Graduation research document(1)

Research and design project for

“ The culture and jewelry trends of Tamil Nadu, India and using design as a competitive advantage in the face of

competition from established local jewelers. ”

on

Asmita KulshreshthaNIFT Gandhinagar

The four year degree course of fashion and lifestyle accessories designed to develop a comprehensive ability of macro level understanding of international markets changing trends within fashion scenario and micro level hands on learning about materials, technology, production, construction, finishes, design principles methodologies, design management and design communication in young professionals. The amalgamation of the theatrical knowledge with the practical understanding forms the last key step to ending the degree courses successfully.

The final phase of this exhaustive learning period is 18 weeks graduation project with a firm which aims at testing a student of their knowledge gained in four years at NIFT. It also entitles a student to gain on personality traits such as patience, sincerity ,time management ,work efficiency and the willingness to learn constantly in a corporate environment.

The project being realistic , the sponsoring industry jointly develops specific design briefs with the students on which he /she works on during the project period. Based on this brief the student develops a collection which is commercially viable by the end of the project.

Each student hence develops a capability towards taking the industry , studying the brand image , identifying consumer needs, analyzing market trends and developing products that are market oriented but integrated in a way to provide a wholesome experience to the consumer.

The project given to me empowered me at every step tp understand my weakness and hone my design to the ultimate level of sale ability and aesthetics for a given consumer. It gave me an insight on how a product should be designed understanding the consumer, what material is feasible depending on the usage, and how the product will be developed

Introduction

TAMIL NADUTAMIL NADU

A highly consumer and price-driven collection in 22K Gold and diamond, the Tamil Nadu or ‘South’ collection targets at taking Tanishq as a brand to the masses of the challenging South Indian market of Tamil Nadu.

Design process

Industry Brief

Client Board

About Tamil Nadu

Tamil Nadu Jewelry

Creating a virtual collection

Brainstorming on possible themes/stories

Shortlisted stories

Consumer survey

Design direction

Final story: Kolam

Restatement of brief

Concepts and designs

Industry BriefTo design a collection for the womenfolk of Tamil Nadu, 25-35

years of age, belonging to the upper-middle income group.

Design process

Industry Brief

Client Board

About Tamil Nadu

Tamil Nadu Jewelry

Creating a virtual collection

Brainstorming on possible themes/stories

Shortlisted stories

Consumer survey

Design direction

Final story: Kolam

Restatement of brief

Concepts and designs

Industry BriefTo design a collection for the womenfolk of Tamil Nadu, 25-35

years of age, belonging to the upper-middle income group.

C lient board

Keywords:ConservativeTraditionalSimpleReligious

C lient board

Keywords:ConservativeTraditionalSimpleReligious

bout Tamil NaduA Tamil Nadu is one of the 28statesofIndia. Its capital and largest city is Chennai. Tamil Nadu lies in the southernmost part of theIndian Peninsula and is bordered by theunion territory ofPondicherry, and the states of Kerala,Karnataka, andAndhra Pradesh. It is bound by theEastern Ghatsin the north, theNilgiri, theAnamalai Hills, andPalakkadon the west, by the Bay of Bengalin the east, theGulf of Mannar, thePalk Straitin the south east and by theIndian Oceanin the south.

Tamil Nadu, the cradle of Dravidian culture, has a very rich history dating back to thousands of years. The timeline of Tamil Nadu can be divided into three major time frames: Early, Medieval and Modern:

• EARLY PERIOD: Prehistory

• MEDIEVAL PERIOD: Sangam era and the rise of empireso Sangam period - (Before 300 BC)o The Cholas - (Around 250 CE-350 CE)o The Pallavas - (350 CE-848 CE)o The Cholas - (848 CE-1279 CE)o The Pandyas - (1279 CE-1345 CE)o Muslim invasion by the Delhi Sultanate/The Cheras - (Around 1331 CE)o Vijayanagar and Nayak period – (1300 CE-1650 CE)o Nizams and Nawabs – (1650 CE-1750 CE)

• MODERN PERIOD:o European Colonization – (1750 CE-1850 CE)o British Raj – (1850 CE-1947 CE)o Post independence period.

? Total Area: 130,058 km2 (11th largest in India)? Language: Tamil? Literacy: 80.3%? Population: 72,139,958 (2011)? Population density: 554.7/km2? Ranks 7th population-wise in India.

bout Tamil NaduA Tamil Nadu is one of the 28statesofIndia. Its capital and largest city is Chennai. Tamil Nadu lies in the southernmost part of theIndian Peninsula and is bordered by theunion territory ofPondicherry, and the states of Kerala,Karnataka, andAndhra Pradesh. It is bound by theEastern Ghatsin the north, theNilgiri, theAnamalai Hills, andPalakkadon the west, by the Bay of Bengalin the east, theGulf of Mannar, thePalk Straitin the south east and by theIndian Oceanin the south.

Tamil Nadu, the cradle of Dravidian culture, has a very rich history dating back to thousands of years. The timeline of Tamil Nadu can be divided into three major time frames: Early, Medieval and Modern:

• EARLY PERIOD: Prehistory

• MEDIEVAL PERIOD: Sangam era and the rise of empireso Sangam period - (Before 300 BC)o The Cholas - (Around 250 CE-350 CE)o The Pallavas - (350 CE-848 CE)o The Cholas - (848 CE-1279 CE)o The Pandyas - (1279 CE-1345 CE)o Muslim invasion by the Delhi Sultanate/The Cheras - (Around 1331 CE)o Vijayanagar and Nayak period – (1300 CE-1650 CE)o Nizams and Nawabs – (1650 CE-1750 CE)

• MODERN PERIOD:o European Colonization – (1750 CE-1850 CE)o British Raj – (1850 CE-1947 CE)o Post independence period.

? Total Area: 130,058 km2 (11th largest in India)? Language: Tamil? Literacy: 80.3%? Population: 72,139,958 (2011)? Population density: 554.7/km2? Ranks 7th population-wise in India.

EARLY PERIOD: PREHISTORY It is suggested that the first Dravidians were part of the early Indus Valley Civilization and had to migrate southwards to escape aggressive Aryan advancements around 1500 BC.

MEDIEVAL PERIOD: SANGAM ERA AND THE RISE OF EMPIRES?

classical period in the history ofTamil Nadu, Keralaand other parts ofSouth India, it is named after theTamil Sangams, which were assemblies of Tamil scholars and poets.

? The Cholas - (Around 250 CE-350 CE, 848 CE-1279 CE): One of the longest-ruling dynasties in some parts ofsouthern India, the Cholas were great lovers and patrons of art, literature and architecture in Tamil Nadu.

? The Pallavas - (350 CE-848 CE): During Pallavas, the Dravidian architecture reached its epitome. Popularly referred as "the temple builders," the Pallavas constructed a large number of temples including amazing temples of Mahabalipuram, Kailasanathar Temple at Kanchipuram.

? The Pandyas - (1279 CE-1345 CE): The Pandyas are considered to found the city of Madurai.

MODERN PERIOD: EUROPEAN COLONIZATION AND POST-INDEPENDENCE The Pandyas were defeated by the Muslims from the Delhi Sultanate, giving way to the Nizams and Nawabs, subsequently being taken over by the Europeans. The state of Madras was renamed as Tamil Nadu in the year 1968.

Sangam period (Before 300 BC-300 CE): The

Timeline

Maps of the Dravidian region of India during different time periods in the medieval period which was an important era in Tamil history. The maps highlight the comparative political situation of the region at different times.

EARLY PERIOD: PREHISTORY It is suggested that the first Dravidians were part of the early Indus Valley Civilization and had to migrate southwards to escape aggressive Aryan advancements around 1500 BC.

MEDIEVAL PERIOD: SANGAM ERA AND THE RISE OF EMPIRES?

classical period in the history ofTamil Nadu, Keralaand other parts ofSouth India, it is named after theTamil Sangams, which were assemblies of Tamil scholars and poets.

? The Cholas - (Around 250 CE-350 CE, 848 CE-1279 CE): One of the longest-ruling dynasties in some parts ofsouthern India, the Cholas were great lovers and patrons of art, literature and architecture in Tamil Nadu.

? The Pallavas - (350 CE-848 CE): During Pallavas, the Dravidian architecture reached its epitome. Popularly referred as "the temple builders," the Pallavas constructed a large number of temples including amazing temples of Mahabalipuram, Kailasanathar Temple at Kanchipuram.

? The Pandyas - (1279 CE-1345 CE): The Pandyas are considered to found the city of Madurai.

MODERN PERIOD: EUROPEAN COLONIZATION AND POST-INDEPENDENCE The Pandyas were defeated by the Muslims from the Delhi Sultanate, giving way to the Nizams and Nawabs, subsequently being taken over by the Europeans. The state of Madras was renamed as Tamil Nadu in the year 1968.

Sangam period (Before 300 BC-300 CE): The

Timeline

Maps of the Dravidian region of India during different time periods in the medieval period which was an important era in Tamil history. The maps highlight the comparative political situation of the region at different times.

ultureCRELIGION

LIFESTYLE

FESTIVALS

MUSIC

ART AND CRAFTS

DANCE

CUISINE

COSTUMES

The main religions in Tamilnadu are Hinduism, Islam, Christianity and Jainism. Most Tamilians Hindus. The Brahminical castes of Iyer and Iyengar families continue to practice age-old traditions like not marrying outside the community and strict observance of religious rituals.

The natives of Tamil Nadu are very particular about their value system and their beliefs. People are very religious and visit the temples daily, but a major chunk of the population pays a visit on Friday. People are content, mainly owing to the fulfillment of their relatively simple needs.

Tamil nadu celebrates the maximum number of festivals each year. Temple festivals are held in September-October and in the post-harvest months of March-June. Pongal, a festival of Thanks giving to the Sun, the Earth and the cow, is their main festival.

The ancient Tamil music is the historical predecessor of the music of Tamil Nadu during the Sangam period, which evolved into classical Carnatic music by the 16th century. It is one of two main sub-genres of Indian classical music that evolved from ancient Hindu traditions.

Tamil Nadu is known for its traditional ornate paintings, known as Tanjore paintings. This unique art form has its origin from Tanjore in South India. Kolam is the decorative artwork drawn on the floor in front of houses and in front of deities in Puja rooms. Its a symbol of good fortune.

Bharatanatyam is the most famous classical dance of India originated in Tamil Nadu which was initially practiced in Shiva temples. Bharatanatyam skillfully embodies the three primary ingredients of dancing. They are bhava or mood, raga or music and melody and tala or timing.

The region has a rich cuisine involving both traditional vegetarian, as well as non-vegetarian dishes. It is characterized by the use of rice, legumes and lentils. The Chettinad region comprising Karaikudi and adjoining areas is known for traditional vegetarian and non-vegetarian dishes.

Kanchipuram nine -yard silk sarees of Tamil Nadu are very famous, and are worn by women on important formal occasions or occasions of celebrations, like weddings. Men are usually seen dressed in Lungi along with a shirt and Angavastra.

ultureCRELIGION

LIFESTYLE

FESTIVALS

MUSIC

ART AND CRAFTS

DANCE

CUISINE

COSTUMES

The main religions in Tamilnadu are Hinduism, Islam, Christianity and Jainism. Most Tamilians Hindus. The Brahminical castes of Iyer and Iyengar families continue to practice age-old traditions like not marrying outside the community and strict observance of religious rituals.

The natives of Tamil Nadu are very particular about their value system and their beliefs. People are very religious and visit the temples daily, but a major chunk of the population pays a visit on Friday. People are content, mainly owing to the fulfillment of their relatively simple needs.

Tamil nadu celebrates the maximum number of festivals each year. Temple festivals are held in September-October and in the post-harvest months of March-June. Pongal, a festival of Thanks giving to the Sun, the Earth and the cow, is their main festival.

The ancient Tamil music is the historical predecessor of the music of Tamil Nadu during the Sangam period, which evolved into classical Carnatic music by the 16th century. It is one of two main sub-genres of Indian classical music that evolved from ancient Hindu traditions.

Tamil Nadu is known for its traditional ornate paintings, known as Tanjore paintings. This unique art form has its origin from Tanjore in South India. Kolam is the decorative artwork drawn on the floor in front of houses and in front of deities in Puja rooms. Its a symbol of good fortune.

Bharatanatyam is the most famous classical dance of India originated in Tamil Nadu which was initially practiced in Shiva temples. Bharatanatyam skillfully embodies the three primary ingredients of dancing. They are bhava or mood, raga or music and melody and tala or timing.

The region has a rich cuisine involving both traditional vegetarian, as well as non-vegetarian dishes. It is characterized by the use of rice, legumes and lentils. The Chettinad region comprising Karaikudi and adjoining areas is known for traditional vegetarian and non-vegetarian dishes.

Kanchipuram nine -yard silk sarees of Tamil Nadu are very famous, and are worn by women on important formal occasions or occasions of celebrations, like weddings. Men are usually seen dressed in Lungi along with a shirt and Angavastra.

Jewelry

In Tamil Nadu, jewellery is worn as a tradition and everyone is seen wearing some ornament or the other. The ancient jewellery making tradition of this region speaks of a high degree of excellence and worksmanship. Gold is considered auspicious and good for health. It is made into ornaments for every part of the body except the feet, where it is worn only by gods and kings.

Ornaments shaped like the sun and moon are set with rubies interspersed with emeralds and uncut diamond and are worn on the parting of the hair along the forehead.

Earrings of a wide variety are worn in the state of Tamil Nadu. Ear studs can be Kadukkan (single-stone), Kammal (lotus-shaped with rubies or diamonds), Jimikki (bell-shaped ear-drops), Lolaakku ( ear-drops of any design) or Maattal which is made of gold or pearls and is hooked to the earring and then attached to the hair above the ear.

Ornaments for the nose include the single stoned Mookkupottu or the Besari and Muthu studded with eight diamonds or the swan shaped Hamsa besari, all of which are worn suspended from the central part of the nose.


Mangalsutra is the main neck ornament that is worn on an auspicious thread or on a gold chain. The pendant on the Mangalsutra indicates the community of the wearer";" it could be shaped like a tulsi (holy basil plant), the conch and discus of Vishnu or it could be heavily stone-studded as worn by Chettinad women. The other varieties of neckwear include necklaces and chains made of rubies and emeralds.

Vanki, an upper arm ornament, is usually intertwined in shape with a stone-inlaid piece set in gold. Oddiyaanam is a gold or silver belt worn tightly around the waist with stone-encrusted centres. Anklets of various types like the Ganja golusu (heavy variety with bells that tinkle), Thandai (stiff anklets with bells that tinkle) and Kaal kaappu (worn mainly by children and believed to protect their ankles) are worn on each leg above the feet.

Jimiki

Thaali

Jewelry

In Tamil Nadu, jewellery is worn as a tradition and everyone is seen wearing some ornament or the other. The ancient jewellery making tradition of this region speaks of a high degree of excellence and worksmanship. Gold is considered auspicious and good for health. It is made into ornaments for every part of the body except the feet, where it is worn only by gods and kings.

Ornaments shaped like the sun and moon are set with rubies interspersed with emeralds and uncut diamond and are worn on the parting of the hair along the forehead.

Earrings of a wide variety are worn in the state of Tamil Nadu. Ear studs can be Kadukkan (single-stone), Kammal (lotus-shaped with rubies or diamonds), Jimikki (bell-shaped ear-drops), Lolaakku ( ear-drops of any design) or Maattal which is made of gold or pearls and is hooked to the earring and then attached to the hair above the ear.



Mangalsutra is the main neck ornament that is worn on an auspicious thread or on a gold chain. The pendant on the Mangalsutra indicates the community of the wearer";" it could be shaped like a tulsi (holy basil plant), the conch and discus of Vishnu or it could be heavily stone-studded as worn by Chettinad women. The other varieties of neckwear include necklaces and chains made of rubies and emeralds.

Vanki, an upper arm ornament, is usually intertwined in shape with a stone-inlaid piece set in gold. Oddiyaanam is a gold or silver belt worn tightly around the waist with stone-encrusted centres. Anklets of various types like the Ganja golusu (heavy variety with bells that tinkle), Thandai (stiff anklets with bells that tinkle) and Kaal kaappu (worn mainly by children and believed to protect their ankles) are worn on each leg above the feet.

Jimiki

Thaali

KasumalaiOodiyanam

Vanki Mangamalai

KasumalaiOodiyanam

Vanki Mangamalai

Jewelry techniques

Thaali

Traditional Tamil Nadu jewelry comprises of three major kinds of traditional techniques that are put to use. They are Temple setting, Nakashi and Karaikudi setting.

TEMPLE SETTING

The traditional bridal jewellery, set with precious stones, mainly rubies and emeralds in a cabochon cut, is worn on the head and hair by devadaasis/temple dancers who were considered wedded to the deity and as such came to be called temple jewellery. The jewelry is made in 22K gold.

NAKASHI

Nakashi is the ancient South Indian technique of embossing intricate motifs on a 22K gold metal sheet and using it in jewelry pieces. Tamil Nadu jewelry commonly comprises of figurines of gods and goddesses or nature-inspired objects done in Nakashi technique.

KARAIKUDI SETTING

Karaikudi is a city in Sivaganga District in the Indian state of Tamil Nadu. The place is known for a special kind of stone setting named after the city. Karaikudi setting is a closed setting of diamonds in which the back of the stone is not exposed. Each diamond is set inside a closed gold collet, underlined with silver foil to add to the radiance of the stone. Karaikudi setting is done in 22K gold and is very popular in the South Indian market.

Temple setting

Nakashi

Shown alongside are the pictures of a Karaikudi collet being made at A-star, Hosur. The outer shape of the collet and cavity for diamond setting is cut and fixed on wax, after which ‘Chillai’ or engraving is done by hand on the collets to set the diamonds.

Karaikudi / Closed setting

Jewelry techniques

Thaali

Traditional Tamil Nadu jewelry comprises of three major kinds of traditional techniques that are put to use. They are Temple setting, Nakashi and Karaikudi setting.

TEMPLE SETTING

The traditional bridal jewellery, set with precious stones, mainly rubies and emeralds in a cabochon cut, is worn on the head and hair by devadaasis/temple dancers who were considered wedded to the deity and as such came to be called temple jewellery. The jewelry is made in 22K gold.

NAKASHI

Nakashi is the ancient South Indian technique of embossing intricate motifs on a 22K gold metal sheet and using it in jewelry pieces. Tamil Nadu jewelry commonly comprises of figurines of gods and goddesses or nature-inspired objects done in Nakashi technique.

KARAIKUDI SETTING

Karaikudi is a city in Sivaganga District in the Indian state of Tamil Nadu. The place is known for a special kind of stone setting named after the city. Karaikudi setting is a closed setting of diamonds in which the back of the stone is not exposed. Each diamond is set inside a closed gold collet, underlined with silver foil to add to the radiance of the stone. Karaikudi setting is done in 22K gold and is very popular in the South Indian market.

Temple setting

Nakashi

Shown alongside are the pictures of a Karaikudi collet being made at A-star, Hosur. The outer shape of the collet and cavity for diamond setting is cut and fixed on wax, after which ‘Chillai’ or engraving is done by hand on the collets to set the diamonds.

Karaikudi / Closed setting

reating a virtual collectionC The idea of the Tamil Nadu collection was to create jewelry that would capture the whole essesence of Tamil jewelry in a way that is traditional, yet introduces something new to the mostly non-experimental market. In order to achieve this, the concept of amalgamating two or more jewelry styles

relevant in the given market was implemented to create a ‘virtual’ collection. A detailed study was done on the kind of jewelry that is accepted in the Tamil market, with the help of image references. These images were used to create boards of the different jewelry styles. Consequently, the

images were treated in Adobe Photoshop to create a collection of jewelry pieces in which one piece had two or more traditional techniques used in it. The original and treated boards have been shown in the consecutive pages.

CS-FU(Colored Stone-Fusion) DI-FU (Diamond-Fusion)

reating a virtual collectionC The idea of the Tamil Nadu collection was to create jewelry that would capture the whole essesence of Tamil jewelry in a way that is traditional, yet introduces something new to the mostly non-experimental market. In order to achieve this, the concept of amalgamating two or more jewelry styles

relevant in the given market was implemented to create a ‘virtual’ collection. A detailed study was done on the kind of jewelry that is accepted in the Tamil market, with the help of image references. These images were used to create boards of the different jewelry styles. Consequently, the

images were treated in Adobe Photoshop to create a collection of jewelry pieces in which one piece had two or more traditional techniques used in it. The original and treated boards have been shown in the consecutive pages.

CS-FU(Colored Stone-Fusion) DI-FU (Diamond-Fusion)

CS-T (Colored Stone-Traditional) DI-FA (Diamond- Fashion)

DI-T (Diamond- Traditional) KUN- Kundan

CS-T (Colored Stone-Traditional) DI-FA (Diamond- Fashion)

DI-T (Diamond- Traditional) KUN- Kundan

NA-FU (Nakashi-Fashion) NA-T (Nakashi-Traditional)

NAVR (Navratan) OP (Open Polki)

NA-FU (Nakashi-Fashion) NA-T (Nakashi-Traditional)

NAVR (Navratan) OP (Open Polki)

PG- FU(Plain Gold- Fusion) PG- T (Plain Gold- Traditional)

TJ-FU(Temple jewelry-Fusion) TJ-T (Temple Jewelry- Traditional)

PG- FU(Plain Gold- Fusion) PG- T (Plain Gold- Traditional)

TJ-FU(Temple jewelry-Fusion) TJ-T (Temple Jewelry- Traditional)

VIRTUAL BOARD 1: 2-TONEVIRTUAL BOARD 1: 2-TONE

VIRTUAL BOARD 2: 3 TONEVIRTUAL BOARD 2: 3 TONE

VIRTUAL BOARD 3: 3-TONEVIRTUAL BOARD 3: 3-TONE

VIRTUAL BOARD 4: DIA-CON (DIAMOND-CONTEMPORARY)VIRTUAL BOARD 4: DIA-CON (DIAMOND-CONTEMPORARY)

VIRTUAL BOARD 5: NK-S (NAKASHI-STONES)VIRTUAL BOARD 5: NK-S (NAKASHI-STONES)

VIRTUAL BOARD 6: NK-TEM (NAKASHI- TEMPLE JEWELRY) VIRTUAL BOARD 6: NK-TEM (NAKASHI- TEMPLE JEWELRY)

VIRTUAL BOARD 7: NK-TRA (NAKASHI-TRADITIONAL)VIRTUAL BOARD 7: NK-TRA (NAKASHI-TRADITIONAL)

VIRTUAL BOARD 8: TEM-CS (TEMPLE JEWELRY- COLORED STONES)VIRTUAL BOARD 8: TEM-CS (TEMPLE JEWELRY- COLORED STONES)

rainstorming for theme/storyB After all the probable looks and techniques for the collection had been explored, it was necessary to give a definite direction to the collection by finalizing one theme or story that the collection would be inspired by. The initial study of Tamil Nadu and its culture was put to use for this purpose and a brainstorming was done on various subjects that could possibly form the basis for inspiring the collection. The stories suggested have been explained hereby.

THE CHOLAS

TEMPLES

KANJEEVARAM SAREES

TheChola dynasty was aTamildynasty which was one of the longest-ruling in some parts ofsouthern India, being in existence from roughly around 300 BC upto 1279 CE. During the Chola dynasty, life revolved around the temple. In general, they were the adherents ofHinduism. The Chola period is also remarkable for its sculptures and bronzes. Most of the sculptures and bronze idols depict fine figures of Siva in various forms, Vishnuand his consortLakshmi, Siva saints and many more mostly religious and mythical characters. Nataraja, perhaps the most important and famous of all bronze statues of the period, the symbolism presentsSivaas lord of thecosmic dance ofcreationanddestruction.

Tamil Nadu is also known as the "Land of Temples" as there are more than 30,000 temples in the state, some of them more than thousand years old and are architectural marvels. It is the land where Dravidian style of temple architecture manifested itself in a grand and magnificent way. Vimanas (storeys) and Gopurams (towering gateways to the temple complex) best characterize the temples of Tamilnadu. The architecture of these temples is a living testimony to the glorious past of enchanting Tamil Nadu. Majority of these awe inspiring temples were construed during the reign of Cholas, Pandyas, Pallavas, Nayaks and other Vijaynagar rulers. It is interesting to note that the temples of South India were not merely a place of worship but a large part of social and cultural life of the people revolved around them.

The Kanjeevaram sari gets its name from the town it originated in - Kanchipuram, a little temple town in Tamil Nadu. Heavy silk background is dotted with embroidery made with real gold or silver. Silken thread may also be used. The pallav, or the end thrown over the shoulder, and the borders are typically more elaborate and colorful than the rest of the sari. A hallmark of Kanjeevaram silk is the bold and bright color, favored by almost every Indian woman. A Kanjeevaram saree will always find a place in every South Indian bride's trousseau. The saree is deeply rooted in the south Indian culture, giving a sense of belonging towards their mother land.

BHARATANATYAM

NATARAJA

KOLAM

TANJORE PAINTINGS

Bharatanatyam is a classical dance form that originated in southern India in the state of Tamilnadu. It started as a temple dance tradition called Dasiyattam (the dance of the maid-servants) 2000 years ago and is perhaps the most advanced and evolved dance form of all the classical Indian dance forms. Bharata Natyam is considered to be a 'fire dance' - the mystic manifestation of the metaphysical element of fire in the human body. Bharata Natyam proper is asolo dance, with two aspects —lasya, the graceful feminine lines and movements, andtandava Ananda Thandavam (Tamil) (the dance ofShiva), masculine aspect which is identical to theYin and Yangin the Chinese culture.

N‚?araja is derived from the Sanskrit words ‘Narta R‚jan’ (Lord of dance). Nataraja's dance is the symbolic representation of human life, which depicts that ultimately, the good and the evil are neutralized. It represents five activities: 'Srishti' (creation, evolution); 'Sthiti' (preservation, support); 'Samhara' (destruction, evolution); 'Tirobhava' (illusion); and 'Anugraha' (release, emancipation, grace). A Tamil concept, Shiva was first depicted as Nataraja in the famous Chola bronzes and sculptures of Chidambaram. The form is present in most Shiva temples in South India, and is the main deity in the famous temple at Chidambaram.

Kolamis a form of painting that is drawn usingricepowder. A Kolam is a curvilinear geometrical line drawing composed of curved loops, drawn around a grid pattern of dots. InSouth India, it is widely practiced by femaleHindufamily members in front of their homes, as a ritual to welcome goddess Lakshmi and prosperity in the household. In olden days, kolams used to be drawn in coarse rice flour, to invite birds, ants and other small critters to eat it, thus inviting other beings into one's home and everyday life: a daily tribute to harmonious co-existence. Folklorehas evolved to mandate that the lines must be completed so as to symbolically prevent evil spirits from entering the inside of the shapes, and thus are they prevented from entering the inside of the home.

Tanjore Painting is a kind of classic, miniature type of painting named after theplace Thanjavur(called Tanjore) in Tamil Nadu. The art form dates back to about 1600 AD, a period when the Nayakas of Tanjavur encouraged art—chiefly, classical dance and music—as well as literature, both in Telugu and Tamil. Essentially serving as devotional icons, the themes of most of these paintings areHindugods and goddesses. Tanjore paintings were originally embellished with pure gold foil and precious stones like rubies and emeralds, but these days artificial, non-precious elements are being put to use to create them.

hortlisted storiesS

KANJEEVARAM SAREES

hortlisted storiesS

KANJEEVARAM SAREES

KOLAMKOLAMKOLAM

TEMPLE ARCHITECTURETEMPLE ARCHITECTURE

Consumer study

After the groundwork on all the possible design directions that can be taken and stories that can be used for inspiration was over, it was necessary to take a feedback from the target consumer group upon the ideas, in order to understand what exactly is liked by the consumer and to finalize the design direction that the collection would take.

For this purpose, an agency called ‘Multi Dimensions’ was commissioned to conduct a research and gather feedback from a focus group in the Tamil Nadu market, in the first week of 2012. The agency conducted extensive ethnographic interviews and studied current practices/ behaviour patterns relevant to jewelry buying.

The focus group comprised of women of the 28-35 years age group. The women have a traditional mindset and generally wear sarees. They attend social gatherings frequently and are particular about changing their attire and jewelry according to the occasion. The focus group consisted of both homemakers as well as self-employed/ working women. All women in the focus group had bought jewelry worth Rs. 1-5 lakh in the past 6 months from Tanishq/ other brands. All were open to buying from Tanishq in future.

The important findings that were derived from the study have been summarized as follows:

? There has been a shift from the strictly south Indian style of dressing, i.e., Kanjeevaram sarees at social gatherings, towards more ‘designer’ sarees and lehengas, Embellishments of Kundan and crystals in the attire are appreciated.

? The women feel that there is not the right kind of precious jewelry available in the market to go with their ‘designer’ attire, hence, artificial jewelry with stones, kundan and polki are often chosen to go with these ensembles. This has led to Kundan and Polki being seen as ‘Non-genuine’ jewelry. Hence there is a potential for lightweight jewelry in gold and enamel to match with the attires.

? For everyday use, along with the Thaali, consumers use a choker chain with a pendant. The regular gold bangles and ear studs are changed when the consumers go out.

? For small functions, a longer Mala or a dressy pendant set (in gemstones or white zircons) maybe used. For more important functions ruby/ emerald pendant sets are

? Family weddings are big occasions where announcement of image through jewelry is done. Many people especially go saree and jewelry shopping when there’s a wedding in the family. All the heavy traditional items, comprising of the whole range, i.e, Long Haram, short chain or close necklace, Oodiyanam or waistbelt, Vanki, Eardrops or Jimiki, Bangles and diamond sets are taken out for the wedding.

? Purchase of jewelry is seen as a careful investment, with the item planned carefully, for most consumers. Although, with the number of buying occasions having gone up, more frequent low value purchases have also started.

? Diwali, New Year, Akshaya Tritiya, Birthdays, anniversaries are the major buying occasions.

? The favorite buying items are the moderately-prices ones that can be changed regularly. (Ear drops/studs, rings, pendants, bangles)

? 3 out of 4 purchases are of plain gold jewelry. Among stones, most purchased rubies and emeralds set in gold, zircons too. Most of the people own a traditional diamond set.

? Navrathna is not wanted at all, it is thought of a category fit for only men’s rings, as its ‘too dull’ for women.

? Since gold is often considered as an investment, mostly traditional items are purchased in gold. The lightweight designs are experimented with in terms of stones and enamel.

? Consumers value exclusivity and uniqueness in design. But there are boundaries to their preferences for designs- the creativity enveloped cannot be pushed into too unfamiliar areas.

? Design, rate of gold, wastage and making charges were key determinants for purchase. Other factors remaining constant, the most competitive store would get the business.

? Usually a set of three stores are checked out before the final selection. ( Nathella, Prince, Khazana, Tanishq )

PERCEPTIONS ABOUT TANISHQ:

? Innovative and unique designs. People are confident about its gold purity because its certified.

? The consumers are of the opinion that Tanishq is meant for very modern and stylish people and not for people with common tastes like themselves.

? The consumers feel that there are many

?

(like mostly in stones. There is a lack of range in light weight jewelry for everyday use. There is aslo not much range in traditional south Indian heavy pieces like gold Harams.

WAY FORWARD

? Consumers are excited and feel privileged about uniqueness in design. They like modern designs but with traditional underpinnings. Designs which have more of gold visible but with a balance of stones/ diamonds are appreciated. Abstract designs with floral motifs which look large and voluminous are liked.

? Consumers look forward to designs that do not bring a drastic change to the existing ones, but ‘Transform/ Renew’ the traditional styles. Designs should make them look more youthful as some consumers feel that traditional designs make them look ‘older’.

? There is a predominance of gold preferred in Gold based designs because solid gold has a higher re-sale value.

? There is a hesitation about big god pendants (Nakashi work).

? In combinations, consumers are keen about the balance and blending of materials and tones. Intricate yet delicate pieces are appreciated. Also, they look for symmetry in the mix. ?

designs in the heavier jewelry segment wedding collections), and they are

? People are open to experiment with innovations in design. Reversible patterns found favour among consumers even if it meant that they were more bulky. (10-15 grams more). Consumers felt that it was better than buying two items.

DESIGN INSPIRATIONS/ STORY

? Consumers liked the concept of defining the collection through a story as it created a recall value for the pieces.

? Out of the three inspiration stories shown, the Kolam and Kanjeevaram sari based inspiration stories were considered very typical of Chennai and its ethos.

? Temple architecture and Tanjore paintings too were considered authentic. However images of god except in small enamel pendants was not among the routes liked-hence this route was put last.

? Kolam reminded them of lightweight as well as intricate patterns. Some respondents saw a correlation between DI – FA, the design direction liked the most and the communication route, Kolam.

? Kanjivaram was also liked though second in terms of preference. The pattens drawn from kanjivaram sari motifs was greatly credible. This could go well with the Plain gold design direction.

? Navrathna is not wanted at all, it is thought of a category fit for only men’s rings, as its ‘too dull’ for women.

? Since gold is often considered as an investment, mostly traditional items are purchased in gold. The lightweight designs are experimented with in terms of stones and enamel.

? Consumers value exclusivity and uniqueness in design. But there are boundaries to their preferences for designs- the creativity enveloped cannot be pushed into too unfamiliar areas.

? Design, rate of gold, wastage and making charges were key determinants for purchase. Other factors remaining constant, the most competitive store would get the business.

? Usually a set of three stores are checked out before the final selection. ( Nathella, Prince, Khazana, Tanishq )

PERCEPTIONS ABOUT TANISHQ:

? Innovative and unique designs. People are confident about its gold purity because its certified.

? The consumers are of the opinion that Tanishq is meant for very modern and stylish people and not for people with common tastes like themselves.

? The consumers feel that there are many

?

(like mostly in stones. There is a lack of range in light weight jewelry for everyday use. There is aslo not much range in traditional south Indian heavy pieces like gold Harams.

WAY FORWARD

? Consumers are excited and feel privileged about uniqueness in design. They like modern designs but with traditional underpinnings. Designs which have more of gold visible but with a balance of stones/ diamonds are appreciated. Abstract designs with floral motifs which look large and voluminous are liked.

? Consumers look forward to designs that do not bring a drastic change to the existing ones, but ‘Transform/ Renew’ the traditional styles. Designs should make them look more youthful as some consumers feel that traditional designs make them look ‘older’.

? There is a predominance of gold preferred in Gold based designs because solid gold has a higher re-sale value.

? There is a hesitation about big god pendants (Nakashi work).

? In combinations, consumers are keen about the balance and blending of materials and tones. Intricate yet delicate pieces are appreciated. Also, they look for symmetry in the mix. ?

designs in the heavier jewelry segment wedding collections), and they are

? People are open to experiment with innovations in design. Reversible patterns found favour among consumers even if it meant that they were more bulky. (10-15 grams more). Consumers felt that it was better than buying two items.

DESIGN INSPIRATIONS/ STORY

? Consumers liked the concept of defining the collection through a story as it created a recall value for the pieces.

? Out of the three inspiration stories shown, the Kolam and Kanjeevaram sari based inspiration stories were considered very typical of Chennai and its ethos.

? Temple architecture and Tanjore paintings too were considered authentic. However images of god except in small enamel pendants was not among the routes liked-hence this route was put last.

? Kolam reminded them of lightweight as well as intricate patterns. Some respondents saw a correlation between DI – FA, the design direction liked the most and the communication route, Kolam.

? Kanjivaram was also liked though second in terms of preference. The pattens drawn from kanjivaram sari motifs was greatly credible. This could go well with the Plain gold design direction.

REACTION TO STIMULUS (VIRTUAL COLLECTION)

DESIGN ROUTE 3.5-5 LAKHS RECENT BUYERS (Relatively more evolved, own more pieces of jewelry, more adventurous)

1.5-3 LAKHS RECENT BUYERS(More conservative, are into collection of jewelry, follow the trodden path )

CS-FA(Colored Stones-Fashion) Not unique, common. Unique, different, nice.

CS-T(Colored Stones-Traditional) Nice but common. Traditional but nice, seen before.

DI-FA(Diamond-Fashion)*Glittering, very nice, fashionable,

delicate, modern.Superb, trendy, different, very

unique, best designs.

DI-FU(Diamond-Fushion)Traditional and fashionable,

different. Very good, old design in new

form.

DI-T(Diamond-Traditional) Old fashioned, common. Ordinary, common.

NA-FA (Nakashi-Fashion)Antique, god pendants not attractive, like Ramya Krishnan, not glamorous, heavy.

Not nice, fit for dancers only, not attractive, not fit for all occasions.

NA-T (Nakashi-Traditional)Too much God imagery, heavy, not bright

finish, will not add to look. Ordinary, common.

NAVR (Navrathna) Local, common designs, very congested. Not unusual, seen before.

OP (Open Polki)Resembles artificial jewelry, not

status enhancing. All designs are attractive.

PG-FA (Plain Gold-Fashion)* Very nice, trendy, versatile. All are good, trendy for all occasions.

PG-T (Plain Gold-Traditional) Common, dull, nothing new. All are old designs, but nice.

TJ-FA (Temple Jewelry- Fashion)Like Bharatanatyam set, looks like

silver, for very rich people.Only for very stylish people, does

not suit all.

REACTION TO STIMULUS (VIRTUAL COLLECTION)

DESIGN ROUTE 3.5-5 LAKHS RECENT BUYERS (Relatively more evolved, own more pieces of jewelry, more adventurous)

1.5-3 LAKHS RECENT BUYERS(More conservative, are into collection of jewelry, follow the trodden path )

CS-FA(Colored Stones-Fashion) Not unique, common. Unique, different, nice.

CS-T(Colored Stones-Traditional) Nice but common. Traditional but nice, seen before.

DI-FA(Diamond-Fashion)*Glittering, very nice, fashionable,

delicate, modern.Superb, trendy, different, very

unique, best designs.

DI-FU(Diamond-Fushion)Traditional and fashionable,

different. Very good, old design in new

form.

DI-T(Diamond-Traditional) Old fashioned, common. Ordinary, common.

NA-FA (Nakashi-Fashion)Antique, god pendants not attractive, like Ramya Krishnan, not glamorous, heavy.

Not nice, fit for dancers only, not attractive, not fit for all occasions.

NA-T (Nakashi-Traditional)Too much God imagery, heavy, not bright

finish, will not add to look. Ordinary, common.

NAVR (Navrathna) Local, common designs, very congested. Not unusual, seen before.

OP (Open Polki)Resembles artificial jewelry, not

status enhancing. All designs are attractive.

PG-FA (Plain Gold-Fashion)* Very nice, trendy, versatile. All are good, trendy for all occasions.

PG-T (Plain Gold-Traditional) Common, dull, nothing new. All are old designs, but nice.

TJ-FA (Temple Jewelry- Fashion)Like Bharatanatyam set, looks like

silver, for very rich people.Only for very stylish people, does

not suit all.

DESIGN ROUTE 3.5-5 LAKHS RECENT BUYERS 1.5-3 LAKHS RECENT BUYERS

TJ-T (Temple Jewelry-Traditional) Heavy, looks like imitation but

could cost over Rs 10L.Only for highly stylish people, will go only with

cotton saris, silk cotton, for older women.

NK-S (Nakashi-Stones)* Very unique and good.For stylish people, good, god imagery

plus close set diamonds are nice.

TEM-CS(Temple-Colored Stones)All look like imitation designs, not

at all appealing.Gentle look, nice, not unique

though.

NK-TEM(Nakashi-Temple)Not for common people, heavy, looks like

imitation, cannot wear with Thali. Good, but a bit fancy, like for

temple dancers.

NK-TRA(Nakashi-Traditional)All are not balanced, too many elements,

god’s imagery cannot be worn all the time. Will look good only with sari.

2-TONENot suited to common people. Not balanced, will give an oldish look.

Good but very heavy.

3-TONE Traditional, not versatile, not balanced. Only Jimikki is good.

KUN(Kundan)Not suited to common people, looks

totally artificial.Not for common people, looks

like imitation.

NK – Op1 (Nakashi-Open Polki)Like temple jewelry, unique,

heavy, costly. Not so good look artificial.

NK – Op2 (Nakashi-Open Polki)Good for simple functions without god

pendant. The chains are nice. Too much god imagery, not for daily wear.

DIA-CON (Diamond- Contemporary)Very Unique, fashionable, versatile, goes with

party wear and designer saris too. For very stylish people only, does not

look original, does not look pure.

*The text in bold are the design directions that were most liked.

DESIGN ROUTE 3.5-5 LAKHS RECENT BUYERS 1.5-3 LAKHS RECENT BUYERS

TJ-T (Temple Jewelry-Traditional) Heavy, looks like imitation but

could cost over Rs 10L.Only for highly stylish people, will go only with

cotton saris, silk cotton, for older women.

NK-S (Nakashi-Stones)* Very unique and good.For stylish people, good, god imagery

plus close set diamonds are nice.

TEM-CS(Temple-Colored Stones)All look like imitation designs, not

at all appealing.Gentle look, nice, not unique

though.

NK-TEM(Nakashi-Temple)Not for common people, heavy, looks like

imitation, cannot wear with Thali. Good, but a bit fancy, like for

temple dancers.

NK-TRA(Nakashi-Traditional)All are not balanced, too many elements,

god’s imagery cannot be worn all the time. Will look good only with sari.

2-TONENot suited to common people. Not balanced, will give an oldish look.

Good but very heavy.

3-TONE Traditional, not versatile, not balanced. Only Jimikki is good.

KUN(Kundan)Not suited to common people, looks

totally artificial.Not for common people, looks

like imitation.

NK – Op1 (Nakashi-Open Polki)Like temple jewelry, unique,

heavy, costly. Not so good look artificial.

NK – Op2 (Nakashi-Open Polki)Good for simple functions without god

pendant. The chains are nice. Too much god imagery, not for daily wear.

DIA-CON (Diamond- Contemporary)Very Unique, fashionable, versatile, goes with

party wear and designer saris too. For very stylish people only, does not

look original, does not look pure.

*The text in bold are the design directions that were most liked.

Design direction

DESIGN INSPIRATION: KOLAM

DESIGN DIRECTION:DI-FA, PG-F, NK-S

DESIGN CHARACTERISTICS: “ARTISTIC, VERSATILE, LAYERED, WITH EMBELLISHMENTS ALL DESIGNED FOR REGULAR PEOPLE.”

WHAT THE DESIGN SHOULD AIM AT:“TRANSFORM, RENEW, MAKE TRADITIONAL JEWELRY MORE YOUTHFUL.”

RESTATEMENT OF BRIEF: “TO DESIGN A COLLECTION FOR THE WOMEN OF TAMIL NADU, 28-35 YEARS OF AGE, IN 22K GOLD AND DIAMONDS, BELONGING TO THE UPPER-MIDDLE INCOME GROUP, INSPIRED BY KOLAM.”

Design direction

DESIGN INSPIRATION: KOLAM

DESIGN DIRECTION:DI-FA, PG-F, NK-S

DESIGN CHARACTERISTICS: “ARTISTIC, VERSATILE, LAYERED, WITH EMBELLISHMENTS ALL DESIGNED FOR REGULAR PEOPLE.”

WHAT THE DESIGN SHOULD AIM AT:“TRANSFORM, RENEW, MAKE TRADITIONAL JEWELRY MORE YOUTHFUL.”

RESTATEMENT OF BRIEF: “TO DESIGN A COLLECTION FOR THE WOMEN OF TAMIL NADU, 28-35 YEARS OF AGE, IN 22K GOLD AND DIAMONDS, BELONGING TO THE UPPER-MIDDLE INCOME GROUP, INSPIRED BY KOLAM.”

KDesign inspiration: olam

In Tamil Nadu, it is an old tradition to decorate the entrance to the home with a geometric figure called "Kolam". Kolamis a form of painting that is drawn using rice powder. A Kolam is a geometrical line drawing composed of curved loops, drawn around a grid pattern of dots. It is drawn as a ritual to welcome goddess Lakshmi and prosperity in the household.

First the front and backyard is swept clean to remove loose dust and litter. Next raw wet cow-dung is spread on the floor in a thin layer. After the floor dries it becomes stiff and flat. Kolams are then drawn using white rice flour on this dark green floor. Since

dried cow dung has anti-septic properties, it also prevents germs and other insects from infesting the house. Kolams were traditionally drawn using dried rice flour or ground rice paste. Lately different mediums are being used to draw kolams. There are quite a few types of Kolam designs. The most important and prominent type of Kolam is ‘Pulli’ Kolam. Dots (Pulli) are arranged in a particular order and these dots are either connected or surrounded by strokes to create Kolams. There are two major types of Pulli Kolams which are explained further. A pattern, in which a stroke (Kambi, in Tamil) runs once around each dot (Pulli), and goes to the beginning point, creating an endless cyclic form. This is a mostly geometrical figure, formed by twisted chains of interconnected loops. The stroke used around the Pulli is commonly called ‘Neli’, which means a serpentine line. These lines form simple as well as complex (Sikku) Kolam structures around the dots. The complexity of a Sikku Kolam is its speciality. Neli, chikku, sikku, kambi or chuzhi Kolam are the other names for these

types of Kolams. These are the traditional Tamil Kolams.

The other kind of Pulli Kolam is where the dots are joined by freehand straight lines to create the Kolam. These are the more contemporary Kolams which are mostly very geometric and linear. These Kolams are similar to the ‘Rangoli’ of north India, except that they may not be as colorful. Apart from geometrical shapes, stars, flowers, birds, lotus are some common motifs in Line Kolams. In modern times, often brick powder is used to give a hint of color to such Kolams, these are called ‘Kaavi’ Kolam. Kolam-making is a tradition that has been in practice for thousands of years. Old historical resources like the Vedas and Divya Prabandhams and other literatures have mentioned kolams, making it an ageless practice. Even today to welcome the gods and goddesses, people sweep the front of their houses, sprinkle water to pack the loose dirt and then draw elaborate Kolams as a daily early morning ritual.

KDesign inspiration: olam

In Tamil Nadu, it is an old tradition to decorate the entrance to the home with a geometric figure called "Kolam". Kolamis a form of painting that is drawn using rice powder. A Kolam is a geometrical line drawing composed of curved loops, drawn around a grid pattern of dots. It is drawn as a ritual to welcome goddess Lakshmi and prosperity in the household.

First the front and backyard is swept clean to remove loose dust and litter. Next raw wet cow-dung is spread on the floor in a thin layer. After the floor dries it becomes stiff and flat. Kolams are then drawn using white rice flour on this dark green floor. Since

dried cow dung has anti-septic properties, it also prevents germs and other insects from infesting the house. Kolams were traditionally drawn using dried rice flour or ground rice paste. Lately different mediums are being used to draw kolams. There are quite a few types of Kolam designs. The most important and prominent type of Kolam is ‘Pulli’ Kolam. Dots (Pulli) are arranged in a particular order and these dots are either connected or surrounded by strokes to create Kolams. There are two major types of Pulli Kolams which are explained further. A pattern, in which a stroke (Kambi, in Tamil) runs once around each dot (Pulli), and goes to the beginning point, creating an endless cyclic form. This is a mostly geometrical figure, formed by twisted chains of interconnected loops. The stroke used around the Pulli is commonly called ‘Neli’, which means a serpentine line. These lines form simple as well as complex (Sikku) Kolam structures around the dots. The complexity of a Sikku Kolam is its speciality. Neli, chikku, sikku, kambi or chuzhi Kolam are the other names for these

types of Kolams. These are the traditional Tamil Kolams.

The other kind of Pulli Kolam is where the dots are joined by freehand straight lines to create the Kolam. These are the more contemporary Kolams which are mostly very geometric and linear. These Kolams are similar to the ‘Rangoli’ of north India, except that they may not be as colorful. Apart from geometrical shapes, stars, flowers, birds, lotus are some common motifs in Line Kolams. In modern times, often brick powder is used to give a hint of color to such Kolams, these are called ‘Kaavi’ Kolam. Kolam-making is a tradition that has been in practice for thousands of years. Old historical resources like the Vedas and Divya Prabandhams and other literatures have mentioned kolams, making it an ageless practice. Even today to welcome the gods and goddesses, people sweep the front of their houses, sprinkle water to pack the loose dirt and then draw elaborate Kolams as a daily early morning ritual.

DesignsDesigns

S.no Qty

1 1.5 24

2 1.6 26

Product 1: Earring

Gold weight: 10 gms.Price: Rs. 1,43,500.

Size (mm)

Diamond chart

Inspiration

24.86 mm

24.3

5 m

m

1

Step 1: Taking inspiration from the flow of curves

Step 2: Deriving a form and repeating around a centre

into an ‘orange peel’.

2

3

Step 3: Exploring the form in uniform size in an orange peel. A 7-stone cluster was tried in

the center to make it look more ‘South’ style.

Final DesignScaled down the form and

added more stones between forms to give volume.

S.no Qty

1 1.5 24

2 1.6 26

Product 1: Earring


Size (mm)

Diamond chart

Inspiration

24.86 mm

24.3

5 m

m

1

Step 1: Taking inspiration from the flow of curves

Step 2: Deriving a form and repeating around a centre

into an ‘orange peel’.

2

3

Step 3: Exploring the form in uniform size in an orange peel. A 7-stone cluster was tried in

the center to make it look more ‘South’ style.

Final DesignScaled down the form and

added more stones between forms to give volume.

S.no Qty

1 1.7 9

Product 2: Finger ring

Gold weight: 6 gms.Price: Rs. 48,000.

Size (mm)

Diamond chart

Inspiration

18.85 mm

24.6

mm

Step 1: Doodles inspired by the continuity of the Kolam.

1Step 2: The top element Is made rotatable, adding to the concept

of continuity. The shank is engraved with the Kolam motif.

2Step 3: Modification of side view of the shank and reducing number of diamonds in the top element by

spacing out the elements.

Final DesignReduced number of stones in the top element to cut down the price.

3

S.no Qty

1 1.7 9



Size (mm)

Diamond chart

Inspiration

18.85 mm

24.6

mm

Step 1: Doodles inspired by the continuity of the Kolam.

1Step 2: The top element Is made rotatable, adding to the concept

of continuity. The shank is engraved with the Kolam motif.

2Step 3: Modification of side view of the shank and reducing number of diamonds in the top element by

spacing out the elements.

Final DesignReduced number of stones in the top element to cut down the price.

3

Inspiration

1

Step 1: Doodle of a Jhumki, taking inspiration from the

flow of curves on its top part, and replicating the Kolam on

the dome of the Jhumki.

Step 2: Blowing up on the top part of the Jhumki, the mesh-like dome was found

interesting.

2

3

Step 3: The mesh replicated for further explorations.

Step 4: Mirrored the form to create a cage like structure

in which the two forms intersects in the centre.

3

4

Step 5: Moved the two forms further into each other

resulting into a criss-crossing centre.

5

Step 6: The intersecting center part was focused on and an over-lapping form was derived out of it. This form was repeated to explore it in a round bangle.

6

Step 7: The form was elongated a bit to make it less bulky in its look and repeated in a round bangle.

7

Step 8: The form was further elongated to include a negative space and give more volume but less weight. The form was repeated in a decreasing order

of size from the center to sides, to create a look fit for an oval bangle.

8

Product 3: Oval Bangle

Inspiration

1

Step 1: Doodle of a Jhumki, taking inspiration from the

flow of curves on its top part, and replicating the Kolam on

the dome of the Jhumki.

Step 2: Blowing up on the top part of the Jhumki, the mesh-like dome was found

interesting.

2

3

Step 3: The mesh replicated for further explorations.

Step 4: Mirrored the form to create a cage like structure

in which the two forms intersects in the centre.

3

4

Step 5: Moved the two forms further into each other

resulting into a criss-crossing centre.

5

Step 6: The intersecting center part was focused on and an over-lapping form was derived out of it. This form was repeated to explore it in a round bangle.

6

Step 7: The form was elongated a bit to make it less bulky in its look and repeated in a round bangle.

7

Step 8: The form was further elongated to include a negative space and give more volume but less weight. The form was repeated in a decreasing order

of size from the center to sides, to create a look fit for an oval bangle.

8


S.no Qty

1 1.9 2

2 2.1 2

3 2.2 4

4 2.3 1


Size (mm)

Diamond chart

Final DesignNumber of elements were reduced to make the design

lighter and reduce the price.

60 mm

11m

m

S.no Qty

1 1.9 2

2 2.1 2

3 2.2 4

4 2.3 1


Size (mm)

Diamond chart

Final DesignNumber of elements were reduced to make the design

lighter and reduce the price.

60 mm

11m

m

S.no Qty

1 1.5 8

2 1.6 20

3 1.9 10


Size (mm)

Diamond chart

Inspiration

1

Step 1: Taking inspiration from the drop-shaped sides of the

Kolam, a very structured Jhumki. Parrot motifs added on the top to give the traditional ‘South’ feel.

Step 2: Made the design more compact but less edgy

and structured by adding curves to the silhouette.

2

3

Step 3: Removed the plain metallic parts from the

bottom edges of the dome. Modified the top earstud.

Developed two alternatives for the earstud.

Final DesignModified the earstud and parrot motifs to make the design look

more delicate and feminine. Inter- connected the separate

elements in the dome to give the feel of a continuous Kolam.

27.12 mm

32.2

8 m

m

Product 4: Jhumki

S.no Qty

1 1.5 8

2 1.6 20

3 1.9 10


Size (mm)

Diamond chart

Inspiration

1



Step 2: Made the design more compact but less edgy

and structured by adding curves to the silhouette.

2

3

Step 3: Removed the plain metallic parts from the

bottom edges of the dome. Modified the top earstud.

Developed two alternatives for the earstud.

Final DesignModified the earstud and parrot motifs to make the design look

more delicate and feminine. Inter- connected the separate

elements in the dome to give the feel of a continuous Kolam.

27.12 mm

32.2

8 m

m

Product 4: Jhumki

18.80 mm

27.6

2 m

m

Inspiration

Step 1: Derived a form from the Kolam and took

inspiration from the silhouette of the Kolam to create a studded Jhumki dome.

S.no Qty

1 1.7 24

2 1.8 24


Size (mm)

Diamond chart

Step 2: Added an earstud and tried the idea of a detachable Jali dome to balance the fully

studded dome.

Step 3: Developed the Jali on the detachable dome in such a way that it does not hide the

diamonds on the studded dome, even when worn over it.

Modified the earstud.

Final DesignCompressed the overall size of

the Jhumki and softened the edges into smoother curves. Eliminated the collets in the bottom to reduce

number of diamonds and make the design more compact.

Product 5: Jhumki

1

2

3

18.80 mm

27.6

2 m

m

Inspiration

Step 1: Derived a form from the Kolam and took

inspiration from the silhouette of the Kolam to create a studded Jhumki dome.

S.no Qty

1 1.7 24

2 1.8 24


Size (mm)

Diamond chart

Step 2: Added an earstud and tried the idea of a detachable Jali dome to balance the fully

studded dome.

Step 3: Developed the Jali on the detachable dome in such a way that it does not hide the

diamonds on the studded dome, even when worn over it.

Modified the earstud.

Final DesignCompressed the overall size of

the Jhumki and softened the edges into smoother curves. Eliminated the collets in the bottom to reduce

number of diamonds and make the design more compact.

Product 5: Jhumki

1

2

3

InspirationStep 2: Twisted and

developed the form so as to make it more 3-Dimensional.

Step 1: Picked up a simple form from the Kolam.

Step 3: An umbrella like domed form was derived which could possibly be

studded to create a Jhumki.

Step 4: A detachable Jali element could be added to the studded dome, as the form had

grooved spaces in between.

Step 5: The dome with the detachable Jali element.

Step 6: Exploration of the same concept.

Step 7: Modified the earstud and re-scaled the dome and

Jali silhouette.

Step 8: Further modification of the dome and Jali

silhouette.

1

2

3

4

5

6

7

8

Product 6: Jhumki

InspirationStep 2: Twisted and

developed the form so as to make it more 3-Dimensional.

Step 1: Picked up a simple form from the Kolam.

Step 3: An umbrella like domed form was derived which could possibly be

studded to create a Jhumki.

Step 4: A detachable Jali element could be added to the studded dome, as the form had

grooved spaces in between.

Step 5: The dome with the detachable Jali element.

Step 6: Exploration of the same concept.

Step 7: Modified the earstud and re-scaled the dome and

Jali silhouette.

Step 8: Further modification of the dome and Jali

silhouette.

1

2

3

4

5

6

7

8

Product 6: Jhumki

16.47 mm

24.7

9 m

m

Final DesignNumber of diamonds decreased by

spacing them out in the studded dome to decrease price. The piece can be worn either as a studded dome only (left) or along with the Jali dome.

S.no Qty

1 1.2 88

2 1.9 12

Product: Jhumki


Size (mm)

Diamond chart

16.47 mm

24.7

9 m

m

Final DesignNumber of diamonds decreased by

spacing them out in the studded dome to decrease price. The piece can be worn either as a studded dome only (left) or along with the Jali dome.

S.no Qty

1 1.2 88

2 1.9 12

Product: Jhumki


Size (mm)

Diamond chart

Product 7: Round Bangle

Inspiration

1

Step 1: Zooming in on one part of the Kolam.

Step 2: Doodle generated.

2

3

Step 3: Developing 3-Dimensional form out of

the 2-D form.

Step 4: Bead-like element developed from the form.

Step 5: Doodle of a bangle made by repeating the bead-like element.

Step 6: Bead modified to create a two-sided domed element. One side is studded and the other has Jali. Repeated into a round bangle.

4

5

Product 7: Round Bangle

Inspiration

1


Step 2: Doodle generated.

2

3

Step 3: Developing 3-Dimensional form out of

the 2-D form.

Step 4: Bead-like element developed from the form.

Step 5: Doodle of a bangle made by repeating the bead-like element.

Step 6: Bead modified to create a two-sided domed element. One side is studded and the other has Jali. Repeated into a round bangle.

4

5

71.96 mm

9.7

7 m

m

S.no Qty

1 1.5 48

2 1.7 32


Size (mm)

Diamond chartFinal Design

Modified the element by elongating and flattening it, to reduce the weight and number of diamonds. Round bangle developed with lesser number of elements.

71.96 mm

9.7

7 m

m

S.no Qty

1 1.5 48

2 1.7 32


Size (mm)


Modified the element by elongating and flattening it, to reduce the weight and number of diamonds. Round bangle developed with lesser number of elements.


Inspiration

1

S.no Qty

1 1.7 14

2 2.0 6

3 2.1 1


Size (mm)

Diamond chart

58.45 mm

13.1

0 m

m

Step 1: Modified and elongated the element developed for the round bangle to

create a similar oval bangle.

Final Design


Inspiration

1

S.no Qty

1 1.7 14

2 2.0 6

3 2.1 1


Size (mm)

Diamond chart

58.45 mm

13.1

0 m

m

Step 1: Modified and elongated the element developed for the round bangle to

create a similar oval bangle.

Final Design

Product 9: Jhumki

Inspiration

Step 1: Hollow form created by folding the Kolam from its three end tips unto the center.

Step 2: Jhumki developed from the form by adding details and diamonds to the faces of the Jhumki and adding earstud.

1

2

31.7

2 m

m

Inspiration 18.2 mm

Final Design

S.no Qty

1 1.5 6

2 1.8 8

3 2.0 12


Size (mm)

Diamond chart

Product 9: Jhumki

Inspiration

Step 1: Hollow form created by folding the Kolam from its three end tips unto the center.

Step 2: Jhumki developed from the form by adding details and diamonds to the faces of the Jhumki and adding earstud.

1

2

31.7

2 m

m

Inspiration 18.2 mm

Final Design

S.no Qty

1 1.5 6

2 1.8 8

3 2.0 12


Size (mm)

Diamond chart

Inspiration

1


Step 2: Form generated from the motif.

2

3

Step 3: Developing and inverting the form.

Step 4: Vanki ring developed out of the form.

4

S.no Qty

1 1.7 6

2 2.0 1


Size (mm)

Diamond chart

Product 10: Finger Ring

18.30 mm

21

.0 m

m

Final DesignStep 5 and 6: Variations of the existing form.

Side View option 1 Side View option 2: Vanki ring

Inspiration

1


Step 2: Form generated from the motif.

2

3

Step 3: Developing and inverting the form.

Step 4: Vanki ring developed out of the form.

4

S.no Qty

1 1.7 6

2 2.0 1


Size (mm)

Diamond chart

Product 10: Finger Ring

18.30 mm

21

.0 m

m

Final DesignStep 5 and 6: Variations of the existing form.

Side View option 1 Side View option 2: Vanki ring

Product 11: Jhumki

Inspiration

17.26 mm

22

.56 m

m

Step 1: Doodle made taking inspiration from the continuity

and flow of the Kolam.

Step 2: Refined it into a Jhumki.

Step 3: Modification of the form.

Step 4: Conversion of the form into a Jhumki, tried various combinations of an earstud.

Step 5: Making the form more compact and delicate.

Final DesignModified the silhouette of the piece and the arrangement of

collets on the bottom.

S.no Qty

1 1.6 28

2 1.7 16


Size (mm)

Diamond chart

1

2

3

4

5

Product 11: Jhumki

Inspiration

17.26 mm

22

.56 m

m

Step 1: Doodle made taking inspiration from the continuity

and flow of the Kolam.

Step 2: Refined it into a Jhumki.

Step 3: Modification of the form.

Step 4: Conversion of the form into a Jhumki, tried various combinations of an earstud.

Step 5: Making the form more compact and delicate.

Final DesignModified the silhouette of the piece and the arrangement of

collets on the bottom.

S.no Qty

1 1.6 28

2 1.7 16


Size (mm)

Diamond chart

1

2

3

4

5

Product 12: Neckwear

Inspiration

1

Step 1: Replicated the Kolam motif in Jali and studded collets.

Step 2: Modified the diamond and Jali arrangement. Added a studded drop.

2

Final DesignModified the diamond and Jali

arrangement by spreading out the diamonds throughout the design.

Modified the drop.

45.13 mm

47.2

2 m

m

S.no Qty

1 1.6 10

2 1.8 9

3 2.0 11


Size (mm)

Diamond chart


Inspiration

1

Step 1: Replicated the Kolam motif in Jali and studded collets.

Step 2: Modified the diamond and Jali arrangement. Added a studded drop.

2

Final DesignModified the diamond and Jali

arrangement by spreading out the diamonds throughout the design.

Modified the drop.

45.13 mm

47.2

2 m

m

S.no Qty

1 1.6 10

2 1.8 9

3 2.0 11


Size (mm)

Diamond chart

Product 13: Earring

Inspiration

Step 1: Focused on the studded collet portion of the neckwear to

derive matching earrings.

Step 2: Doodle developed from the center part of the element.

1

2

Inspiration

Final DesignModified the silhouette of the piece to make it more compact

and bold. Replaced the drop with a single stone collet.

10.0 mm

25.1

6 m

m

3

Step 3: Earring created after minor modifications in the doodle.

S.no Qty

1 1.7 18

Gold weight: 7 gms.Price: Rs. 70, 800.

Size (mm)

Diamond chart

Product 13: Earring

Inspiration

Step 1: Focused on the studded collet portion of the neckwear to

derive matching earrings.

Step 2: Doodle developed from the center part of the element.

1

2

Inspiration

Final DesignModified the silhouette of the piece to make it more compact

and bold. Replaced the drop with a single stone collet.

10.0 mm

25.1

6 m

m

3

Step 3: Earring created after minor modifications in the doodle.

S.no Qty

1 1.7 18

Gold weight: 7 gms.Price: Rs. 70, 800.

Size (mm)

Diamond chart

Product 14: Earring

Step 1: Focused on the studded collet portion of the neckwear to derive matching earrings.

1

Inspiration

2

3

Step 2: Earring derived directly from the center part

of the collet element.

Step 3: Modified the silhouette and changed the drop.

Final DesignReduced the number and size of diamonds and made the earring a Jali and collet piece instead of

a solid studded collet.

13.10 mm

27.4

5 m

m

S.no Qty

1 1.5 16

2 1.6 6

3 1.7 4


Size (mm)

Diamond chart

Product 14: Earring

Step 1: Focused on the studded collet portion of the neckwear to derive matching earrings.

1

Inspiration

2

3

Step 2: Earring derived directly from the center part

of the collet element.

Step 3: Modified the silhouette and changed the drop.

Final DesignReduced the number and size of diamonds and made the earring a Jali and collet piece instead of

a solid studded collet.

13.10 mm

27.4

5 m

m

S.no Qty

1 1.5 16

2 1.6 6

3 1.7 4


Size (mm)

Diamond chart

Inspiration

1


Product 15: Pendant

13.00 mm

20.1

0 m

m

S.no Qty

1 1.6 4

2 1.8 1


Size (mm)

Diamond chart

Step 2: Form inspired from the Kolam.

1

2

3

Step 3: Refined the form.

Step 4: Developed the form into a pendant.

4

Final DesignRemoved the top suspension collet and modified the side view so that

the chain can pass through the negative space in the side view.

Inspiration

1


Product 15: Pendant

13.00 mm

20.1

0 m

m

S.no Qty

1 1.6 4

2 1.8 1


Size (mm)

Diamond chart

Step 2: Form inspired from the Kolam.

1

2

3

Step 3: Refined the form.

Step 4: Developed the form into a pendant.

4

Final DesignRemoved the top suspension collet and modified the side view so that

the chain can pass through the negative space in the side view.

Inspiration

1



2

Step 2: Curvilinear form generated from the dome of

the Jhumki.

3

Step 3: Simplification of the form.

Step 4: Conversion of the form into a Jhumki.

4

Step 5: Added details to the form.

Step 6: Reduced details and number of diamonds used, changed the stud on top.

5

6

21.62 mm

25.5

0 m

m

S.no Qty

1 1.8 48

Gold weight: 14 gms.Price: Rs. 1.86,000.

Size (mm)


Reduced the size of the dome of the Jhumki and made the silhouette more closed and compact. Number

of diamonds reduced.

Product 16: Jhumki

Inspiration

1



2

Step 2: Curvilinear form generated from the dome of

the Jhumki.

3

Step 3: Simplification of the form.

Step 4: Conversion of the form into a Jhumki.

4

Step 5: Added details to the form.

Step 6: Reduced details and number of diamonds used, changed the stud on top.

5

6

21.62 mm

25.5

0 m

m

S.no Qty

1 1.8 48

Gold weight: 14 gms.Price: Rs. 1.86,000.

Size (mm)


Reduced the size of the dome of the Jhumki and made the silhouette more closed and compact. Number

of diamonds reduced.

Product 16: Jhumki


Step 1: Replicated the Kolam in a doodle and tried adding diamonds to

the negative spaces.

Step 2: Developed the flat view of a finger ring which would have a studded top and

Jali shank.

1

2

Inspiration

18.10 mm

22.6

7 m

m

Final DesignMade some changes in the silhouette of

the flat Kolam to make it more balanced.

S.no Qty

1 1.65 8

2 1.75 9


Size (mm)

Diamond chart


Step 1: Replicated the Kolam in a doodle and tried adding diamonds to

the negative spaces.

Step 2: Developed the flat view of a finger ring which would have a studded top and

Jali shank.

1

2

Inspiration

18.10 mm

22.6

7 m

m

Final DesignMade some changes in the silhouette of

the flat Kolam to make it more balanced.

S.no Qty

1 1.65 8

2 1.75 9


Size (mm)

Diamond chart

Inspiration

Product 18: Oval bangle

S.no Qty

1 2.0 21


Size (mm)

Diamond chart

55.32 mm

24.0

mm

Step 1: Details and diamonds were added to the silhouette of the existing Kolam to produce a design for an oval bangle.

1

Final DesignNumber of diamonds wwas reduced and diamonds were spaced out throughout the design to avoid the

piece from looking to bulky in the center.

Inspiration

Product 18: Oval bangle

S.no Qty

1 2.0 21


Size (mm)

Diamond chart

55.32 mm

24.0

mm

Step 1: Details and diamonds were added to the silhouette of the existing Kolam to produce a design for an oval bangle.

1

Final DesignNumber of diamonds wwas reduced and diamonds were spaced out throughout the design to avoid the

piece from looking to bulky in the center.

Inspiration


Step 1: Simplification of the border Kolam and repetition around a center, to develop a neckwear.

1

Step 2: Addition of a 5-stone cluster on the axis of the motif to reduce the negative space in the piece.

2

Final DesignUsed the first and second forms alternately to balance the

look of the piece. The height of the forms has been compressed to make the piece more compact.

S.no Qty

1 1.6 52

2 1.7 37

3 1.8 24


Size (mm)

Diamond chart

Inspiration


Step 1: Simplification of the border Kolam and repetition around a center, to develop a neckwear.

1

Step 2: Addition of a 5-stone cluster on the axis of the motif to reduce the negative space in the piece.

2

Final DesignUsed the first and second forms alternately to balance the

look of the piece. The height of the forms has been compressed to make the piece more compact.

S.no Qty

1 1.6 52

2 1.7 37

3 1.8 24


Size (mm)

Diamond chart

Product 20: Earring

S.no Qty

1 1.6 8

2 1.7 8

3 1.8 18

Gold weight: 9 gms.Price: Rs. 1,36,800..

Size (mm)

Diamond chart

17.26 mm

24.5

0 m

m

Inspiration

Step 1: Took a form from the neckwear to create matching earrings. Explored the form

by rotating it 30 degrees around a common center,

Creating a flower-like pattern.

Step 2: Refined the centre part of the new pattern. The

intersecting collets in the center form the basis of a more

elaborate studded element.

1

2Step 3: Removed two forms from the sides to make the design more compact and

balanced.

Final DesignAdded diamonds to make the

center look bolder. Balanced the negative spaces by adding

single-stone collets.

Product 21: Neckwear Set

Product 22: Bangle

Product 24: Earring

Product 25: Earring

Product 23: Earring

Product 26-34: Earstuds for the starting price bands

Product 26 Product 27 Product 28

Product 29Product 30

Product 31

Product 32 Product 33Product 34

Product 35-40: Pendants for the starting price bands



References:

“The Dance of the Peacock” by

Usha R Bala KrishnanMeera Sushil Kumar

“History and Culture of Tamil Nadu” by

Chitra Madhavan