, hemp, linen), as well as silk, when the pH is raised. Soda ash

(sodium carbonate) is generally used to raise the pH and is either added directly

to the dye, or in a solution of water in which garments are soaked before dyeing.

They do not fade with washing, but sunlight will cause the colors to fade over

time.

Plangi and tritik are Indonesian words, derived from javanese words, for

methods related to tie-dye, and bandhna is a term from India, giving rise to

the Bandhani fabrics of Rajasthan. Ikat is a method of tie-dyeing

the warp or weft before the cloth is woven.

http://en.wikipedia.org/wiki/Resist_dyeing

http://en.wikipedia.org/wiki/Textile

http://en.wikipedia.org/wiki/Cotton

http://en.wikipedia.org/wiki/Dye

http://en.wikipedia.org/wiki/Reactive_dyes

http://en.wikipedia.org/wiki/Sodium_carbonate

http://en.wikipedia.org/w/index.php?title=Plangi&action=edit&redlink=1

http://en.wikipedia.org/wiki/Tritik

http://en.wikipedia.org/w/index.php?title=Bandhna&action=edit&redlink=1

http://en.wikipedia.org/wiki/India

http://en.wikipedia.org/wiki/Bandhani

http://en.wikipedia.org/wiki/Rajasthan

http://en.wikipedia.org/wiki/Ikat

http://en.wikipedia.org/wiki/Warp_(weaving)

http://en.wikipedia.org/wiki/Weft

http://en.wikipedia.org/wiki/Weft

http://en.wikipedia.org/wiki/Warp_(weaving)

http://en.wikipedia.org/wiki/Ikat

http://en.wikipedia.org/wiki/Rajasthan

http://en.wikipedia.org/wiki/Bandhani

http://en.wikipedia.org/wiki/India

http://en.wikipedia.org/w/index.php?title=Bandhna&action=edit&redlink=1

http://en.wikipedia.org/wiki/Tritik

http://en.wikipedia.org/w/index.php?title=Plangi&action=edit&redlink=1

http://en.wikipedia.org/wiki/Sodium_carbonate

http://en.wikipedia.org/wiki/Reactive_dyes

http://en.wikipedia.org/wiki/Dye

http://en.wikipedia.org/wiki/Cotton

http://en.wikipedia.org/wiki/Textile

http://en.wikipedia.org/wiki/Resist_dyeing



PROCESS

Tying the fabric on the marks with fine thread. Tied and ready to dye.

Measuring the dye for the fabric.

Mixing the dye in water and heating to make the dye bath.

The dye bath ready to add the fabric.

Dip dyeing the fabric in one colour.

The first colour is ready.

The dyed fabric is carefully rinsed ready for the second colour.

Tying the fabric and binding with polythene to resist the second dye.

Dip dyeing the fabric in the second colour.

After the second dyeing the fabric it is rinsed in cold water.

The knots are removed after the fabric is dried completely.



TIE ‘N’ DYE TECHNIQUES

KNOT TYING

Hold the cloth at both ends and twist into a long rope form

Tie this long rope into a knot and tighten as much as you can

without damaging the cloth. Knot tying works best on long

sleeves and light-weight material. You can tie as many knots as

you have room for. Rubber bands or string can be tied over the

knots to reinforce them as well as provide fine lines in the

pattern.

SPIRALS

Lay your material on a flat surface. Place your thumb and a

couple of fingers together on the cloth at the point which willbe the center of the design. Using the weight of your fingers to

hold the cloth in place, start twisting. After each twist, flatten

the material with the palm of your hand to keep the folds from

rising. With your other hand, bring the loose ends into the circle

and continue to twist until the whole thing looks like a fat

pancake.

Now take rubber bands, and without disturbing the shape of the

pancake slide the bands under the cloth so that they intersect at

the center. Use as many as necessary to retain the circular

shape, about twice the number shown in the illustration at rightfor most tie-dyes. If you decide to immerse, instead of

squirting, just set the cloth gently in the dye bath, do not stir.

For an interesting effect, prevent the cloth from submerging,

either by using less water or by placing the cloth on a prop to

hold it out of the dye a little. Some materials will float

automatically. Then sprinkle a different color dye in powder

form over the top of the cloth, being careful not to get any in

the other dye solution.

MARBELLING

Gather cloth together in small bunches until it is shaped like a

ball. Try to expose as much of the cloth to the surface as

possible. This effect works best on thin materials.

Wrap the string or rubber bands loosely around the ball in as

many directions necessary to retain the ball shape, and set

gently in the dye bath. Do not stir. Just turn over once in a

while.



LEHRIA

A Lehria is many little circles, touching or overlapping each

other.

Wrap string or rubber bands several times around the base of all

the circles which have been gathered together. Continue to

wrap to the tip and back, making sure your ties are very tight.

PLEATING

Lay cloth on flat surface. Place thumbs of both hands together

firmly on the cloth. Position fingers about an inch or two in

front of your thumbs, and pinch the fabric to raise a fold.

Continue to pinch up more pleats until you reach the end of the

cloth. You can change directions as often as you want by

gathering more material in one hand than in the other.

Be careful not to lose any pleats. Loop rubber bands or string

very tightly around all the pleats several times and knot. You

can use as many ties as you want. This useful technique is also

employed in tying ovals, squares, diamonds or any shape you

can imagine which has symmetry.

SOME EXAMPLES OF TIE „N‟ DYE



*IMAGES FOR REPRESENTATIONAL PURPOSES ONLY



BATIK

The word "batik" comes from Java and means "printing in wax.” This method

of decorating has been practiced for centuries many Asian countries. The

process involves using wax to resist the effect of fabric dye – the parts of the

cloth coated in wax remain the original colour.

It is also a type of resist printing.

The Batik Process

Hot liquid wax is applied to fabric either drawn by hand or printed by

hand using a pattern block.

The fabric is then dipped into a dye solution – the waxed areas protect the

cloth and the dye can only penetrate the unprotected areas. That‟s Batik put simply but the methods used in Indonesia are more elaborate with

successive waxing, dying and re-waxing to achieve highly beautiful and

intricate designs.

The canting

The Canting, Sometimes called a wax pen, is a small copper container with a

small tube mounted on a bamboo handle. The copper container is filled with

melted wax and the artist uses the canting to draw the wax onto the cloth. The

spout can be as small as 1 mm in diameter for very fine detailed work. Larger

spouts are used to fill in large areas also parallel lines and dots can be drawn

with canting that have up to 9 spouts.



PROCESS

Step One – first waxingWax is applied to white or beige fabric over a penciled-in outline with the

Canting

Step Two - first dying

The fabric is dyed and the area of the cloth where the wax was applied

will remain white.

Step Three – second waxingThe colour of the second waxing is a dark color to help distinguish it

from the first waxing. The parts covered with this wax application will

protect the colour of the first dying.

Step Four – second dying

The fabric is dyed with a second colour and areas that are not covered by

wax will be dyed. At this point the fabric will have three colours – the

colour of the cloth, the first and the second dye colours.

Step Five – removal of the wax.

All the wax is removed by heating with hot water and scraping and

sponging off.

These steps can be repeated as many times as the design requires.



SOME EXAMPLES OF

BATIK



*IMAGES FOR REPRESENTATIONAL PURPOSES ONLY



GARMENTS CREATED BY KRISHNA MEHTA USING

TYE’N’ DYE AND BATIK TECHNIQUES.

krishna mehta

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