DESIGNER S KHADI KURTIS FOR YOUNG ADULTS

Transcription

1 DESIGNER S KHADI KURTIS FOR YOUNG ADULTS Thesis submitted to the University of Agricultural Sciences, Dharwad In partial fulfillment of the requirements for the Degree of MASTER OF HOME SCIENCE IN TEXTILE AND APPAREL DESIGNING By KARABHARI REKHA BHASKAR DEPARTMENT OF TEXTILE AND APPAREL DESIGNING COLLEGE OF RURAL HOME SCIENCE, DHARWAD UNIVERSITY OF AGRICULTURAL SCIENCES, DHARWAD AUGUST, 2012

2 ADVISORY COMMITTEE DHARWAD AUGUST, 2012 (SADHANA D. KULLOLI) MAJOR ADVISOR Approved by : Chairman : Members : (SADHANA D. KULLOLI) 1. (SHAILAJA D. NAIK) 2. (L. B. KUNNAL) 3. (PUSHPA BHARATI) 4. (ARUNKUMAR H.R.))

3 C O N T E N T S Sl. No. CERTIFICATE ACKNOWLEDGEMENT LIST OF TABLES LIST OF FIGURES LIST OF PLATES LIST OF APPENDICES 1 INTRODUCTION REVIEW OF LITERATURE Chapter Particulars 2.1 Ready to wear garments for young adults 2.2 Preference for garments 2.3 Preference for value addition on garments 2.4 Dress Designing 2.5 Clothing acceptance MATERIAL AND METHODS 3.1 Survey method (A) 3.2 Experimental procedure (B) 3.3 Acceptance of newly constructed designer s khadi kurtis and cost estimation (C) EXPERIMENTAL RESULTS 4.1 Survey results 4.2 Experimental results DISCUSSION 5.1 Survey results 5.2 Experimental results 6 SUMMARY AND CONCLUSIONS REFERENCES APPENDICES

4 LIST OF TABLES Table No. Title 1 Type of readymade garment shops in Hubli-Dharwad local market 2 Type of customers visiting readymade garment shops Shop owner s view on the type of readymade garments available in the shop Shop owner s view on the type of readymade garments preferred by young adults Shop owner s view on the factors considered by young adults while purchasing readymade garments 6 Fibre content of the kurtis available in the readymade garment shops 7 Preference for kurti styles by consumers as viewed by shop owners Shop owner s view on the amount of value addition on the kurtis preferred by young adults Shop owner s view on the type of kurti brands available in the readymade garment shops Demographic information of the young adults studying in professional colleges Demographic information of the young adults studying in traditional colleges 12 Persons assisting in purchasing the clothes by young adults 13 Frequency of purchase of clothes by young adults 14 Annual clothing expenditure by young adults 15 Place of purchase of clothes by young adults 16 Purchasing practices of clothes by young adults 17 Mode of purchase of clothes by young adults 18a 18b Factors considered while purchasing kurtis by professional college young adults Factors considered while purchasing kurtis by traditional college young adults Contd..

5 Table No. Title 19 Type of accessories purchased by young adults 20 Factors considered while pre-planning the purchase of kurtis by young adults 21 Constructional method preferred for kurtis by young adults 22 Reasons for preference of particular type of constructional method for kurtis 23 Factors checked while purchasing kurtis by young adults 24 Reasons for purchasing branded kurtis 25 Fitting problems faced in readymade kurtis by young adults 26 Preference of fabrics for kurtis by young adults 27 Type of value addition preferred on kurtis by young adults 28 Fabric colours preferred for kurtis by young adults 29 Fabric textures preferred for kurtis by young adults 30 Type of patterns / designs preferred for kurtis by young adults 31 Preference for kurti styles by young adults Material and constructional details preferred for kurtis by young adults Respondents opinion on awareness of designer s khadi kurtis and regular kurtis 34 Respondents opinion on concept of designer s khadi kurtis Respondents opinion on the suitability of the kurti style with leg wears Respondents opinion on the suitability of designer s khadi kurtis as college and occasional wear Respondents opinion on the value addition of designer s khadi kurtis Respondents opinion on the concept of designer s khadi kurtis sweat pads on Respondents opinion on the prices of the designer s khadi kurtis Respondents opinion on designer s khadi kurtis by overall appearance

6 LIST OF FIGURES Figure No. Title 1 Type of readymade garment shops in Hubli-Dharwad local market 2 Fibre content of the kurtis available in the readymade garment shops 3 4 Demographic information of the young adults studying in professional colleges Demographic information of the young adults studying in traditional colleges 5 Persons assisting in purchasing the clothes by young adults 6 Purchasing practices of clothes by young adults 7 Constructional method preferred for kurtis by young adults 8 Preference for kurti styles by young adults 9a 9b 10a 10b 11a 11b 12a 12b 13a 13b 14a 14b 15a 15b 16a 16b 17a 17b 18a 18b Specification sheet - Hand embroidered kurti Cost sheet Specification sheet -Pleated yoke kurti Cost sheet Specification sheet -Loops and string kurti Cost sheet Specification sheet -Roll-up sleeve kurti Cost sheet Specification sheet -Appliqué worked kurti Cost sheet Specification sheet -Block printed kurti Cost sheet Specification sheet -Combination of plain and printed material kurti Cost sheet Specification sheet -Ruffled kurti Cost sheet Specification sheet -Draw string sleeve kurti Cost sheet Specification sheet -Shirring kurti Cost sheet

7 LIST OF PLATES Plate No. Title 1 Mood board 2 Fabric swatches and colour board 3 3D Effect of hand embroidered kurti 4 3D Effect of pleated yoke kurti 5 3D Effect of loops and string kurti 6 3D Effect of roll-up sleeve kurti 7 3D Effect of appliqué worked kurti 8 3D Effect of block printed kurti 9 3D Effect of combination of plain and printed material kurti 10 3D Effect of ruffled kurti 11 3D Effect of draw string sleeve kurti 12 3D Effect of shirring kurti 13 Evaluation of designer s khadi kurtis through fashion show 14 Evaluation of designer s khadi kurtis through exhibition 15 Evaluation of designer s khadi kurtis through young adults 16 Evaluation of designer s khadi kurtis by textile experts

8 LIST OF APPENDICES Appendix No. Title I Schedule to gather information, the opinion of the shop owners having good collection of readymade garments for the age group of 17-25years II Schedule on to elicit the information regarding the garments preferred by young adults III Questionnaire administered to the young adults and textile experts to find out the preference for the designer s khadi kurtis

9 1. INTRODUCTION Clothing is the second skin, next to food and shelter as essential for human survival, and is also an outward expression of how people feel about themselves and the kind of world they tend to live in. Clothing is recognised as an intimate part of an individual, an expansion or extension of the bodily self. One s appearance affects not only feelings and behaviour but also serves as a non-verbal symbol. A visual impression often convey information about a person like one s role, economic status, gender, age, situation, nationality, profession, social stratification and about one s personality traits tentatively. Clothing contributes a lot to personal attractiveness and admiration. Properly selected and fitted clothes can give the wearer a feeling of selfconfidence, self-reliance, and enhance one s personality. So appearance conveys a great deal about person before a word is spoken. Thus, clothing plays an important role in the development of an individual s overall personality. Hence, clothing is an integral part of the personality of human being and prime index of cultural development of society. In all ages clothes convey hue and tone to the environment and give form to one s feelings, which are the first and last words of the language that is fashion. Fashion is synonyms of clothing, which originated as a means of satisfying human needs of protection, decoration and modesty. Since fashion is a product of change, a sense of timing, it needs the ability to understand the speed of acceptance and change involved with the product development or marketing in fashion industry. Though, fashion affects the whole society, the main target is the young adults who have wealth and interest in clothing, indulge in new fashions and are the first ones to start a fashion adopters / trendsetter. The purpose of wearing clothes is for protection and to express their individuality, conformity, social status and mainly to attract others. Thus, during the period of early adulthood the emphasis on clothing and fashion reaches its greatest importance. The intelligent clothing should be such that it must recognize moods of the user, analyze them and act accordingly. It is felt that fashion alone will not survive as main attraction in clothing in future, intelligent and functional clothing is going to enter the market in a big way; while traditional clothing production will continue in developing countries considering the economy of producer. A pleasing combination of line, colour and fabric adds up to a costume that is in good taste. Having good taste partly knows how to choose clothes that suit the occasion. But beyond that, having good taste means being able to recognize good design. Implicit personality theory predicts that individuals will make judgment of others based on salient visible uses in the absence of other information. Many studies revealed that increased level of dress consciousness of individuals have contributed to the development of innovative designs in the modern age because selection of dresses is an important factor in consumer choice of cloth and design and construct the dresses accordingly ( Patil, 1999) Hence, many boutiques, fashion houses are developed to cater the needs of fashion adopter/accepter. Here designers play an important role as they are the fashion innovators and dress designing is one of the expanding fields in fashion. Khadi is an Indian fabric, also known by the name 'Khaddar' means cotton. It is made by spinning the threads on an instrument known as 'Charkha'. Khadi before independence was considered as the fabric for the political leaders and the rural people. But now it has found its way into the wardrobe of fashion conscious people. The current situation is that the demand is more than the supply. Earlier the type of khadi available was khadi cotton which had very coarse texture and feel. However many varieties of khadi like khadi silk, khadi wool and khadi cotton are available now, which makes it a fashionable fabric and likeable by the masses. Khadi is not just a cloth, it is a Swadeshi movement started by Mohandas Karamchand Gandhi. The Khadi movement aimed at boycotting foreign goods and promoting Indian goods, thereby improving India's economy. Mahatma Gandhi began promoting the spinning of Khadi for rural self-employment and self-reliance in 1920s thus making khadi an integral part and icon of the Swadeshi movement.

10 The freedom struggle revolved around the use of khadi fabrics and the dumping of foreign-made clothes. The Indian flag has to be also made from khadi material. Thus it holds national importance; can even call it the national fabric of India. Khadi is a versatile fabric. It has the unique property of keeping the wearer warm in winter as well as cool in summer season. This fabric has coarse texture and gets easily crumpled, therefore in order to keep it firm and stiff, starch is to be added. This fabric on washing is more enhanced thus the more you wash it, better the look. Khadi is not easily worn out for years together, at least for 4-5 years. During weaving of khadi, the threads are interwoven in such a manner that it provides passage of air circulation in the fabric. This cotton is very soothing in summer season as ample amount of air ventilation is there, it has the capacity to absorb moisture therefore it easily soaks the sweat and keeps the wearer cool and dry. Khadi cotton comes in plain as well as in printed fabrics. Khadi silk provides a royal and rich look. The various types of apparels made from khadi silk are salwar- kameez, kurta- pajama, saris, dupattas, shirts, vest and jackets. It is considered as one of the most beautiful Indian fabric. The khadi wearer gets a royal and distinguishable look due to its fall and style. It symbolizes luxury and uniqueness. Khadi over the decades has moved from a freedom fighter's identity fabric to a fashion garment. Today there is such an increasing demand for khadi that despite of the thousands of workers involved in spinning and producing khadi fabric, the demand of the market does not get fulfilled. Many designers experimenting with khadi, the designs are no longer as simple as they used to be. A great deal of emphasis was given to the details of the designs and many new colours were introduced. Khadi is used to create apparel such as, casual shirts, waist coats, skirts, wrap-rounds, trousers, parallels, and tops for women. ( Khadi has gained worldwide appreciation as it is handmade, durable, long lasting and organic in nature. It is widely accepted in the Indian fashion circle. Very attractive and designer apparel are made by doing handwork on them garments made from it. Leading fashion designers now include it in their collection by designing clothes with khadi material. There is huge demand of it in international market, especially in western countries. The most common outfit made from khadi cotton is the 'Kurta'. Many types of apparel are manufactured from khadi cotton like saris, salwar suits, western tops, shirts, trousers, skirts, hand kerchief and so on. The word "kurta" is originated from Urdu, and originally from Persian (literally, "a collarless shirt") and was first used in English in the 20th century. Kurta is a piece of clothing worn by males; it is usually worn for fashion, tradition and culture. Women often wear kurtis as blouses, usually over jeans. These kurtis are typically much shorter than the traditional garments and made with lighter materials. Materials used for construction of kurtis are thin silk or cotton fabrics for summer winter seasons. Kurtis are made of thicker fabrics such as wool, thick and mixed with other fabrics. Kurti is a very loose fitting shirt, similar to a tunic. It is traditional, unisex pieces of clothing. Kurti is very much in fashion these days. Kurtis also called as tunic top is just a woman s top. Young adults wear kurti over jeans, salwar, pant, capri, and even a skirt. Indian kurtis are accepted worldwide. Kurtis look descent and sincere, versatile and stylish, trendy yet modest. Kurti is the ideal year round wear. A kurti- tunic surely give attractive and descent look to a young adult body structure.the demand for kurtis, which used to mainly come from towns and cities like, Delhi, Uttar Pradesh, Jammu, Himachal Pradesh, Chandigarh, Haryana and Punjab, has now spread to other regions across India. To make the kurti attractive, designers have presented a large range of varieties as for as fabrics, colours, and prints are concerned. Kurtis are available in all shapes and sizes with several fashion patterns. There are kurtis with and without embroidery for casual, occasions and with load of embroideries and designs for parties. The kurti is a comfortable dress and suits everybody as per Indian culture. Western outfits can be worn by young girls, but older women cannot wear it. And seeing today s Indian culture, kurti suits the best. A traditional kurti is composed of rectangular fabric pieces with perhaps a few gusset inserts, and is cut so as to leave no wasted fabric. The kurti usually opens in the front; some styles, however, button at the shoulder seam.

11 The front opening is often a hemmed slit in the fabric, tied or buttoned at the top; some kurtis, however, have plackets rather than slits. The opening may be centered on the chest, or positioned off center. (Maitra, 2005). The term adult comes from the Latin word as term adolescence - adolescere- which means to grow to maturity. However the word adult is derived from the past participle of that verb- adultus which means grown to full size and strength or matured. Adults are, therefore, individuals who have completed their growth or when their puberty growth was complete or nearly complete and when their sex organs had developed to the point where they are capable of procreation. Early adulthood (young adulthood) extends from age yrs, when the physical and psychological changes which accompany the beginning of the loss of reproductive capacity appear. Early adulthood also called as young adults, young man or young woman or youth (Hurlock, 1973). The greatest change in interest during young adult is the personal interests like appearance, clothes, adornment and fashion consciousness. Young adults discover that physical attractiveness aids their status in life. In our present day culture, they give more importance to the fashion trend. Interest in clothing and personal adornment remains strong in young adults. Because they know that appearance is important to success in all areas of their lives, young adults frequently spend more time and money on clothing and grooming. Young adults select clothes that enhance their good features and camouflage their less attractive ones. Most controversial change during adulthood may be young person s increasing focus on peers. This decade has witnessed an emphasis placed on younger people to look more and trendier and always prefer fashion over comfort and durability. Young adults are attracted very much by the display of garments in the shop and according to fashion; the preference of young adults will also change. Dress making can be one of the most rewarding forms of handicrafts. Almost all can sew pieces of fabric together to make a dress, but it takes a good deal of skill, imagination and application to give this basic dress a perfect finish. The finishing touch by way of trimmings, constructional details or decorative as such value addition used to finish and adorn both garment and accessories, which are either readymade or home made that vary in material, form and method of manufacture. The value addition must enhance aesthecity and relate structurally to the basic design of the dress. A good decoration must make the garments distinctive, beautify and enhance but never destroy one s sense of orderliness and harmony. The decoration must emphasize a good line in the garment like borders, collars, pockets, garment slits, and yokes that are used. Decorations may be located to draw attention away from an undesirable feature. Hence the study was planned to develop designer s khadi kurtis for young adults. As the young adults preference is constantly changing in every item, they need unique, classic and innovative designs. Looking into the above facts, present research work on Designer s khadi kurtis for young adults has been formulated with the following objectives. 1. To find out the different styles of kurtis available in the market 2. To explore the possibilities of designing, product development and value addition of khadi kurtis for young adults 3. To know the acceptance and cost of production of designed khadi kurtis

12 2. REVIEW OF LITERATURE Literature of the related researches conducted provides a suitable background for any study. The review of literature of relevance to the present study is arranged in this chapter as under: 2.1 Ready to wear garments for young adults 2.2 Preference for garments 2.3 Preference for value addition on garments 2.4 Dress Designing 2.5 Clothing acceptance 2.1 Ready to wear garments for young adults The sector of young adult s garments is very exclusive because they always look for ready to wear garments that have proper fitting and more fashionable, and also have immense varieties with respect to cuts and styles of clothes, texture, prints, design and so on. The textile industry is also focusing on the supply chain to meet the demand of the consumers. The choice and selection of garments by the young adults varies remarkably. Here are some of the reviews related to various aspects of young adults garments. Jacob (1996) conducted a study on Mystique of colour and its applications in garment designing and revealed that, the characteristics of good colour scheme highlighted pleasing appearance, appropriate variety of interests, unity, fashion trend, historical background and so on, and also has an effect on human beings whether one is conscious or not. It can make one feel happy, depressed, dull, withdrawn, dignified and serious. The value of hues used in clothing have an effect on skin tone, especially on the face. A study on Preference for readymade and tailor made garments was conducted by Patil and Naik (1997). A self framed questionnaire was used to elicit the relevant data from 50 respondents that were selected randomly. The results revealed that, irrespective of the income, age and family background higher per cent of the respondents always preferred tailor made garment because of proper fitting, patterns as wished, while some per cent of them preferred readymade for easy availability, wide variety and time saving. Gogoi (1998) conducted a study on Preference of adolescent girls regarding salwarkameez. The questionnaire was administered to 150 college girls by employing an interview schedule and recorded their preferences for type of salwar- kameez, kurta style, type of decoration, fabric, texture, colour and design of fabric. The results highlighted that, tailormade salwar-kameez was preferred followed by readymade and homemade. Princess line kurta embellished with embroidery, cotton for informal and a silk for casual wear were preferred. Most of the respondents preferred soft texture, plain material of single colour. 2.2 Preference for garments Many new materials and garments of young adults with immense varieties in colour, design, texture and finish are flooding in the market. The textile industry has been trying to manufacture different types of fabrics to meet the taste and demands of every consumer. The consumer choice and preference for clothing materials varies from individual to individual. Sidhu and Sandhu (1994) carried out a study on Fabric preferences for expectant mothers by interviewing 100 expectant mothers of years of age from different maternity homes of Ludhiana. The results showed that, majority of expectant mothers (96%) gave maximum preference to cotton clothing followed by tericot and cotton silk for summer; tericot followed by cots wool and wool for winter. Most of them preferred printed fabrics followed by smooth and soft texture; light colour in summer and darker shades in winter. Sidhu and Bajwa (1996) performed a study on Kurtas for school going daughters What do mother prefer? The samples comprised of 150 mothers randomly selected from rural and urban areas of Ludhiana district.

13 The preference regarding type of kurtas and factors considered while purchasing materials for kurtas were recorded by employing questionnaire method. It was found that almost all the respondents preferred the designer kurtas of cotton material having soft texture and decoration with embroidery. The respondent who preferred homemade kurtas gave the reason as, it would include growth allowances while stitching followed by economical and personal interest in stitching. Gahlot and Kaur (2000) highlighted on Clothing for preschool children: some guidelines. The physical growth and increased activity during preschool age adds to clothing expenditure. Thus, the authors suggested selecting some garment that will suit for all the occasions and purposes, the quality factor should be given importance rather than quantity. Clothing should be based on the principles of design viz., harmony, balance, proportion, rhythm and emphasis. Cotton is by far, the most suitable fabric for preschool children, considered to be hygienic, easy to launder, absorbent, breathable thus comfortable, seams in clothing for small children should be soft, simple, light and flat to prevent irritation, well finished that prevents ravelling with constant wear and washing. Fasteners should be as flat as possible with no sharp or pointed edges and other decoration. Pockets are advised by all the children invariably hence may be used on shirts, shorts, playsuits and other dresses. In addition to all the above factors, clothes for children should make adequate allowances for growth, comfort, self help and safety features. A study on Factors considered while garment purchases was carried out by Patil et al. (2001). Twenty each girl students were randomly selected from 8 colleges making a total sample size of 160. Data was analysed by using frequency tables and percentages. Greater per cent of the respondents irrespective of professional and traditional colleges, opined that comfortability, suitability and easy care as the main reasons; quality and fibre content as the main factors; while garment purchase cellulose and blended fabrics were the most comfortable and durable fabric respectively. Vandana and Rosy (2003) performed a study on Designing and construction of garments with peplums. Peplum was adapted into fashionable women s garment, which refers to the ancient people of Greece. It was an outer tunic, which the modern peplum is usually a short top over skirt, suspended from the bodice, may have extra flare, pleats, gathers and other decorative details along the edges of each seam, imparting a snug fit. The garments designed were classified into five categories, viz., geometric, closure, gathered, pleated and flared. In each category 15 sketches were drawn out of which 3 from each category were selected for construction and presented through a show. The order of preference was geometric pattern (91.8%) followed by flare, closure, pleats and gathers. Kaur and Satnam (2005) conducted a study on Preferences of young ladies for constructional features of dressing gowns. Samples of 100 young ladies, between the age group of years were selected from three areas of Ludhiana city. An interview schedule was administered to collect the data. The data were tabulated and analysed through ranks and percentages (Highest scores were given to the most preferred features and one to the least preferred). The results revealed that, majority of the respondents preferred full length gown in summer as well as in winters, fullness at waist level in the form of plain gathers, round yoke, round neckline and full length sleeves. Deepa et al. (2005) conducted a study on A study on preferential behaviour of ladies towards mode of acquisition of nighties. The purpose of the study was to know the preferential behaviour of ladies (21-40 years) towards nighties. A purposive random sampling was done to select 120 respondents, 30 each from four different regions of zone six of Kanpur city. An interview schedule was constructed to collect background information. The results revealed that, majority of the ladies preferred readymade nighties due to easy availability and wider choice of style. 2.3 Dress Designing Since the beginning of time, people have been attracted to bringing about a change in the society and trying out new things. Designers have been famous since the past two centuries, but their importance has grown more in the past few years because of the sudden rise of the fashion industry, and the media has more than played its part in escalating the fashion industry to the summit.

14 Women who are big fans of socializing and wish going to parties and functions every night are bound to opt for designer apparel as it makes their dressing look highly special and sets them apart from the crowd. Many designer apparel shops have different pricing, and this causes a problem for women all over the world as they can't seem to find the right price for the apparel they wish to choose. Women are big fans of designer clothing and they frequently purchase apparel from expensive designer shops that have the highest quality as well as the highest rates. Fashion apparel is for people who like to stay with the flow, and like wearing expensive designer clothes. The price of such clothing and apparel is completely dependent on the designer and the popularity. Construction of garments for young adult age groups needs skill and knowledge about clothing and figure types. Clothing that is designed to promote self-dressing improves a person s ability to maintain physical activity and allows person s self-esteem. Here are some reviews pertaining to garment designing. Patel and Bhavsar (1984) carried out a study on Designing one piece dress with growth features. In this study 50 girls between 2-5 years were randomly selected and measurements recorded and the garments were constructed by ripping out few seams, hems and hanging the location of buttons. Thus, it was concluded that the mother of preschool age children gave first preference to strings, second to straps and third to hems, while addition of growth by means of yoke was given fourth preference. The study imparted knowledge to mothers regarding variety in design in one piece garments. Park and Janice (1989) conducted a study on Self-dressing for the elderly arthritic and concluded that, all garments designed could manage daily dressing activities and action pleat of the blouse was unique, functional and attractive. Also it was noted that the underarm of the jacket provided freedom for movement whereas, the pressure tape closures on all the garments offered excellent clothing manageability. The side zippers and one and a half inch waist band on the slacks were found to be most convenient features for a patient with limited use of arms and fingers. For this study, a wheel chaired arthritic woman was the subject taken by considering her dressing skills, clothing preferences and needs. Designing of effective clothing for use in windy condition was the study conducted by Fan (1989). It was found that, despite the development of breathable fabrics with low air permeability in cold and windy conditions, it is preferable to use outer covering of air permeable fabric because of moisture proof requirement. Approaches to design clothing using such fabrics are to suit on leeward side only, to block the air movement within the insulating materials of the clothing, and the second approach was the most useful in eliminating condensation and chill. Khanna (1989) undertook an investigation to Design and construct kurta with selfhelp features for female orthopaedic patients with fracture of left upper limb. It was reported that large press buttons, large button holes, velcro and zippers were found to be most suitable self-help features to decrease problems during dressing and undressing. It was also suggested that designs of clothing for handicapped persons should be guided by special attributes and needs of such individuals. Varughese (1990) carried out a personal interview on Clothing for elderly and expressed that, elderly preferred soft and loose dresses, with neither too warm nor too cool colours. The clothes which were easy to put on and take off were preferred because it helped them to dress up within a reasonable time. Finally, author stated that, women chose red, green and yellow colours while widows blue, brown, black, white and saffron whereas, men preferred white and light shades. Jindal (1998) conducted a study on Designing of suits for arthritic elderly women. The results revealed that, severity of the diseases varied with the age and season. Majority of the respondents faced problems during dressing and undressing. Suits with self-help features was designed according to the disabilities for ease to manipulate fasteners, reinforcement at armpit level, tape in the neckline, easing and quilted pads to sleeve cuff to hold the features included in the salwar. Chauhan and Saboo (2000) conducted a study on Designing and construction of dresses taking an inspiration from gothic cathedrals featuring stained glass patterns. Dresses were categorized into three parts viz., one piece, two piece and three piece. In each category, 20 designs were sketched, out of which 10 designs were chosen.

15 The selection of best three designs from each category was constructed. Evaluation of the constructed dresses was organized where a preference schedule was administered to the purposively selected respondents, which were then tabulated and analyzed. Results found that, designing of dresses taking inspiration from the stained glass art of the gothic cathedrals was a very novel and unique notion which was successfully accomplished and opened new avenues for the designers to explore. Chakravarty and Kaur (2000) conducted a study on Designing of kurtas using line as an element of design. In this study the kurtas were designed on the basis of elements of designs i.e., line: Thirty kurta designs were developed, of which 15 designs were illustrated and finally five designs most preferred by the college girls were chosen for construction. All the five kurtas were designed using the vertical and diagonal lines with yoke attached to the neckline. From the study it was concluded that, line can be successfully used as a major element of design in designing kurtas, which were preferred by young girls. Choudhary and Baruah (2001) carried out a study on Designing garments for elementary school children. In total, sixty designs were developed for girl child, thirty designs for summer and thirty for winter. The clothing and textile experts ranked four most suitable designs in order of preferences for two seasons. Thus fifty mothers of elementary school going girls were requested to rank the four different garments for both the season. Thus, study revealed that, the mothers ranked first for the frock having v-shaped yoke, embellished with embroidery and lace along shoulder strap followed by others for summer, the frock with puff sleeve and jacket in front followed by others for winter. Vanishree and Naik (2005) designed a study on Specially designed kameez for lactating mothers in Hubli-Dharwar Municipal Corporation area. Five lactating kameez were designed and given to five lactating mothers for wear trial who breast fed the child for about 7-8 times a day. The kameez with horizontal zipper opening was most preferred than the vertical opening. Majority of the respondents suggested that, specially designed kameez should have full sleeve (80%), medium neckline depth (100%) and with slip on style (80%); zippers (100%), press studs (60%) or velcro tape (40%) was the preference for the placket opening over the bust point, which facilitated lactation. Pandey and Kauvery (2008) performed a study on Designing and value addition on stylized choli for young women. Choli is defined as short-sleeved bodice worn especially by Indian women. For this study, six stylized cholis were designed each featuring the common factors comfort and design uniqueness. In the study the cholis were constructed using flat pattern technique, raw silk and taffeta, embellished with Zardosi work and assessed for the the acceptance of young women. Design wise cholis had various style features such as collars, sleeves and placket opening, princess line which gave a more International look and yet cater to the Indian appeal. Result revealed that, these cholis are well suited to Indian women. Yadav and Sangwan (2008) conducted a study on Stylized functional salwar-kameez for working women. For this study, 100 working women from four cities were selected from different profession, which included lecturer, executive managers, doctors and business. Styles were created using F.B designer version - 6 (apparel designing software). Totally 50 kameez styles and 8 salwar styles were prepared. The 25 preferred styles of kameez and 5 styles of salwar were selected and constructed for further study. Study was conducted to identify the problems faced by working women in the existing clothing practices at work place that make them feel uncomfortable and less active. Pereira (2008) in Pretty in patchwork expressed her thoughts that, the multilayered patch worked mini skirt fashioned out of layers of chiffon which swirl around prettily in the breeze, is the hottest trend on the ramp today across the globe. The print of the skirt is made to look like patchwork, or the skirts are made out of fabric, pin stacking made by attaching squares of different coloured cloth together. Skirts were usually made of textured voile, in soft abstract florals. The favoured one is the three panelled design which flares gently to the knee and has delicate pin tucks at the waist. Since these skirts are made of very fine voile, they are completely lined and are finished with a discrete zip on the side.

16 Namrata and Naik (2008) in a study on Contemporized traditional textile made ups A mode for rural and urban linkage designed variegated diwan sets using five types of patchworks, thus propagating the utility of the traditional khana that was basically used as blouse (choli) material. Unbleached kora cotton sheeting material was the base cloth for all 5 diwan sets. Card trick block, standard log cabin, tumbling block mosaic, crazy and tucked patchworks were selected. Authors concluded that such designer s bed linen bestow urban consumers to enjoy the fragrance of rural proficiency and uplift them to come forward in their cherished ancestral art. Sharan and Richa (2009) conducted a study on Macrame - a new technique for making apparels to explore the possibilities of using macramé for constructing teenager s party wear in the form of tops. On the basis of design features, feasibility, suitability and appearance of the knots: three types of vertical and three types of horizontal knots were selected and nine tops were constructed. In those tops different parts of garments were made by macramé technique separately and were joined by double crocheting technique. Evaluation was done by preference schedule. It was found that, the garment fitted well on the model and respondents agreed that use of macramé work is unique idea of constructing tops that gave different perspective and the overall look of the product changed with the use of fancy yarn and thus suitable for fashion garments. Kashyap and Arora (2011) performed a study on Designing of khadi silk jackets using CAD in Jaipur and an attempt was made to develop the jacket patterns using computer aided designing. On the basis of evaluation, five best designs were selected for jacket construction. Prepared jackets were subjected to evaluation on order to assess its market acceptability by 10 entrepreneurs. The results revealed that, all the design of jackets using CAD was highly appreciated by the entrepreneurs. Yadav and Arya (2011) conducted a study on Designer s opinion regarding value added constructional features for expert potential and highlighted on additional designing constructional features, worked out keeping in mind the problems pointed out by the respondents existing dresses. The additional designing features worked out in kameez and top/kurta were pocket, collars, back yoke, loop/strip to hold dupatta, velerotapes to secure dupatta inbuilt dupatta, princess line, modified kalidar, cowl style, high neck and front opening style and the additional designing features in trousers were pocket and zipper opening, 2.4 Preference for value addition on garments The first and foremost thing which attracts to a garment is its look. Apart from the prints and accessories used on the garment there are many other things which make the look of the garment appealing to the eyes. The finishing of the garment, dyes used, its weave, its shine, yarn patterns, etc effect the overall appearance. Here are some reviews pertaining to preferences for value addition on garments. Chanchal and Dua (1996) conducted a study on Improving aesthetic appeal of khadi fabrics: Drapability of khadi in Delhi. The drapability of wool, silk and their blends with polyester and cotton were assessed before and after laundering and stiffening. The drape was assessed by subjective and objective evaluation and the correlation was calculated between the two variables. It was found that there existed good correlation between subjective and objective assessment of drape. After laundering, all the fabrics showed decrease in drape co efficient, which revealed that, after regular use, khadi fabrics usually become limp and loose. In order to improve the drapability of khadi materials, stiffness is added to the fabrics which give a better aesthetic appeal to the weaver. A study on Chutki work the fabulous creation of Rampur was conducted by Gupta and Goel (1997) and concluded that, it is a fine way of appliquéing floral designs. Simple slip stitch was used to tack small motifs on the base fabric. Feather stitch was applied for further decoration and ornamentation of the motifs whereas, stem stitch was used to create line effects. Main characteristics of chutki work composed of a dot and a leaf which was prepared by folding fabric pieces by hand called as patti. These designs were named after the arrangements as chaddiyan, jaldaar, suraj, hari and gamla. This work is abundantly seen on saris, salwar suits, dupattas, and flock shawls and gents kurtas.

17 Jacob (1998) in an article on Embellishment and Trimmings described patchwork as an addition of pieces of clothes with different colours to make a whole piece which may be used to make the part of a skirt, dress or shirt. The appliqué work is a cutting and patching up of different materials at a particular place in a design or solid motif. However, appliqué has become a distinctive feature in trousers of men. Earlier patchwork was applied only in furnishings like cushion covers, bed spreads, bolsters, sofa covers, diwan spreads and so on, but now the use of patchwork and appliqué has become more extensive, used on sari borders, salwar kameez and children clothes. Zardosi, as a heavier and more elaborate stitchery is worked on almost all heavy coats, cushions, curtains, canopies, shoes and similar kind. The ground material employed was heavy silk, velvet or satin cloth. The precious metals were turned into salma or sitara and stitched into the cloth with silk thread. Once zardosi glittered on the robes of royals but now applied as embellishment on synthetic sarees and dresses. Jani and Khosla (2000) expressed in their article on Timeless Elegance of Indian Embroidery that, the Kantha is the patch worked cloth stitched with worn-out and disused saris and dhotis, traditionally practiced in West Bengal. The white cotton cloth with its coloured borders were cut, patched, quilted and embroidered. The white ground of the quilt was embroidered and reinforced with coloured threads drawn from the coloured borders. The colours of the kanthas of the early part of the nineteenth century were mainly red and blue; in the latter half of the century, yellows and greens were included. The materials of kanthas were rags and their threads were joined together, which gave a new wholeness. This craft is gaining popularity in India and abroad because of its immaculate stitching designs on variety of items like sarees, dress materials, shawls and bed covers. The main fabrics used were cotton and tussar silk and embroidery was done with colourful cotton threads. Different Kantha stitches were Pechni, Murri and Phanda. Patil et al. (2000) conducted a study on Garment decoration. In this study two professional and two traditional colleges of Belgaum and Dharwad cities were randomly selected, out of which 8 colleges were drawn. From each college 20 girl students were randomly selected making a total sample size of 160. Fifteen Ready-made garment shops from Belgaum and Dharwad cities were selected randomly to find out the types of garment sold by the shop keepers. A self structured questionnaire was used to elicit information and the data was analysed by using frequencies and percentages. Results revealed that, most of the consumer preferred bead work and embroidered salwar suits in greater percentage on saris. Reddy (2000) mentioned in a thesis on Embellishment of Indian outfits with the art of appliqué that, appliqué is applied on a garment to hide a faulty section or portion and in rarely used in today s fashion industry especially on traditional Indian outfits. Hence, efforts are made by the researcher to revive appliqué work by designing 10 appliquéd outfits by applying the basic elements of designs, which were then evaluated by 100 college girls and 25 boutique owners in Bangalore city. The results showed that, the college girls opined appliqué as an art, which enhanced the appearance of the outfits. Appliqué made by using various fabrics and materials created different visual and textural effects. A study by Patil et al. (2001) on Decoratives on Salwar suits and sarees was carried out in Belgaum and Dharwad cities with sample size of 160 to know the preferences by college going girls. The authors analyzed that, appliqué work, Sindhi taropa and tie-dye were simple and most suitable for salwar suits and were easy to maintain. Beadwork and glasswork being embossed mainly added gorgeous appearance but were difficult to care and maintain. On the whole, about 81 per cent of the respondents expressed that handwork was more durable and elegant than that of machine work. An article on Development of designs from Madhubani painting on kameez sets written by Jyotsna and Padma (2003) attempts to bring out the versatility and diversity of the Madhubani wall paintings and suggested a wide range of textile applications to the woven fabrics, furnishing as well as garments, who can adopt these painted designs onto the contemporary classics such as woven salwar kameez sets with the help of jacquard technique. Three motifs of fish, bird and flower with leaf with the common background colour off white and four darker shades of green, black, red and yellow of Madhubani painting were selected to weave a set of salwar kameez and dupatta. Mewar paintings currently do not find much usage on textiles, except a few decorative painted wall panels and greeting cards.

18 This art is needed to be popularized in order to preserve its reminiscent beauty by adopting it on textiles. Kasuti embroidery: Karnataka s rich heritage is the outcome of an attempt made by Vastrad et al. (2007) to revive the negi stitch of kasuti embroidery by way of digitizing and mechanizing. On the whole, the production cost of newly designed saris was higher by 1.08 to 1.15 folds than the traditional hand embroidered ones. However, the net profit earned by designing saris with computerized motifs ranged from Rs to Rs as compared to the net profit of control sari that was Rs Paramguru et. al. (2008) conducted a study on Adapting appliqué and revealed that, the appliqué work, a traditional craft in Orissa of India is still alive and flourishing. Originally appliqué work is done by Darji caste people and later it became a commercial vocation, reflecting the rich culture and tradition of Orissa. Raw materials used in appliqué craft were khaddar, kora fabric, poplin, satin, markin, salu, velvet and felt, the traditional colours used were blue, black, golden yellow, green and red and the motifs used were Pataka (flag), moon, sun, 8 petal lotus flower, sunflowers, elephant and peacock. There are mainly two methods in appliqué viz., hand appliqué and machine appliqué. Nathan (2008), in an article on Splendours of mirror work, informs about different kinds of mirror work that have gained popularity in India and abroad as well as of all contemporary embroidery forms. Mirror work is rated as the most charming, trendy and popular, both in rural and urban India. Its twinkling patterns have come to adorn a variety of items of daily utility from back-less blouses and bed spreads to wall hangings, shoes, lampshades and upholstery. The most common is ari or chain stitch, pako - a heavier version of chain stitch, Kambira a form of running stitch and Ahir, is the last type of stitch developed by the farming community of Gujarat. Designs from kutch mirror work are finer than Rajasthani embroidery with an emphasis on detailing and intricacy. Colours of thread change according to the season and market demand. 2.5 Clothing acceptance Clothing acceptance is mostly related to clothing comfort of a textile material, is a comparative term influenced by physical, psychological and physiological characteristics. Clothing attributes to the health and comfort of the body, but it can also be indirect cause of skin irritation or the other physiological problems. Hence, it should be soft, smooth and having good drapes. Some of the reviews available regarding this aspect are furnished here under. According to the study carried out by Koester and Leber (1984) on Diffusion of information about clothing of orthopedically disabled adults and opined that, well-stitched attractive, comfortable, functional garments could satisfy their psychological as well as physical needs. Thus, clothing made a significant contribution to the physical comfort, psychological well-being and social interaction of the handicapped individuals. Grewal (1987) in her article on Maternity wardrobe expressed that maternity clothes should not compress abdomen and breasts but should hang from the shoulder. Sleeveless, loose kurtas which are cool and comfortable are suitable for summer wear. Furthermore, the garments should accommodate probable bodily changes that occur during pregnancy period. Finally, author concluded that comfort should be the first consideration, at the same time attractiveness and style are also important. Srivastav et al. (2000) carried out a study on Functional garments for orthopaedically handicapped women using callipers. The sample comprised of 50 orthopaedically handicapped women having disability in one lower limb, selected from Hisar district. Existing dress pattern of these physically impaired women was studied with self structured interview schedule. The functional garments featured salwar with umbrella flare, stitched along belt, fastened with press buttons, salwar with lining at affected limb up to calf level, salwar having full opening at affected limb with long zipper were constructed. Results revealed that, a double layered salwar with additional umbrella-cut-flare or salwar with lining and full opening with long zipper on affected limb were most suitable garments that not only minimized the awkward appearance of calliper and their disability, but also reduced the strain of unattractiveness and enhanced the personal appearance.

19 Kumar and Nerli (2001) revealed in their article on Dharmavaram: Role of a designer in Silk industry that, designers are the backbone of silk weaving industry as customers generally first view the designs and then only care for other considerations like colour, zari and quality of the fabric. A variety of eye- catching designs would certainly attract the customers forever. The buyers cherish purchasing Dharmavaram sarees for their admirable designs. They will be in a dilemma always while selecting the sarees, as every saree gives a new look with different designs. Now a days, the designs of southern region are generally with buttas, beet buttas, checks buttas, teegalu (creepers), brackets, kalashetra, kalanjali (stitching) used for pallav and body were much accepted by the customers. For borders, ordinary stitching, meenas and double work designs are used. A variety of eye catching designs on Dharmavaram sarees would certainly attract the customers. Kaur and Kaur (2004) conducted a study on Designing and construction of garments for poliomyelitic adolescent girls according to their physical handicap. The sample comprised of 30 poliomyelitic adolescent girls (12-18 years) having divergent handicap, selected from Ludhiana district. The garments with various self-help features like easy to manipulate fasteners and placket opening, ease for toileting and urination, easy manageable were constructed. Results revealed that specially designed garments were highly acceptable to respondents as these were comfortable to wear in turn enhanced the personality and camouflaged disability. Pushpanjali et al. (2007) carried out a study on Functional garment for visual impaired adolescents. The visually impaired adolescents of age years formed the sample. Considering clothing preferences, clothing problems and prevailing dress patterns, the garments were designed, constructed and given for wear trail for 4 months. It was found that, greater preference was given for the garment with elastic, button-button hole, velcro tape and zipper closure than for the press studs, belt-loop and hook-eye because the former set added some spice and confidence in their routine lives.

20 3. MATERIAL AND METHODS The present study on Designer s khadi kurtis for young adults is carried out to find out the varieties of kurtis available for young adults in Hubli-Dharwad cities, to design and develop kurtis with khadi material: both khadi cotton and khadi silk with special design features and to assess the acceptability of these designed khadi kurtis. The methodology adopted to carry out the present study is classified into three sections, viz. 3.1 Survey method (A) 3.2 Experimental procedure (B) 3.3 Acceptance of newly constructed designer s khadi kurtis and cost estimation (C) The detailed classification of methodology involved in this study is presented under the following headings 3.1 Survey method Selection of sample Criteria for selection of the sample Tools used for the data collection Pilot study Variables included for the study Classification of the data collected 3.2 Experimental procedure Design forecasting Preparation of mood board Preparation of specification sheets (Spec sheet) Design/ pattern sheet Constructional details Fabric swatches and colour board Cost sheet Pattern sketching Sourcing the material Drafting Adaptation Preparation of markers Marker planning and cutting Sewing and finishing Value addition Appliqué work Embroidery Block printing Combination of Plain and printed material 3.3 Acceptance of newly constructed designer s khadi kurtis and cost estimation Fashion show and exhibition

21 3.3.2 Acceptance by Young adults and Textile experts Cost estimation Statistical methods used for data collection Hypothesis Operational definitions 3.1 Survey method The survey method included two parts viz., the first part focussed on gathering information regarding the availability of readymade garments in Hubli-Dharwad corporation area, the respondents being shop owners of exclusive readymade garment shops and in second part, interviewing young adults personally to collect the information on preference of kurtis for colour, texture, style /pattern of their choice. The result of this study was further used to consider for sourcing the fabric to design and develop the khadi kurtis for young adults Selection of sample The present study was undertaken during the year in Hubli-Dharwad Corporation area. The respondents in this study were of two categories viz., readymade garment shop owners and professional and traditional college young adults. Twenty five readymade garment shop owners each from Hubli-Dharwad city were selected randomly to elicit the information on garment style, value addition, fibre content, varieties of kurtis and brands available in the local market. The sample size and criteria for selection of sample varied with each category. Two each professional college and Traditional college from Hubli-Dharwad cities were randomly selected, making a total of four colleges from which the young adults were selected. From each college 30 young adults were randomly selected making a total sample size of 120, to know their clothing preference and purchasing practices Criteria for selection of the sample The criteria set for selecting different group of samples were Readymade garment shop owners 1. Exclusive shops for young adults wear 2. The shops should have good collection of readymade garments for the age group of years The young adults 1. The young adults should be the student of either professional or traditional college, and the age range between years. 2. The young adults should wear, prefer and purchase ready-made garments Tools used for the data collection Survey is the method used to collect the information from shop owners and young adults. Two self-structured questionnaires were developed separately, the first set of questionnaire was administered to elicit the information from shop owners regarding preference and purchasing practices of the young adults of either professional or traditional colleges (Appendix-I). Second set of questionnaire was administered to elicit the information from young adults regarding type of garments, fibre content, value addition, type and styles of kurtis worn (Appendix-II). Both the questionnaires were closed type where the respondents were either interviewed personally or asked to mark or rank accordingly Pilot study The pilot study was carried out to pre-test the self-structured interview schedule. The pilot study was conducted in Hubli-Dharwad corporation area.

22 Ten readymade garment shop owners and 20 each professional and traditional college young adults were interviewed personally with self structured questionnaires. Sample selected for pre-test were not included for actual data collection. On the basis of pilot study the questions in the schedule were modified by substituting and eliminating the suitable and irrelevant items required Variables included for the study Following are the dependent and independent variables included in the study for the survey of professional and traditional college young adults. Dependent variables: Independent variables: Clothing preference Purchasing practices Age Education Family size Family income Classification of the data collected Age The age of the young adults was categorised on the basis of mean ± Standard Deviation for both professional and traditional college young adults. Young adults Age groups (years) Younger Middle Later age Professional College < >23 Traditional College < > Education Based on the education level, the respondents were classified into two categories viz., professional college and traditional college young adults Family size The number of members in a family ranged from For convenience, the size of the families was divided into three categories such as small, medium and large. The classification was done on the basis of mean ± Standard Deviation. Young adults Size of the family Small Medium Large Professional College <3 3-5 >5 Traditional College <4 4-5 > Income of the family The families were grouped into three income levels based on their annual income. Grouping of the families were made by the annual income of the total sample based on mean ± Standard Deviation.

23 Young adults Income of the family (Rs. in Lakhs) Low Middle High Professional College < >4.70 Traditional College < > Experimental procedure The second section was experimental procedure on designing and developing of khadi kurtis for young adults by design forecasting, sketching, sourcing material, drafting, cutting, value addition, sewing and finishing. The age of the young adults range from years, but based on the survey results, majority of the young adults belonged to middle age group, hence the young adults selected for construction of the kurtis is between years. The third section includes acceptance and cost estimation. The constructed designer s khadi kurtis were assessed for acceptance from young adults and textile experts by administering self structured questionnaire through fashion show and exhibition Design forecasting Design forecasting is a global career that focuses on upcoming trends. Fashion forecaster predicts the colours, fabrics and styles that will be presented on the runway and in the stores for the upcoming seasons. The concept applies to not one, but all levels of the fashion industry including haute couture, ready-to-wear, mass market and street wear. Trend forecasting is an overall process that focuses on fashion industry and forecasters are responsible for attracting consumers and helping retail business and designers to sell their brands. The fashion calendar is divided into two seasons spring-summer and fall-winter categorically, the first six months of fashion year constitute spring summer and the remaining six months fall-winter break up. It is equally important to realize that season break up is regulated by either topographical situation or geographical situation or the geographical position of a particular place. ( Fashion today is defined as an exhaustive methodological process that produces utility clothing. To understand this process, it is very essential to know concept of line planning. This term primarily indicates a range of collection of garments falling in a predetermined category viz., casual wear, formal wear, bridal wear, lingerie, ethnic and so on. Fashion has attained a global appeal, i.e. it has attained mass produce uniformity Preparation of mood board The Mood Board is a designer's best friend; can play an equally important role in the design of an upcoming project. The inspiration comes naturally, but other times designers are just left to stare at the wall until an idea materializes. A mood board is a type of poster design that may consist of images, text, and samples of objects in a composition of the choice of the mood board creator. Designers and others use mood boards to develop their design concepts and to communicate to other members of the design team. A mood board is a tool used by designers to help them get a good idea of what their clients are looking for, basically collages of items such as photographs, sketches, clippings, fabric swatches and colour samples. A mood board can be actual or virtual. Trimming details and ribbon could also be on a fashion mood board. The client can view the mood board and decide whether he or she likes the main design concepts the board represents. Mood board usually has sketches of garments as the main focus of the board. The collection of colour, fabrics, prints and silhouette will be inspired by the theme of the mood board ( Preparation of specification sheets (spec sheet) A spec sheet is a sheet that gives information about a construction or manufacturing process. It includes details about technical diagrams, construction notes, measurements, fabric information and trims. Further, provides instructions to follow when designing the clothing or fashion accessories.

24 Design/ pattern sheet On the design sheet, it is important to indicate flats or 2D specification drawings. Flats are miniature drawings of garment pieces drawn flat on table. Specification drawing or specs as they are called as small proportionate drawings drawn according to scale of the style furnished. Illustration boards give details on the fashion drawings of human forms (women, men or kids) with garments rendered on it to give 3D image. Illustration could be hand rendered or worked with software system. Sketches help to the manufacturer to view a complete rendering of the intended garment. The file may also include brand label and care label requirements for the product Constructional detail sheet Constructional detail sheet is the short document which includes stepwise manufacturing process and also the details of the style of the garment, value addition and accessories used in designing the kurtis by the researcher Fabric swatches and colour board Fabric sourcing is one of the important stages in garment manufacturing. The designer forecasts fabric on basis of age, gender, season, suitability, style, end use and so on. Fabrics can be of different weaves, prints, woven or knitted depending on design. The swatch board is a collection of selected fabrics which the designer collects while designing. The colours were pre decided by the researcher based on the survey results. Keeping the most preferred colours in mind, the colors were chosen according to the season. Several fabric swatches were sourced; swatches may be small snipping or may be large enough as desired to reflect a print repeat, embroidery detail or trims Cost sheet Cost sheet is a simple, one-page document that the researcher has given the details on the price of the material and individual kurti cost. It also covers the trim and price, miscellaneous details on materials, items, labour charge and profit of 30 per cent Pattern Sketching Based on the survey results conducted on the preferences of kurtis by young adults for fabric type, garment style and fasteners, and value addition, fifty different patterns: 25 each for khadi cotton and silk were planned designed and illustrated. Looking into the illustrations, the most preferred 10 patterns (five each for khadi cotton and silk) were further selected for construction by the young adults and Textile experts. However, the medium size was finalised for constructing kurtis using standard measurements Sourcing the material The khadi cotton and khadi silk material were sourced as per the designed style of kurtis. According to the survey results, soft and medium textured, bright coloured, plain, printed striped khadi cotton and soft textured plain, printed khadi silk was sourced from retail markets in and around Dharwad city Drafting The basic block for the kurti was developed by drafting using standard measurements (Padmavati, 2009). Below are the standard measurements for the medium sized kurti for young adults of age years.

25 Sl. No. I Standard Measurements (M) Girth Measurements (inches) 1 Round neck 14 2 Round bust 34 3 Round waist 25 4 Round hip 35 5 Round arm II Vertical measurements (inches) 1 Scye depth Neck to waist Waist to hip Hip to mid thigh Length of the sleeve III Adaptation Horizontal measurements (inches) 1 Across Shoulder 14 2 Across back The pattern was adapted with the help of basic bodice block by slash and spread method. These patterns were developed for the young adults for summer seasons as college and occasional wears (Adaptation 1 to 10) Preparation of markers The markers were drafted and developed separately for each pattern, keeping the basic bodice block as the base by the designer Marker planning and cutting The fabric was spread on the flat table, over which the marker plan was placed and marking on the fabric was done leaving the required seam allowance. Some of the patterns were cut on fold and open width as required. Cutting was done economically without wasting the fabric material and the components were bundled for further sewing Sewing and finishing The kurtis were sewn by bespoke method, using the thread economically and secured by reversible machining. The side seams and hemlines were finished with pinking shears; necklines were finished by hemming. The kurtis were trimmed and neatened, finally finished by ironing. However, the kurtis were stitched by couture (tailoring or dress making method) method Value addition A value addition was one of the important aspects of designing kurtis. Keeping in mind the durability, suitability and weight of the cloth, a suitable value addition was chosen for each kurti. On the basis of survey results specified by the young adults, the following value additions were chosen and applied on each of the ten kurtis Appliqué work The striped square fabric was used for appliqué work on the bottom of the kurti.

26 Construction of basic bodice block

27 1. Adaptation of Head Embroiderd Kurti

28 2. Adaptation of Pleated Yoke Kurti

29 3. Adaptation of loops and String Kurti

30 4. Adapation of Roll up Sleeve Kurti

31 5.Adaptation of Applique Worked Kurti

32 6. Adaptation of Block Printed Kurti

33 7. Adaptation of Combination of plan and printed material Kurti

34 8. Adptation of Ruffled Kurti

35 9. Adaptation of Draw String Kurti

36 10. Adaptation of Shirring Kurti

37 Embroidery The embroidery, done with the chain, satin, stem and herring bone stitches were used as value addition on A-line and fitted style kurtis Block printing The ethnic motif was used on the bottom of the kurti Combination of Plain and printed materials Pleating and frills was used on centre front of the kurti. 3.3 Acceptance of newly constructed designer s khadi kurtis and cost estimation A self structured questionnaire was administered to the young adults and Textile experts to know the acceptance of the newly designed khadi kurtis by organising fashion show and exhibition. The questionnaire consisted of two parts. Part A included questions pertaining to general information and part B consisted of questions related to specific information i.e., colour combination, print, style of the kurti, value addition, cost and appearance. They were rated as excellent, good and fair with the score of 3, 2, and 1 respectively. However, information enumerated in part-b was only considered for results and discussion in the study Fashion show and Exhibition The final designer s khadi kurti were showcased to the consumer /public through exhibition and fashion show. The researcher showcased her upcoming line of collection by organizing exhibition and fashion show where crews of models walked on the ramp Acceptance by young adults and Textile experts Fifty young adults and the panel of thirty textile experts assessed and evaluated the designer s khadi kurtis for young adults and indicated their preference by filling the questionnaire during fashion show and still exhibition Cost estimation The cost of the production was calculated for each khadi cotton and khadi silk kurtis encompassing the cost of fabric, sewing materials like thread, fasteners; value addition, accessories, labour charges and thirty percent profit Statistical methods used for data analysis The data was analysed by using the following statistical methods. Frequency tables and percentages were calculated for all the variables. Weighted Average Ranking was calculated by using following formula Ri Fi Weighted Average Ranking (WAR) = Fi Ri = ranks given by the respondents Fi =the frequency Ranking was given in ascending order i.e. first rank with least value and last rank with highest value Hypothesis The hypotheses set for the study are: Designer s khadi kurtis are similar to the regular kurtis

38 The cost of production of the designer khadi kurti is higher than the regular kurtis Operational definitions 1. A-line style kurti This is a plain type of simple kurti with A-shape with or without joint at waist (i.e. it may be cut in one piece from top to bottom). It is loose fitting garment, no darts are taken, and any type of value addition may be preferred at the neck, armhole, sleeve and hem of the bottom of the kurti. 2. Fitted style kurti Fitted kurti is the kurti which is tight, without any flare from top to bottom. 3. Flared style kurti Flared/ frock style kurti is having extra fullness to the body to give more comfort. This type of kurti defines the feminine curves much more positively. Here the bodice of kurti is used with the yoke and skirt separated and stitched later after giving flare to the skirt to give extra fullness at hem. 4. Shirt style kurti As a name indicates shirt it is shirt like kurti with centre front opening with buttons. It can be worn with leggings, jeans, caperis and so on. 5. Two-piece style kurti Two-piece style kurti is the plain kurti and the overcoat or jacket which covers the bodice. It can be used as functional as well as decorative. It consists of kurti with jacket, strap, cord or band threaded through a casing attached to backless bodice at front (i.e. back and shoulder bare). It is generally used for occasional wear. (Zarapkar, 1994).

39 4. RESULTS The results of the present study on Designer s khadi kurtis for young adults are presented in this chapter under the following headings 4.1 Survey results Availability of garments for young adults in the Hubli-Dharwad local market Demographic information of young adults Clothing preferences of young adults Preference for kurtis by the young adults 4.2 Experimental results Design forecasting Construction of designer s khadi kurtis Preference for designer s khadi kurtis Cost estimation 4.1 Survey results Availability of readymade garments for young adults in Hubli-Dharwad local market The shop owners of Hubli-Dharwad corporation area were interviewed to elicit the information regarding the type of garment shop, type of customers, fibre content of the kurtis, style lines of kurtis, constructional details of kurtis, value addition, kurti brands available and price range of the garments for young adults Type of readymade garment shops in Hubli-Dharwad local market Table 1 and Fig. 1 reveals about the type of readymade garment shops in Hubli- Dharwad local market. Majority of the readymade garment shops were of retail type (82.00%) followed by both retail-wholesale type shops (16.00%). Only 2 per cent were wholesale shops Type of customers visiting readymade garment shops It is seen from Table 2 that, majority of the customers visiting readymade garment shops were women (68.00%). However, 32 per cent of men and children also visited readymade shops for purchase Shop owner s view on the type of readymade garments available in the shop Table 3 shows an outlook of shop owner s view on the type of readymade garments available in the shop. Cent per cent of the shop owners expressed that, the type of readymade garments available for women were leggings-kurtis (100%), followed by salwarkameez (98.00%), jeans-kurtis (94.00%), skirt-tops (82.00%), night dress (88.00%), lingerie (82.00%) and Ghaghara-choli (20.00%); for children were shirts and trouser (36.00%) followed by frocks and T-shirts (34.00%), lingerie, night dress and pedal pusher (32.00%), jackets(30.00%) and for men were shirts(18.00%) followed by trousers and T-shirts (16.00%), night dress and lingerie (14.00%) Shop owner s view on type of readymade garments preferred by young adults Table 4 reveals the shop owners view on the type of readymade garments preferred by young adults. Majority of the shop owners said that, most of the young adults always preferred leggings-kurtis (60.00%) followed by lingerie (50.00%), jeans-kurtis (46.00%), salwar-kameez (44.00%), night dress (42.00%) and jeans-tops (40.00%); sometimes preferred T-shirts (74.00%) followed by shirts (56.00%), lingerie (48.00%), skirt-tops (40.00%), night dress and jeans-tops (38.00%). However, some of the young adults never preferred Ghaghara choli, jackets, trousers (40.00%), shirt and skirt-tops (24.00%).

40 Table 1 Type of readymade garment shops in Hubli-Dharwad local market n=50 Sl. No. Type of Shops No. of respondents 1 Retail shops 41 (82.00) 2 Retail-wholesale shops 08 (16.00) 3 Wholesale shops 01 (2.00) Figures in parentheses indicate percentages 16% 2% Retail shops Retail-wholesale shops Wholesale shops 82% Fig. 1. Type of readymade garment shops in Hubli-Dharwad local market Fig. 1. Type of readymade garment shops in Hubli-Dharwad local market

41 Shop owners view on the factors considered by the young adults while purchasing readymade garments Table 5 shows the shop owners view on the factors considered by young adults while purchasing readymade garments. It is expressed that, cent per cent of the young adults always considered fashion trend followed by colour combination (98.00%), design (80.00%), comfort (74.00%), cost (50.00%), durability(42.00%) and quality of the garment(36.00%); sometimes considered fashion trend (48.00%) followed by design(30.00%), colour combination(26.00%), brand name (20.00%), drape(16.00%), fibre content(14.00%), texture(8.00%) and quality of garment(2.00%) while purchasing readymade garments. Drape (12.00%), texture (6.00%) and design (2.00%) are the never considered factors by young adults while purchasing the readymade garments Fibre content of the kurtis available in the readymade garment shops It is observed from Table 6 and Fig. 2 that, cent per cent of readymade garment shops in Hubli-Dharwad sell cotton and blended kurtis followed by polyester (66.00%), silk (16.00%) and wool (2.00%) kurtis Preference for kurti styles by consumers as viewed by shop owners A perusal of Table 7 shows the shop owners view on the kurti styles preferred by the consumers in the readymade garment shops. It is found that, majority of the consumers preferred A-line style of kurtis (76.00%) followed by two piece style kurti (70.00%), flared (umbrella) style (60.00%), fitted (56.00%), kurti with side cut style (52.00%) and shirt style (48.00%) kurti Shop owner s view on the amount of value addition on the kurtis preferred by young adults It is observed from Table 8 that, majority of the readymade garment shop owners opined that, most of the young adults preferred appliqué and embroidery (98.00%) on kurtis followed by printing (94.00%), loops and strings (90.00%), zardosi (84.00%) and painting (80.00%). The least preferred value addition on kurtis by young adults were tie-dye (78.00%), glass and mirror work (48.00%), lace and satin work (40.00%), shells and beads (34.00%) and woven motifs (20.00%) while purchasing kurtis by young adults Shop owner s view on the type of branded kurtiss available in the readymade garment shops It is noticed from Table 9 that, majority of the readymade garment shops sell nonbranded kurtis (62.00%) followed by Strawberry (20.00%), Alibaba (12.00%), Vareli (4.00%) and Shifali (2.00%) brands Demographic information of young adults The demographic information reveals about the family background which includes age, education, family income and family size of the professional and traditional college young adults. This information is useful to know the impact of demographic information on preferences and clothing purchasing practices of young adults Age Table 10(a), Fig. 3, Table 11(a) and Fig. 4 records that majority of the professional and traditional college young adults belonged to middle age (96.66%, 91.66%) group followed by old age (3.33%, 8.33%) and none of the young adults belonged to young age group respectively Family size The distribution of the professional college young adults according to the size of the family is presented in Table 10(b). It is seen that, majority of the professional college young adults belong to small size family followed by medium size (46.66%) family and only 3.33 per cent of them belonged to large family size. On the contrary it is observed from Table 11(b) that majority of the traditional college young adults belonged to medium family size (40.00%) followed by large (31.66%) and small size family (28.33%).

42 Table 2 Type of customers visiting readymade garment shops Sl. No. Customers No. of respondents n=50 1 Women 2 Men 3 Children Figures in parentheses indicate percentages Multiple responses possible 34 (68.00) 16 (32.00) 16 (32.00)

43 Table 3 Shop owner s view on the type of readymade garments available in the shop n=50 Sl.No Type of readymade garments No. of shop owners Women garments 1 Leggings-kurtis 2 Salwar kameez 3 Jeans- kurtis 4 Jeans-tops 5 Night dress 6 Lingerie 7 Skirt-tops 8 Ghaghara-choli 1 Shirts Children garments 2 Trousers 3 Frocks 4 T-shirts 5 Lingerie 6 Night dress 7 Pedal pusher 8 Jackets 1 Shirts Men garments 2 Trousers 3 T-shirts 4 Lingerie 5 Night dress 6 Jackets Figures in parentheses indicate percentages Multiple responses possible 50 (100.00) 49 (98.00) 47 (94.00) 46 (92.00) 44 (88.00) 41 (82.00) 41 (82.00) 10 (20.00) 18 (36.00) 18 (36.00) 17 (34.00) 17 (34.00) 16 (32.00) 16 (32.00) 16 (32.00) 15 ( (18.00) 08 (16.00) 8 (16.00) 07 (14.00) 07 (14.00) 03 (9.00)

44 Table 4 Shop owner s view on the type of readymade garments preferred by young adults n=50 Sl.No Type of garments preferred No. of shop owners Always Sometimes Never 1 Leggings-kurti 30 (60.00) 13 (26.00) 07 (14.00) 2 Lingerie 25 (50.00) 24 (48.00) 1 (2.00) 3 Jeans-kurtis 23 (46.00) 14 (28.00) 13 (26.00) 4 Salwar-kameez 22 (44.00) 15 (30.00) 13 (26.00) 5 Night dress 21 (42.00) 19 (38.00) 10 (20.00) 6 Jeans-tops 20 (40.00) 29 (38.00) 01 (2.00) 7 Skirt-tops 18 (36.00) 20 (40.00) 12 (24.00) 8 Trousers 15 (30.00) 15 (30.00) 20 (40.00) 9 Shirts 10 (20.00) 28 (56.00) 12 (24.00) 10 T-shirts 07 (14.00) 37 (74.00) 06 (12.00) 11 Ghaghara-choli - 02 (4.00) - 12 Jackets Figures in parentheses indicate percentages Multiple responses possible

45 Table 5 Shop owner s view on the factors considered by young adults while purchasing readymade garments Sl.No Factors No. of shop owners Always Sometimes Never n=50 1 Fashion trend 50 (100) 24 (48.00) - 2 Colour combination 49 (98.00) 13 (26.00) - 3 Design 40 (80.00) 15 (30.00) 01 (2.00) 4 Comfort 37 (74.00) 01 (2.00) Cost 25 (50.00) Durability 21 (42.00) Quality of the garment 18 (36.00) 01 (2.00) - 8 Drape 09 (18.00) 08 (16.00) 06 (12.00) 9 Fibre content 03 (6.00) 07 (14.00) - 10 Texture 01 (2.00) 04 (8.00) 03 (6.00) 11 Brand name - 10 (20.00) - Figures in parentheses indicate percentages Multiple responses possible

46 Table 6 Fibre content of the kurtis available in the readymade garment shops Sl. No Fibre content No. of readymade garment shops n=50 1 Cotton 50 (100) 2 Blends 50 (100) 3 Polyester 33 (66.00) 4 Silk 08 (16.00) 5 Wool 01 Figures in parentheses indicate percentages Multiple responses possible (2.00) No. of readymade garment shops Cotton Blends Polyester Silk Wool Fibre content Fig. 2. Fibre content of the kurtis available in the readymade garment shops Fig. 2. Fibre content of the kurtis available in the readymade garment shops

47 Table 7 Preference for kurti styles by consumers as viewed by shop owners Sl. No Style of kurti No. of respondents n= A-line style 38 (76.00) Two-piece style 35 (70.00) Flared (Umbrella) style 30 (60.00) Fitted style 28 (56.00) Kurti with side cut style 26 (52.00) 6 Shirt style 24 Figures in parentheses indicate percentages Multiple responses possible (48.00)

48 Table 8 Shop owner s view on the amount of value addition on the kurtis preferred by young adults n=50 Sl. No. Type of value addition Amount of value addition Light Moderate Heavy 1 Appliqué work 49 (98.00) 2 Embroidery 49 (98.00) 3 Printing 47 (94.00) 4 Loops and Strings 45 (90.00) 5 Zardosi work 42 (84.00) 6 Painting 40 (80.00) 7 Tie and dye 39 (78.00) 8 Glass and mirror work 24 (48.00) 9 Lace and satin work 20 (40.00) 10 Shells and beads 17 (34.00) 11 Woven motifs 10 Figures in parentheses indicate percentages Multiple responses possible (20.00)

49 Table 9 Shop owner s view on the type of branded kurtiss available in the readymade garment shops Sl. No Branded Kurti No. of shop owners n=50 1 Non-branded 31 (62.00) 2 Strawberry 10 (20.00) 3 4 Alibaba 06 (12.00) Vareli 02 (4.00) 5 Shifali 01 Figures in parentheses indicate percentages Multiple responses possible (2.00)

50 Table 10 Demographic information of the young adults studying in professional colleges n=60 Sl. No Demographic variables No. of respondents (a) Age (years) 1 Young age (<17) (b) (c) 1 2 Middle age (17-23) 58 (96.66) Old age (>23) 02 (3.33) Family size Small (<3) 30 (50.00) Medium (3-5) 28 (46.66) Large (>5) 02 (3.33) Family income Low income (<3.37) 10 (16.66) Middle income ( ) 42 (70.00) High income (>4.70) 08 3 (13.33) Figures in parentheses indicate percentages

51 Age (years) 3% 0% Young age (<17) Middle age (17-23) Old age (>23) 97% Family size 3% Small (<3) Medium (3-5) Large (>5) 47% 50% Family income 13% 17% Low income (<3.37) Middle income ( ) High income (>4.70) 70% Fig. 3. Demographic information of the young adults studying in professional colleges

52 Table 11 Demographic information of the young adults studying in traditional colleges Demographic variables Sl. No Age (years) (a) Young age (<16) 1 2 Middle age (16-24) Old age (>24) 3 Family size (b) Small (<4) 1 Medium (4-5) 2 Large (>5) 3 Family income (c) Low income (<4.37/-) 1 Middle income ( /-) 2 High income (>5.46) 3 Figures in parentheses indicate percentages No. of respondents (91.66) 05 (8.33) 17 (28.33) 24 (40.00) 19 (31.66) 13 (21.66) 41 (68.33) 06 (10.00) n=60

53 Age (years) 8% 0% Young age (<16) Middle age (16-24) Old age (>24) 92% Family size 32% 28% Small (<4) Medium (4-5) Large (>5) 40% 10% Family income 22% Low income (<4.37/-) Middle income ( /-) High income (>5.46) 68% Fig. 4. Demographic information of the young adults studying in traditional colleges

54 Annual income of the family The distribution of the young adults according to the income of the family is presented in Table 10(c) and 11(c). Majority of the professional and traditional college young adults belonged to middle income group (70.00%, (68.33%) followed by low income (16.66%, 21.66%) and high income (13.33%, 10.00%) groups respectively Clothing preferences of young adults The self structured questionnaire was distributed to professional and traditional college young adults to elicit information regarding the preferences of garment style, colour combination, value addition, price and constructional and fabric details Persons assisting in purchasing the clothes by young adults Table 12 and Fig. 5 shows that, irrespective of the colleges, majority of the young adults made their clothing purchases themselves (48.33%) without anybody s assistance followed by assistance of friends (41.66%) and parents (10.00%). Majority of the professional college young adults opined that, friends (51.70%) assisted in purchasing clothes followed by self (46.66%) and parents (1.66%). Whereas, majority of the traditional college young adults purchased themselves (50.00%) followed by with the assistance of friends (31.66%) and parents (18.33%) Frequency of purchase of clothes by young adults It is evident from Table 13 that, majority of the professional college young adults purchased daily wears frequently (63.33%) followed by as and when required (36.66%); College wears, as and when required (48.33%) followed by frequently (45.00%); and Occasional wears as and when required (53.33%) followed by half yearly (33.66%), and quarterly (21.66%). Majority of the traditional college young adults purchased daily wear clothes frequently (36.66%) followed by as and when required (30.00%) and 1.66 per cent of young adults purchased yearly. However, majority of them purchased college wears yearly (51.66%), as and when required (15.00%) followed by frequently and quarterly (13.33%); Occasional wears as and when required (31.66%) followed by frequent (20.00%) purchase. Irrespective of the colleges and wears, majority of the young adults purchased clothes as and when required (98.33%) followed by frequently (91.66%), yearly (36.66%), quarterly (32.50%) and half yearly(31.66%) Annual clothing expenditure by young adults It is evident from Table 14 that, irrespective of professional and traditional college, young adults purchased all categories of daily, college and occasional clothes. Majority of the professional college young adults spent Rs /- on daily wear, Rs /- on college wear and Rs /- on occasional wear per annum. Whereas, traditional college young adults spent Rs /- on daily wear, Rs /- on college wear and Rs /- on occasional wear per annum Place of purchase of clothes by young adults It is seen from Table 15 that, majority of the professional and traditional college young adults purchased daily wear (63.33%, 73.33%) and college wear (61.66%, 70.00%) in local market. It is also seen that, 50 per cent of professional college and per cent of traditional college young adults purchased occasional wears in nearby city and local market respectively. However, only per cent of the professional college young adults purchased college and occasional wears in other big cities. Whereas, per cent of the traditional college young adults purchased daily and college wears in other big cities Purchasing practices of clothes by young adults It is clear from Table 16 and Fig. 6 that, irrespective of the colleges, majority of the young adults purchased clothes when new styles arrived in the market (30.83%) followed by as and when required (30.00%), during festivals (23.33%) and least number of respondents purchased clothes during parties (6.66%), marriages (5.00%) and birthdays (3.33%).

55 Table 12 Persons assisting in purchasing the clothes by young adults Young Adults Sl. No. Persons influencing Professional college (n =60) 1 Traditional college (n 2 =60) Total (n=120) 1 Parents 01 (1.66) 11 (18.33) 12 (10.00) 2 Friends 31 (51.70) 19 (31.66) 50 (41.66) 3 Self 28 (46.66) Figures in parentheses indicate percentages Multiple responses possible 30 (50.00) 58 (48.33) Professional college (n1=60) Traditional college (n2=60) Young Adults Parents Friends Self Persons influencing Fig. 5. Persons assisting in purchasing the clothes by young adults Fig. 5. Persons assisting in purchasing the clothes by young adults

56 Table 13 Frequency of purchase of clothes by young adults Sl. No. Young adults Frequency of purchase 1 Frequently 38 (63.33) Professional college (n 1 =60) Daily wear College wear Occasional wear 27 (45.00) 2 Quarterly - 04 (6.66) 03 (5.0) 13 (21.66) 3 Half yearly (33.66) Traditional college (n 2 =60) Daily wear College wear Occasional wear 22 (36.66) 05 (8.33) 14 (23.33) 4 Yearly (1.66) 5 As and when required 22 (36.66) Figures in parentheses indicate percentages Multiple responses possible 29 (48.33) 32 (53.33) 13 (30.00) 08 (13.33) 08 (13.33) 04 (6.66) 31 (51.66) 03 (5.00) 12 (20.00) 09 (15.00) 08 (13.33) 12 (20.00) 19 (31.66) Total (n=120) 110 (91.66) 39 (32.50) 38 (31.66) 44 (36.66) 118 (98.33)

57 Table 14 Annual clothing expenditure by young adults n=120 Annual clothing expenditure (Rs.) Sl. No. Type of clothes Professional college young adults (n 1 =60) Traditional college young adults (n 2 =60) 1 Daily wear College wear Occasional wear

58 Table 15 Place of purchase of clothes by young adults Sl. No. Young adults Place of purchase Professional college (n 1 =60) Traditional college (n 2 =60) Daily wear College wear Occasional wear Daily wear College wear Occasional wear n=120 1 Local market 38 (63.33) 37 (61.66) 21 (35.00) 44 (73.33) 42 (70.00) 27 (45.00) 2 Nearby city 15 (25.00) 14 (23.33) 30 (50.00) 10 (16.66) 12 (20.00) 25 (41.66) 3 Other big city 07 (11.66) 09 (15.00) 09 (15.00) 06 (10.00) 06 (10.00) 08 (13.33) Figures in parentheses indicate percentages Multiple responses possible

59 Majority of the professional college young adults purchased clothes when the new styles arrived (41.66%) followed by as and when required (40.00%) and during festivals (8.33%). Whereas, majority of traditional college young adults purchased their clothes during festivals (38.33%) followed by on arrival of new style and as and when required (20.00%) Mode of purchase of clothes by young adults The mode of purchase of clothes by professional and traditional college young adults is presented in Table 17. Most of the professional college young adults purchased clothes according to the season (45.00%) followed by at the time of discount sale (30.00%) and clearance sale (16.66%). Whereas, per cent of traditional college young adults purchased clothes during clearance sale followed by seasonal purchase (25.00%), discount sale (21.66%) and during festive offer (16.66%). Irrespective of professional and traditional colleges young adults purchased the clothes according to season (35.00%) followed by during clearance sale (26.66%) and discount sale (25.83%) Preference for kurtis by the young adults There is a gap between preferences for and actual purchase kurtis. Preference gives an idea about opinion of the young adults towards kurtis. But purchasing kurtis may sometimes be same, but not always. Hence, an effort is made to understand the factors that actually influenced the purchase of ready-to-wear garments Factors considered while purchasing kurtis by young adults It is evident from Table 18a that, professional college young adults do purchase kurtis and factors considered while purchasing kurtis in order were Fashion trend (1), colour combination (2) followed by garment style (3), texture (4) and fibre content (5) and least considered factors were design (11), durability (10), comfort (9) and brand name (8). Whereas, the factors considered by traditional college young adults (Table 18b) in order were Fashion trend (1), garment style (2) followed by design (3), colour combination (4) drape (5) texture (6) and least considered factors were fibre content (11) durability (10) brand name (9) and comfort (8) Type of accessories purchased by young adults Table 19 shows the accessories purchased by young adults and it is clear that, majority of the young adults opined that purchase the accessories for their garments. Irrespective of professional and traditional colleges, majority of the young adults match their garments with accessories viz., handbags (80.00%), footwear (70.83%), belt (49.16%) followed by bangles (43.33%), hair-dressing (40.83%), earrings (39.16%), bindi (24.16%) and hankies (3.33%). Majority of the professional college young adults match their dresses with accessories viz., handbag (91.66%) followed by footwear (78.33%), belt (45.00%) hair dressing (46.66%), earrings (31.66%), bangles (15.00%) and bindi (13.33%). Whereas, majority of the traditional college young adults match dresses with accessories such as bangles (71.66%), hand bags (68.33%), footwear (63.33%), belt (53.33%) followed by earrings (46.66%), bindi (35.00), hair dressing (35.00) and only 6.66 per cent of the respondents preferred hankies Factors considered while pre-planning the purchase of kurtis by young adults It is evident from Table 20 that, both professional and traditional college young adults pre-plan the purchase of kurtis. It is found that, majority of the young adults from professional college, considered factors like type of garment to be purchased (73.33%), colour (55.00%) followed by quality (38.33%), particular design (35.00%) and particular shop (33.33%) while pre-planning the purchase of kurtis and least considered factor was brand (10.00%). However, traditional college young adults, considered the factors like particular design (38.33%), followed by colour (35.00%), type of garment to be purchased (33.33%) and particular shop (26.66%) while pre-planning the purchase of kurtis.

60 Table 16 Purchasing practices of clothes by young adults Sl. No. Occasion Professional college (n =60) 1 1 Marriage 02 (3.33) Young Adults Traditional college (n 2 =60) 04 (6.66) Total (n=120) 06 (5.00) 2 Birthday 01 (1.66) 3 Parties 3 (5.00) 4 Festival 5 (8.33) 3 (5.00) 05 (8.33) 23 (38.33) 4 (3.33) 08 (6.66) 28 (23.33) 5 Because of new style 25 (41.66) 12 (20.00) 37 (30.83) 6 As and when required 24 (40.00) Figures in parentheses indicate percentages Multiple responses possible 12 (20.00) 36 (30.00) 25 Professional college (n1=60) Traditional college (n2=60) 20 Young Adults Marriage Birthday Parties Festival Because of new style As and when required Occasion Fig. 6. Purchasing practices of clothes by young adults Fig. 6. Purchasing practices of clothes by young adults

61 Table 17 Mode of purchase of clothes by young adults Sl. No. Mode of purchase Professional college (n =60) 1 1 Seasonal purchase 27 (45.00) Young Adults Traditional college (n 2 =60) 15 (25.00) Total (n=120) 42 (35.00) 2 Discount sale 18 (30.00) 3 Festive offer 05 (8.33) 4 Clearance sale 10 (16.66) Figures in parentheses indicate percentages Multiple responses possible 13 (21.66) 10 (16.66) 22 (36.66) 31 (25.83) 15 (12.50) 32 (26.66)

62 Table 18a Factors considered while purchasing kurtis by professional college young adults n=60 Sl. No Factors considered Ranking WAR RANK 1 Fashion trend I 2 Colour combination II 3 Garment style III 4 Texture IV 5 Fibre content V 6 Drape VI 7 Cost VII 8 Brand name VIII 9 Comfort IX 10 Durability X 11 Design XI Lesser the value higher the rank WAR-Weighted Average Ranking

63 Table 18b Factors considered while purchasing kurtis by traditional college young adults n=60 Sl. No Factors considered Ranking WAR RANK 1 Fashion trend I 2 Garment style II 3 Design III 4 Colour combination IV 5 Drape V 6 Texture VI 7 Cost VII 8 Comfort VIII 9 Brand name IX 10 Durability X 11 Fibre content XI Lesser the value higher the rank WAR-Weighted Average Ranking

64 Table 19 Type of accessories purchased by young adults a. Accessories purchased Sl. No. Particulars Professional college (n =60) 1 1 Yes 42 ( 70.00) Young Adults Traditional college (n 2 =60) 38 (63.33) Total (n=120) 80 (66.66) 2 No 18 b. Type of accessories purchased (30.00) 22 (36.66) 40 (33.33) Sl. No. Accessories Professional college (n =60) 1 Traditional college (n 2 =60) Total (n=120) 1 Purse/handbags 55 (91.66) 2 Foot wear 47 (78.33) 3 Belts 27 (45.00) 4 Bangles 09 (15.00) 5 Hair-dressing 28 (46.66) 6 Earrings 19 (31.66) 7 Bindi 08 (13.33) 41 (68.33) 38 (63.33) 32 (53.33) 43 (71.66) 21 (35.00) 28 (46.66) 21 (35.00) 96 (80.00) 85 (70.83) 59 (49.16) 52 (43.33) 49 (40.83) 47 (39.16) 29 (24.16) 8 Hankies - 04 (6.66) Figures in parentheses indicate percentages Multiple responses possible 04 (3.33)

65 Irrespective of the colleges, majority of the young adults considered factors like type of garment to be purchased (53.33%) followed by colour (45.00%), particular design(36.66%), particular shop (30.00%) to be purchased and least considered factors while pre-planning the purchase of kurtis by young adults were quality (27.50%) and brand (7.50%) Constructional method preferred for kurtis by young adults Table 21 and Fig. 7 shows that, majority of the young adults of professional college and traditional college preferred tailor-made kurtis (51.66% and 60.00%) followed by readymade (48.33% and 40.00%) kurtis respectively. Irrespective of professional and traditional college, young adults preferred tailormade (53.83%) followed by readymade (44.16%) kurtis. However, none of them preferred self -stitched kurtis Reasons for preference of particular type of constructional method for kurtis Table 22 highlights on the reasons for preference of particular type of construction method preferred for kurtis. It is observed that, majority of the young adults of professional college preferred tailor-made kurtis because of low cost (83.33%), comfort (43.33%) and design (30.00%), whereas young adults of traditional college expressed because of comfort (96.66%), low cost (90.00%) and time saving (16.66%). The reason for preference of readymade kurtis as expressed by professional college young adults were availability of wide variety (96.66%) of kurtis followed by time saving (93.33%), easily available (90.00%), design (86.66%) and comfort (43.33%). Whereas, traditional college young adults expressed easily available (86.66%), comfort (83.33%), wide variety (66.66%) and time saving (40.00%) as the reasons for purchasing readymade garments. Irrespective of professional and traditional colleges, young adults expressed low cost (86.66%), comfort (70.00%), design (15.00%) and time saving (8.33%) as the reasons for preference of tailor-made kurtis and easy available (83.33%) followed by wide variety (81.66%), time saving (66.66%), comfort (63.33%) and design (43.33%) for preference of ready-made kurtis Factors checked while purchasing kurtis by young adults A perusal of Table 23 reveals that, majority of the professional and traditional college young adults check for labels while purchasing kurtis. However, the factors checked in labels while purchasing kurtis by professional and traditional college young adults were care labels (68.33%, 60.00%), followed by manufacturers name (46.66%, 26.66%) and brand name (36.66%, 11.66%) and only 6.66 per cent of the traditional college young adults checked for trade mark. Irrespective of professional and traditional colleges, young adults checked for care labels (64.16%) followed by manufacturer name (36.66%), brand name (24.16%) and trade mark (3.33%) Reasons for purchasing branded kurtis Table 24 reveals the reasons for purchasing branded kurtis by the professional and traditional college young adults. Irrespective of colleges, majority of the young adults purchased branded kurtis because of fashion (43.33%) followed by good fit (36.66%), comfort (25.00%), durability and good stitching (22.50%) and reasonable price (6.66%). Majority of the young adults of professional college purchased branded kurtis because of fashion (53.33%) followed by good fit (38.33%), comfort (36.66%), durability (33.33%), good stitching (28.33%) and reasonable price (11.66%). Whereas, majority of the traditional college young adults preferred branded kurtis because of good fit (35.00%), followed by fashion (33.33%), good stitching (16.66%), comfort (13.33%), durability (11.66%) and reasonable price (1.66%) Fitting problems faced in readymade kurtis by young adults Majority of the young adults of professional college opined that, improper arm scye (58.33%) followed by loose fitting at waist (55.00%), loose fitting at chest (51.66%), loose/ tight garment (33.66%).

66 Table 20 Factors considered while pre-planning the purchase of kurtis by young adults n=120 a. Pre-planning the purchase Sl. No Particulars Professional college (n 1 =60) Young Adults Traditional college (n 2 =60) Total (n=120) 1 Yes 41 (68.33) 2 No 19 (31.66) b. Factors considered 39 (65.00) 21 (35.00) 80 (66.66) 40 (33.33) Sl. No. Factors Professional college (n 1 =60) Traditional college (n 2 =60) Total (n=120) 1 Type of garment to be purchased 44 (73.33) 20 (33.33) 64 (53.33) 2 Colour 33 (55.00) 3 Particular design 21 (35.00) 4 Particular shop 20 (33.33) 5 Quality 23 (38.33) 6 Brand 06 (10.00) Figures in parentheses indicate percentages Multiple responses possible 21 (35.00) 23 (38.33) 16 (26.66) 13 (21.66) 03 (5.00) 54 (45.00) 44 (36.66) 36 (30.00) 33 (27.50) 09 (7.5)

67 Table 21 Constructional method preferred for kurtis by young adults Sl. No Constructional method Professional college (n 1 =60) Young Adults Traditional college (n 2 =60) Total (n=120) 1 Tailor-made 31 (51.66) 26 (60.00) 57 (53.83) 2 Ready-made 29 (48.33) 24 (40.00) 53 (44.16) 3 Self stitched Figures in parentheses indicate percentages Multiple responses possible 35 Professional college (n1=60) Traditional college (n2=60) Young Adults Tailor-made Ready-made Self stitched Constructional method Fig. 7. Constructional method preferred for kurtis by young adults Fig. 7. Constructional method preferred for kurtis by young adults

68 Table 22 Reasons for preference of particular type of constructional method for kurtis Sl. No. Reasons Professional college young adults (n =60) 1 1 Comfort 13 (43.33) Readymades Traditional college young adults (n 2 =60) 25 (83.33) Total (n=120) 38 (63.33) Professional college young adults (n 1 =60) 13 (43.33) Tailormades Traditional college young adults (n 2 =60) Total (n=120) 29 (96.66) 42 (70.00) 2 Design (86.66) (43.33) (30.00) (15.00) 3 Easily available (90.00) (86.66) (83.33) 4 Low cost (83.33) 27 (90.00) 52 (86.66) 5 Time saving (16.66) 05 (93.33) (40.00) (66.66) (8.33) 6 Wide variety (96.66) (66.66) (81.66) Figures in parentheses indicate percentages Multiple responses possible

69 Table 23 Factors checked while purchasing kurtis by young adults a. Factors checked Sl. No Particulars Professional college (n 1 =60) Young Adults Traditional college (n 2 =60) Total (n=120) 1 Yes 35 (58.33) 2 No 25 (41.66) 31 (51.66) 29 (48.33) 66 (55.00) 54 (45.00) b. Type of factors checked Sl. No. Factors Professional college (n 1 =60) Traditional college (n 2 =60) Total (n=120) 1 Care labels 41 (68.33) 2 Manufacturer name 28 (46.66) 3 Brand name 22 (36.66) 36 (60.00) 16 (26.66) 07 (11.66) 77 (64.16) 44 (36.66) 29 (24.16) 4 Trade mark - 04 (6.66) Figures in parentheses indicate percentages Multiple responses possible 04 (3.33)

70 Table 24 Reasons for purchasing branded kurtis Sl. No Particulars Professional college (n 1 =60) 1 Fashion 32 (53.33) 2 Good fit 23 (38.33) 3 Comfort 22 (28.33) 4 Durability 20 (33.33) 5 Good stitching 17 (28.33) 6 Reasonable price 07 (11.66) Figures in parentheses indicate percentages Multiple responses possible Young Adults Traditional college (n 2 =60) 20 (33.33) 21 (35.00) 08 (13.33) 07 (11.66) 10 (16.66) 01 (1.66) Total (n=120) 52 (43.33) 44 (36.66) 30 (25.00) 27 (22.50) 27 (22.50) 08 (6.66) Table 25 Fitting problems faced in readymade kurtis by young adults Young Adults Sl. No Fitting problems Professional college (n =60) 1 Traditional college (n 2 =60) Total (n=120) 1 Loose fitting at waist 33 (55.00) 2 Loose fitting at chest 31 (51.66) 3 Improper arm scye 35 (58.33) 42 (70.00) 38 (63.33) 26 (43.33) 75 (62.50) 69 (57.50) 61 (50.83) 4 Wider/narrow shoulder width 11 (18.33) 38 (63.33) 49 (40.83) 5 Loose/tight garment 22 (33.66) 25 (41.66) 47 (39.16) 6 Loose/tight fitting at the hip 12 (20.00) 18 (30.00) 30 (25.00) 7 Shapeless/shifted neck lines 12 (20.00) - 12 (10.00) 8 Re-stitching Figures in parentheses indicate percentages Multiple responses possible

71 Loose /tight fitting at the hip and shapeless/shifted neck lines (20.00%) and wider/narrow shoulder width (18.33% ) as the problems faced in readymade kurtis whereas, traditional college young adults expressed loose fitting at waist (70.00%), followed by loose fitting at chest and wider/narrow shoulder width (63.33% and63.33%) respectively, improper arm scye (43.33%), loose/tight garment (41.66%) and loose/tight fitting at the hip (30.00%) as the problems faced in readymade kurtis. In general, the problems faced in readymade kurtis were loose fitting at waist (62.50%), followed by loose fitting at chest (57.50%), improper arm scye (50.83%), wider/narrow shoulder width (40.83%), and loose/tight garment (39.16%), loose/tight fitting at the hip (25.00%) and shapeless/shifted neck lines (40.83%) in order by both professional and traditional college young adults ( Table 25) Preference of fabrics for kurtis by young adults It is evident from Table 26, irrespective of colleges and type of wears, majority of the young adults preferred cotton fabrics (98.33%) for kurtis followed by silk (60.00%), khadi cotton (32.50%), polyester (29.16%), blends (9.16%) and khadi silk (5.83%). Among professional college young adults, majority of them preferred cotton (51.66%) kurtis for daily wear followed by polyester (15.00%), khadi cotton (13.33%) and silk (1.66%); silk (55.00%) followed by cotton (25.00%), khadi cotton(13.33%), polyester (8.33%), blend and khadi silk (3.33%) for occasional wear; and for college wear, cotton (33.33%) followed by khadi cotton (15.00%) and polyester (8.33%). Whereas, traditional college young adults preferred cotton (46.66%) kurtis followed by khadi cotton, silk (8.33%), polyester and blends (5.00%) for daily wear; silk (55.00%) followed by cotton (18.33%), khadi silk (8.33%) and blended (5.00%) kurtis for occasional wear. However, preferred cotton and polyester (21.66%) kurtis followed by khadi cotton (15.00%), blended (5.00%) and silk (1.66%) kurtis for college wears Type of value addition preferred on kurtis by young adults Table 27 shows the type of value addition preferred on kurtis by young adults. Irrespective of professional and traditional colleges, majority of the young adults preferred appliqué work (95.00%) followed by embroidery (84.16%), loops and string (79.16%), printing (75.83%) and painting (72.50%) on their kurtis and the least preference was given to the lace and satin work, zardosi (51.66%), tie-dye (48.33%), glass and mirror work (17.50%), shells and beads (12.50%), and woven motif (4.16%) in order and ranked accordingly. Among professional college young adults, majority of them preferred appliqué work (90.00%) followed by embroidery (83.33%), loops and string (75.00%), tie and dye and printing (71.66%), zardosi (61.66%), painting (58.33%), lace and satin (41.66%), shells and beads (23.33%), glass and mirror work (10.00%) and woven motif (6.66%). While cent per cent of the traditional college young adults gave first preference for appliqué work followed by loops and strings (86.66%), embroidery (85.00%), painting (83.33%), printing (80.00%) and least preference was given to zardosi work (41.66%), tie-dye (25.00%), woven motif and shells and beads (1.66 %.) Fabric colours preferred for kurtis by young adults Table 28 shows the fabric colours preferred for kurtis by young adults. Majority of the professional and traditional college young adults preferred bright and cool colours for daily wear (PC: 36.66% & 35.00% and TC: 35.00% & 33.33%) and college wear (PC: 41.66% & 38.33% and TC: 36.66% & 33.33%) kurtis followed by dark cool colours. Whereas, majority of them preferred bright and warm colours for occasional wear kurtis (PC: 21.66% & 10.00% and TC: 26.66% & 15.00%). Irrespective of professional and traditional college and type of wears, majority of the young adults preferred bright and cool (99.16% & 67.50%) colours and cool and dark (67.50% & 66.66%) colours for kurtis followed by bright and warm (99.16% & 32.50%) and dark and warm (66.66% & 32.50%) colours.

72 Table 26 Preference of fabrics for kurtis by young adults Sl. No. Young adults Type of fabric Professional college (n 1 =60) Daily wear College wear Occasional wear Traditional college (n 2 =60) Daily wear College wear Occasional wear Total (n=120) 1 Cotton 31 (51.66) 15 (25.00) 20 (33.33) 28 (46.66) 11 (18.33) 13 (21.66) 118 (98.33) 2 Khadi cotton 08 (13.33) 08 (13.33) 09 (15.00) 05 (8.33) - 09 (15.00) 39 (32.50) 3 Silk 01 (1.66) 33 (55.00) - 05 (8.33) 33 (55.00) 01 (1.66) 73 (60.00) 4 Khadi silk - 02 (3.33) (8.33) - 07 (5.83) 5 Polyester 09 (15.00) 05 (8.33) 05 (8.33) 03 (5.00) - 13 (21.66) 35 (29.16) 6 Blends - 02 (3.33) - 03 (5.0) 03 (5.00) 03 (5.00) 11 (9.16) Figures in parentheses indicate percentages Multiple responses possible

73 Table 27 Type of value addition preferred on kurtis by young adults Sl. No Type of value addition Professional college (n 1 =60) Young Adults Traditional college (n =60) 2 Total (n=120) 1 Appliqué work 54 (90.00) 2 Embroidery 50 (83.33) 3 Loops and String 45 (75.00) 4 Printing 43 (71.66) 5 Painting 35 (58.33) 6 Lace and stain work 25 (41.66) 7 Zardosi 37 (61.66) 8 Tie and dye 43 (71.66) 60 (100) 51 (85.00) 50 (83.33) 48 (80.00) 52 (86.66) 37 (61.66) 25 (41.66) 15 (25.00) 114 (95.00) 101 (84.16) 95 (79.16) 91 (75.83) 87 (72.50) 62 (51.66) 62 (51.66) 58 (48.33) 9 Glass and mirror work 06 (10.00) 15 (25.00) 21 (17.5) 10 Shells and beads 14 (23.33) 11 Woven motifs 04 (6.66) Figures in parentheses indicate percentages Multiple responses possible 01 (1.66) 01 (1.66) 15 (12.50) 05 (4.16)

74 Table 28 Fabric colours preferred for kurtis by young adults Sl. No 1 Type of colour Young Adults Warm 03 (5.00) Professional college (n 1 =60) Traditional college (n 2 =60) Daily wear College wear Occasional wear Daily wear College wear Occasional wear 04 (6.66) 06 (10.00) 11 (18.33) 06 (10.00) 09 (15.00) Total (n=120) 39 (32.50) 2 Cool 21 (35.00) 18 (30.00) 01 (1.66) 20 (33.33) 20 (33.33) 01 (1.66) 81 (67.50) 3 Light - 05 (8.33) - 11 (18.33) 16 (26.66) 06 (10.00) 38 (31.66) 4 Dark 17 (28.33) 23 (38.33) 3 (5.00) 15 (25.00) 18 (30.00) 4 (6.66) 80 (66.66) 5 Bright 22 (36.66) 25 (41.66) 13 (21.66) 21 (35.00) 22 (36.66) 16 (26.66) 119 (99.16) Figures in parentheses indicate percentages Multiple responses possible

75 Table 29 Fabric textures preferred for kurtis by young adults Sl. No 1 Type of texture Young Adults Fine 10 (16.66) Professional college (n =60) 1 Traditional college (n =60) 2 Daily wear College wear Occasional wear Daily wear College wear Occasional wear 25 (41.66) - 17 (28.33) 03 (5.00) Total (n=120) - 55 (45.83) 2 Soft 37 (61.66) 11 (18.33) 12 (3.3) 30 (50.00) 07 (11.66) 08 (13.33) 95 (79.16) 3 Smooth 23 (38.33) 14 (23.33) - 08 (13.33) 18 (30.00) 06 (10.00) 69 (57.50) 4 Coarse 15 (25.00) 10 (16.66) - 01 (1.66) 12 (20.00) - 38 (31.66) 5 Silky (45.00) - 10 (16.66) 19 (31.66) 56 (46.66) 6 Lustrous (15.66) 04 (6.66) 10 (16.66) 27 (45.00) 72 (60.00) Figures in parentheses indicate percentages Multiple responses possible

76 Fabric textures preferred for kurtis by young adults Table 29 depicts the fabric texture preferred for kurtis by young adults and it is found that, majority of the professional college young adults preferred soft textured (61.66%) fabrics for daily wear kurtis, fine textured (41.66%) fabric for college wear and silky textured (45.00%) fabric for occasional wear kurtis. While traditional college young adults preferred soft textured (50.00%) fabric for daily wear kurtis, smooth textured (30.00%) fabric for college wear and lustrous (45.00%) fabric for occasional wear kurtis. However, irrespective of type of wears and colleges, majority of young adults preferred soft textured fabric (79.16%) followed by lustrous (60.00%) and smooth (57.50%) textured fabrics for kurtis Type of patterns / designs preferred for kurtis by young adults It is evident from Table 30 that, majority of the professional college young adults preferred combination of plain and checks (41.66%) patterns for daily wear kurtis; plain, printed & tie-dye (38.33%) for college wear kurtis and printed kurtis (55.00%) for occasional wear. Majority of the traditional college young adults preferred plain fabric (68.33%) followed by striped fabric (58.33%) for daily wear kurtis; tie and dye fabrics (46.66%) followed by combination of plain and checks (40.00%) for college wear kurtis and printed and tie and dye (36.66%) fabrics for occasional wear kurtis. However, irrespective of type of colleges and wears, most of the young adults preferred printed fabrics (99.16%) followed by combination of plain and printed (98.33%), striped (92.50%), combination of plain and checks (91.66%) and tie and dye fabrics (89.16%) for kurtis Preference for kurti styles by young adults Table 31 and Fig. 8 narrate about the preference for kurti styles by young adults. Majority of the professional college young adults gave first preference for A-line style of kurtis (68.33%) followed by fitted (66.66%), two piece (60.00%), flared style (53.33%), shirt style (43.33%) and kurti with side cut (21.66%). Whereas, traditional college young adults gave highest preference for A-line and two-piece (53.33%) style of kurtis followed by flared (46.66%), fitted (41.66%), shirt style (35.00%) and kurti with side cut (33.33%). Irrespective of professional and traditional colleges, majority of the young adults gave first preference for A-line (60.83%) style followed by two piece (56.66%), fitted (54.16%), flared (50.00%), shirt style (39.16%) and kurti with side cut (27.50%) Material and constructional details preferred for kurtis by young adults A perusal of Table 32 shows the material and constructional details preferred for kurtis viz., type of neck lines, collars, sleeves, yoke, placket opening, fasteners, fabrics, texture, colour and prints. Majority of the professional and traditional young adults preferred shirt collar (53.33%, 43.33%) followed by stand collar (41.66%, 36.66%), square (25.00%, 50.00%) followed by round (23.33%, 36.66%) neckline for their kurtis respectively (Table 32 a). An attempt was made to find out the sleeve length preferred for kurtis by young adults, and the results revealed that, majority of the professional and traditional college young adults preferred sleeveless (83.33%, 75.00%) followed by Magyar (70.00%, 56.66%) sleeves, 3/4 th and cap sleeves (46.66%, 55.00%) respectively for their kurtis (Table 32 b). Table 32 c shows that, majority of the professional college young adults preferred up to waistline (50.00%) followed by above waistline (43.33%) yoke length for their kurtis. Whereas, traditional college young adults preferred above waistline yoke length followed by up to waistline (51.66%), up to chest line (45.00%) and below hipline (41.66%). Majority of the professional and traditional college young adults preferred front placket opening (66.66%, 73.33%), followed by side (51.66%, 58.33%) opening for kurtis. While, traditional college young adults preferred front placket opening (73.33%) for their kurtis followed by side (58.33%) opening (Table 32 d).

77 Table 30 Type of patterns / designs preferred for kurtis by young adults Sl. No. Young Adults Professional college (n 1 =60) Traditional college (n 2 =60) Patterns/ designs Daily wear College wear Occasional wear Daily wear College wear Occasional wear 1 Plain 05 (8.33) 23 (38.33) 2 Stripes (35.00) (21.66) 3 Checks (13.33) (20.00) 4 Dotted 01 - (1.66) 5 Printed (30.00) (38.33) 6 Plain and stripes (28.33) (36.66) 7 Plain and checks (41.66) (31.66) 8 Plain and dotted Plain and printed 12 (20.00) 10 Tie and dye 01 (1.66) Figures in parentheses indicate percentages Multiple responses possible 17 (28.33) 23 (38.33) 16 (26.66) 18 (30.00) 22 (36.66) - 33 (55.00) 18 (30.00) 15 (25.00) 14 (23.33) 18 (30.00) 30 (50.00) 41 (68.33) 35 (58.33) 10 (16.66) 08 (13.33) 02 (3.33) 22 (36.66) 20 (30.33) 09 (15.00) 30 (50.00) 03 (5.00) 15 (25.00) 9 (15.00) 10 (16.66) 22 (33.66) 21 (35.00) 12 (20.00) 24 (40.00) 18 (30.00) 21 (35.00) 28 (46.66) 05 (8.33) 15 (25.00) 07 (11.66) 03 (5.00) 22 (36.66) 09 (15.00) 07 (11.66) 12 (20.00) 20 (33.33) 22 (36.66) Total (n=120) 105 (87.5) 111 (92.50) 69 (57.50) 34 (28.33) 119 (99.16) 100 (83.33) 110 (91.66) 53 (44.16) 118 (98.33) 107 (89.16)

78 Table 31 Preference for kurti styles by young adults Sl. No Kurti styles Professional college (n =60) 1 Young Adults Traditional college (n 2 =60) Total (n=120) 1 A-line style 41 (68.33) 2 Fitted style 40 (66.66) 3 Kurti with side cut style 13 (21.66) 4 Shirt style 26 (43.33) 5 Two-piece style 36 (60.00) 6 Flared (Umbrella) style Figures in parentheses indicate percentages Multiple responses possible 32 (53.33) 32 (53.33) 25 (41.66) 20 (33.33) 21 (35.00) 32 (53.33) 28 (46.66) 73 (60.83) 65 (54.16) 33 (27.50) 47 (39.16) 68 (56.66) 60 (50.00) 45 Professional college (n1=60) Traditional college (n2=60) Young Adults A-line style Fitted style Kurti with side cut style Shirt style Two-piece style Flared (Umbrella) style Kurti styles Fig. 8. Preference for kurti styles by young adults Fig. 8. Preference for kurti styles by young adults

79 Table 32 Material and constructional details preferred for kurtis by young adults Sl. No. a I II b c d Styles Professional college (n 1 =60) Constructional details Neck lines With collar Shirt collar 32 (53.33) Stand collar 25 (41.66) Band collar 08 (13.33) Without collar U neck line 13 (21.66) V neck line 9 (15.00) Round neck line 14 (23.33) Square neck line 15 (25.00) Sleeves Sleeveless 50 (83.33) Cap sleeves 28 (46.66) Magyar 42 (70.00) Short sleeves 21 (35.00) 3/4 th sleeves 28 (46.66) Full sleeves 05 (8.33) Draw string 11 (18.33) Yoke length Below hipline 13 (21.66) Up to chest line 20 (33.33) Above waist line 26 (43.33) Up to waist line 30 (50.00) Placket opening Front 40 (66.66) Back 13 (21.66) Side 31 (51.66) Shoulder 24 (40.00) Young Adults Traditional college (n 2 =60) 26 (43.33) 22 (36.66) 07 (11.66) 05 (8.33) 15 (25.00) 22 (36.66) 30 (50.00) 45 (75.00) 33 (55.00) 34 (56.66) 17 (28.33) 33 (55.00) 09 (15.00) 16 (26.66) 25 (41.66) 27 (45.00) 34 (56.66) 31 (51.66) 44 (73.33) 25 (41.66) 35 (58.33) 23 (38.33) Total (n=120) 58 (48.33) 47 (39.16) 15 (12.50) 18 (15.00) 24 (20.00) 36 (30.00) 45 (37.50) 95 (79.16) 61 (50.83) 76 (63.30) 38 (31.66) 61 (50.83) 14 (11.66) 27 (22.50) 38 (31.16) 47 (39.16) 60 (50.00) 61 (50.83) 84 (70.00) 38 (31.66) 66 (55.00) 47 (39.16)

80 Table 32 Contd.. Sl. No. e f g h Styles Professional college (n 1 =60) Fasteners Press stud 20 (33.33) Hooks 17 (28.33) Strings 37 (61.66) Zippers 32 (53.33) Fabric Medium 35 weight (58.33) Light weight 50 (83.33) Texture Soft 32 (53.33) Medium 29 rough (48.33) Rough 10 (16.66) Colour Dark 27 (45.00) Medium 30 (50.00) Light 50 (83.33) i Print Small 36 (60.00) Medium 46 (76.66) Bold 20 (33.33) Figures in parentheses indicate percentages Multiple responses possible Young Adults Traditional college (n 2 =60) 18 (30.00) 19 (31.66) 43 (71.66) 28 (46.66) 25 (41.66) 48 (80.00) 49 (81.66) 36 (60.00) 5 (8.33) 20 (33.33) 35 (58.33) 43 (71.66) 38 (63.33) 43 (71.66) 17 (28.33) Total (n=120) 38 (31.66) 36 (30.00) 80 (66.00) 60 (50.00) 60 (50.00) 98 (81.66) 81 (67.50) 65 (54.16) 15 (12.50) 47 (39.16) 65 (54.16) 93 (77.50) 74 (61.66) 89 (74.16) 37 (30.83)

81 Plate 1. Mood Board Plate 2. Fabric swatches and colour board

82 Preference for the type of fasteners varied with the type of garments. Majority of the professional and traditional college young adults preferred strings (61.66%, 71.66%) followed by zippers (53.33%, 46.66%) for their kurtis (Table 32 e) respectively. Majority of the professional and traditional college young adults preferred light weight fabrics (83.33%, 80.00%) respectively followed by medium weight fabric (58.33%, 41.66%) for their kurtis (Table 32 f). Professional and traditional college young adults preferred soft textured fabrics for their kurtis (53.33%, 81.66%) followed by medium rough textured fabric (48.33%, 60.00%). However, least per cent of them preferred rough textured fabric (16.66%, 8.33%) for their kurtis (Table 32 g). Professional and traditional college young adults preferred light (83.33%, 71.66%) followed by medium colour (50.00%, 58.33%) fabrics for kurtis (Table 32h). It is seen from Table 32 i that, professional and traditional college young adults preferred medium prints (76.66%, 71.66%) for kurtis followed by small (60.00%, 63.33%) prints on kurtis. 4.2 Experimental results The results of constructional details of all the ten designer khadi kurtis, cost of production and acceptance from young adults and textile experts are as follows: Design forecasting The researcher in the present study forecasted on designing khadi kurtis for young adults for the spring summer season suitable for college and occasional wears for which the mood board (Plate 1), fabric swatches and colour board (Plate 2), illustration board and specification and cost sheet (Fig. 9-18) were developed Construction of designer s khadi kurtis The researcher sketched/ illustrated fifty kurtis for young adults taking inspiration from the developed mood board. Out of which the most preferred ten kurtis were selected for further construction. The basic bodice block was then developed taking standard measurements for medium size (Padmavati B., 2009, Techniques of drafting and pattern making) for young adults suitable for yrs age. These 10 selected kurtis were adapted using slash and spread method for final construction Pattern I: Hand embroidered kurti This A-line kurti was constructed with combination of orange and yellow coloured fabric. The kurti was stitched with neck belt and loops. This created a beautiful colour combination of orange with yellow belt that enhanced the look of the kurti. Hand embroidery added value to this kurti. Inseam pockets and sweat pads are the special design features (Fig. 9a & 9b and Plate 3) Pattern II: Pleated yoke kurti Plain khadi cotton fabric was used to construct the fitted style of kurti. This kurti is stitched with V shape yoke up to waist line with horizontal pleating in upward direction pointed towards the waist line. Pleating is done with the combination of dark green and self designed fabric. Value addition preferred on this kurti was loops at yoke line and having special feature of detachable sweat pads. The back of the kurti was plain with side slit opening with zipper (Fig. 10a & 10b and Plate 4) Pattern III: Loops and string kurti This kurti is constructed with block printed blackish grey coloured cotton material. Here the bodice of the kurti is with the yoke and skirt separated, stitched later after giving flare to the skirt to give extra fullness at hem. A front yoke (below bust line) was held together by loops with cords. Inseam pocket and detachable sweat pads are stitched to give special design feature to the kurti (Fig. 11a &11b and Plate 5).

83 Fig 9a. Specification sheet - Hand embroidered kurti

84 I. Fabric information 1 Material Khadi cotton 2 Pattern Plain 3 Width 40 inch 4 Colour Orange and yellow 5 Price Rs.120/ meter Rs.120/ meter II. Material cost Sl. No Particulars Quantity (metre) Price (Rs.) Total Cost (Rs.) 1 Fabric Fabric Total (Rs.) III. Trimming cost Sl. Total Cost Particulars Quantity Price (Rs.) No (Rs.) 1 Buttons Canvas 0.25 meter Sweat pad Sewing thread Total (Rs.) IV. Labour Cost and Cost of the Kurti Pattern Labour charge Total cost (Rs.) Stitching charge (without Hand embroidered kurti lining) Embroidery charge Total (Rs.) V. Profit Profit 30 % (Rs.) Grand Total II+III+IV+V= = TOTAL COST OF KURTI (Rs.) Fig. 9b. Cost sheet

85 Front Back Plate 3. 3D effect of hand embroidered kurti

86 Fig 10. Specification sheet Pleated yoke Kurti

87 1. Fabric information 1 Material Khadi cotton 2 Pattern Plain and printed 3 Width 40 inches 4 Colour Multicoloured and plain green 5 Price Rs.160 /metre Rs.160 /metre I. Material cost Sl. No Particulars Quantity(metre) Price(Rs.) Total Cost(Rs.) 1 Fabric Fabric Total(Rs.) II. Trimming cost Sl. No Trimming Material Quantity Price(Rs.) Total Cost(Rs.) 1 Zipper Sweat pads Sewing thread Total(Rs.) III. Labour Cost and Cost of the Kurti IV. Pattern Labour charge Total cost (Rs.) Fitted (pleated yoke) kurti Stitching charge Total(Rs.) V. Profit Profit 30 % (Rs.) Grand Total II+III+IV+V= =820 TOTAL COST OF KURTI (Rs.) 820 Fig. 10b. Cost sheet

88 Front Back Plate 4. 3D Effect of pleated yoke kurti

89 Fig 11a. Specification sheet - loops and string kurti

90 I. Fabric information 1 Material Khadi cotton 2 Pattern Block printed cotton fabric 3 Width 46 inches 4 Colour Black and cream 5 Price Rs.125 /metre II. Material cost Sl. No Particulars Quantity(metre) Price (Rs.) Total Cost (Rs.) 1 Fabric Total (Rs.) III. Trimming cost Sl. No Particulars Quantity Price (Rs.) Total Cost (Rs.) 1 Sweat pad Sewing thread Lace 2metre Total(Rs.) III. Labour Cost and Cost of the Kurti Pattern Labour charge Total cost (Rs.) Loops and string kurti Stitching charge Total V. Profit Profit 30 % (Rs.) Grand Total II+III+IV+V= =793 TOTAL COST OF KURTI (Rs.) 793 Fig. 11b. Cost sheet

91 Front Back Plate 5. 3D Effect of loops and string kurti

92 Pattern IV: Roll-up sleeve kurti Shirt style of kurti is stitched with striped multi-coloured cotton fabric with the combination of yellow fabric to give elegant look to the kurti. It is up to mid thigh length with front opening and stand collar with shoulder yokes. Patch pocket and sweat pads are the special design features. Back of the kurti has shoulder yoke with box pleats. Shirt style kurti has roll-up sleeve, which can be used as Magyar sleeve with loop and button as value addition worked on bottom of the kurti (Fig. 12a & 12b and Plate 6) Pattern V: Appliqué worked kurti Bodice the off white cotton fabric was the material for halter kurti stitched in combination with striped material. The kurti has simple neckline with draw strings to tie at the back of the neckline. The back was held in position by elastic. Appliqué work is the value addition worked on bottom of the kurti. Jacket the striped black and gray fabric is used to construct the simple bodice up to half the length of halter kurti, having cap sleeve with inseam pocket as special design feature (Fig. 13a & 13b and Plate 7). B. Khadi Silk Kurtis Pattern VI: Block printed kurti A green colour silk material is used to construct the kurti with side cut. The yoke is done with light orange colour at bust level. Appliqué work and block printing is used as value addition. The sweat pad is specially designed for this kurti (Fig. 14a & 14b and Plate 8) Pattern VII: Combination of plain and printed material kurti This kurti is constructed with the combination of plain and printed material, having centre front yoke and half portion of the kurti with side pleats (down ward direction). The other side is plain with centre front decorated with frills and hand embroidery. One side of the kurti is with stripes and other side is sleeveless shoulder. Back of the kurti is plain with printed material (Fig. 15a & 15b and Plate 9) Pattern VIII: Ruffled kurti This kurti is up to mid thigh length with flare at hem. Kurti is having yoke above bust line with ruffles attached at shoulder and hem line. This kurti is constructed with blue colour silk material with stand collar, above bust line yoke and V neck line. Sweat pads are the special design features (Fig. 16a & 15b and Plate 10) Pattern IX: Draw string kurti Draw string sleeve kurti is stitched with the combination of pink and cream colour fabric. It has shaped yoke above waist line, draw string sleeve which is adjustable with sleeve or sleeveless with help of cords. Patch pockets and detachable belt are the value addition to the kurti (Fig. 17a & 17b and Plate 11) Pattern X: Shirring kurti Bodice the dark brown (maroon) silk material was used to construct the kurti having straps. Shirring is the value addition and which covers the bust portion and it give the rich and elegant look to the young adults. Jacket- the fabric used for jacket was tassar silk with golden colour. The length of the jacket is up to half of the length of the kurti, having cap sleeve with picoting at hem (Fig. 18a & 18b and Plate 12) Preference for designer s khadi kurtis In these days there are tremendous varieties of textile materials available in the market, different varieties of kurti patterns, colours, texture and different constructional details viz., necklines, collars, sleeves, yokes and so on. Five each khadi cotton and khadi silk kurtis were designed with different style, constructional details, value addition and sweat pads.

93 Fig 12a. Specification sheet Roll up sleeve kurti

94 I. Fabric information 1 Material Khadi cotton 2 Pattern Plain and striped 3 Width 36 inches 4 Colour Multicoloured stripes and yellow 5 Price Rs.180 /metre Rs. 120/metre II. Material cost Sl. No Particulars Quantity (metre) Price (Rs.) Total Cost (Rs.) 1 Fabric Fabric for yoke Total (Rs.) III. Trimming cost Sl. No Particulars Quantity Price (Rs.) Total Cost (Rs.) 1 Buttons Sweat pad Sewing thread Total (Rs.) IV. Labour Cost and Cost of the Kurti Pattern Labour charge Total cost (Rs.) Roll-up sleeve kurti Stitching charge Total V. Profit Profit 30 % (Rs.) Grand Total II+III+IV+V= = TOTAL COST OF KURTI (Rs.) 965 Fig. 12b. Cost sheet

95 Front Back Plate 6. 3D Effect of roll-up sleeve kurti

96 Fig 13a. Specification sheet Applique worked kurti

97 b. Cost Sheet I. Fabric information 1 Material Khadi cotton 2 Pattern Plain and printed 3 Width 46 inches and 36 inches 4 Colour Off white and black striped 5 Price Rs.240 /metre Rs.190 /metre II. Material cost Sl. No Particulars Quantity (metre) Price (Rs.) Total Cost (Rs.) 1 Fabric Fabric Total (Rs.) IV. Trimming cost Sl. No Particulars Quantity Price (Rs.) Total Cost (Rs.) 1 Sewing thread Total (Rs.) 6.00 V. Labour Cost and Cost of the Kurti Pattern Labour charge Total cost (Rs.) appliqué worked kurti Stitching charge Total VI. Profit Profit 30 % (Rs.) Grand Total II+III+IV+V= =1268 TOTAL COST OF KURTI (Rs.) 1268 Fig. 12b. Cost sheet

98 Front Back Plate 7. 3D Effect of appliqué worked kurti

99 Fig 14a. Specification sheet Block printed kurti

100 I. Fabric information 1 Material Khadi silk 2 Pattern Plain 3 Width 36 inches 4 Colour Green and orange 5 Price Rs.320 / meter Rs.320/meter II. Material cost Sl. No Particulars Quantity (metere) Price/ meter (Rs.) Total Cost (Rs.) 1 Fabric Fabric Fabric 3(lining material) Total(Rs.) III. Trimming cost Sl. No Trimming Material Quantity Price (Rs.) Total Cost (Rs.) 1 Hook Sweat pad Sewing thread Total(Rs.) IV. Labour Cost and Cost of the Kurti Pattern Labour charge Total cost (Rs.) Block printed kurti Stitching charge(with lining) Block printing charge Total(Rs.) V. profit Profit 30 % (Rs.) Grand Total II+III+IV+V= = 1,452 TOTAL COST OF KURTI (Rs.) 1452 Fig. 14b. Cost sheet

101 Front Back Plate 8. 3D Effect of block printed kurti

102 Fig 15a. Specification sheet - Combination of plain printed material kurti

103 I. Fabric information 1 Material Khadi silk 2 Pattern Plain and printed 3 Width 36 inches 4 Colour Purple striped and cream plain 5 Price Rs.260 /metre Rs.220 /metre II. Material cost Sl. No Particulars Quantity (metre) Price (Rs.) Total Cost (Rs.) 1 Fabric Fabric Fabric 3 (Lining material) Total(Rs.) III. Trimming cost Sl. No Trimming Material Quantity Price (Rs.) Total Cost (Rs.) 1 Zipper Sewing thread Total(Rs.) IV. Labour Cost and Cost of the Kurti Pattern Labour charge Total cost Combination of plain and printed material kurti Stitching charge(with lining) Embroidery charge Total (Rs.) V. Profit Profit 30 % (Rs.) Grand Total II+III+IV+V= =1453 TOTAL COST OF KURTI(Rs.) 1453 Fig. 15b. Cost sheet

104 Front Back Plate 9. 3D Effect of combination of plain and printed material kurti

105 Fig 16a. Specification sheet Ruffled kurti

106 I. Fabric information 1 Material Khadi silk 2 Pattern Plain 3 Width 36 inch 4 Colour Blue and pink 5 Price Rs.220 /metre Rs.220 /metre II. Material cost Sl. No Particulars Quantity (metre) Price (Rs.) Total Cost (Rs.) 1 Fabric Fabric Fabric 3(lining) Total (Rs.) III. Trimming cost Sl. No Trimming Material Quantity Price (Rs.) Total Cost (Rs.) 1 Sweat pad Sewing thread Canvas 0.5metre Total (Rs.) IV. Labour Cost and Cost of the Kurti Pattern Labour charge Total cost (Rs.) Ruffled kurti Stitching charge(with lining) Total (Rs.) V. Profit Profit 30 % (Rs.) Grand Total II+III+IV+V= =1214 TOTAL COST OF KURTI (Rs.) 1214 Fig. 16b. Cost sheet

107 Front Back Plate 10. 3D Effect of ruffled kurti

108 Fig 17a Specification sheet Draw string sleeve kurti

109 I. Fabric information 1 Material Khadi silk 2 Pattern Plain and combination 3 Width 36 inches 4 Colour Pink and cream 5 Price Rs.320 /metre Rs.220 /metre II. Material cost Sl. No Particulars Quantity (metre) Price (Rs.) Total Cost (Rs.) Fabric 1 Fabric 2 Fabric Total (Rs.) III. Trimming cost Sl. No Particulars Quantity Price (Rs.) Total Cost (Rs.) 1 Belt Buttons Sewing thread Total (Rs.) IV. Labour Cost and Cost of the Kurti Pattern Labour charge Total cost (Rs.) Draw string sleeve kurti Stitching charge(with lining) Total (Rs.) V. Profit Profit 30 % (Rs.) Grand Total II+III+IV+V= =1398 TOTAL COST OF KURTI (Rs.) 1398 Fig. 17b. Cost sheet

110 Front Back Plate 11. 3D Effect of draw string sleeve kurti

111 Fig 18a. Specification sheet -Shirring kurti

112 I. Fabric information 1 Material Khadi silk 2 Pattern Plain 3 Width 36 inches and 36 inches 4 Colour Maroon and bronze 5 Price Rs.900 /metre Rs. 460/metre II. Total material cost Sl. No Particulars Quantity (metre) Price (Rs.) Total cost (Rs.) 1 Fabric Fabric Fabric 3(lining) Total (Rs.) III. Total trimming cost Sl. No Particulars Quantity Price (Rs.) Total cost (Rs.) 1 Sewing thread Total (Rs.) 6.00 IV. Labour Cost and Cost of the Kurti Pattern Labour charge Total cost (Rs.) Shirring kurti Stitching charge(with lining) Total (Rs.) V. Profit Profit 30 % (Rs.) Grand Total II+III+IV+V= =2796 TOTAL COST OF KURTI (Rs.) 2796 Fig. 18b. Cost sheet

113 Front Back Plate 12. 3D Effect of shirring kurti

114 Plate 13. Evaluation of designer s khadi kurtis through fashion show

115 Plate 14. Evaluation of designer s khadi kurtis through exhibition

116 Plate 15. Evaluation of designer s khadi kurtis through young adults

117 I Plate 16. Evaluation of designer s khadi kurtis by textile experts