Please view in 2-page mode.

M O K S H A

Spring/Summer 2021

Design Collection by
Yash Khot
FD-8 Batch 1
 M oksha is the fourth stage of Purusharthas in Hinduism. It’s
the life’s goal to achieve Moksha (Mokshaprapti).
I wanted to connect my goals of life in this collection. My love for
cultural understanding, travelling reflects in my final year design
collection. As a eco-conscious designer I wanted to do a bit from my
side for the planet.

The design collection is for final year Fashion Design students to

showcase their designing skills and the academic knowledge they
gained throughout the course of 4 years. Every student is supposed
to present a collection as per their individual taste.

I want to give the Urban Sadhu a new conscious look. The Urban
Sadhu takes the Yogic method to attain Moksha, by self development
and conserving the planet.
The concept revolves around spiritual nomads who are willing to
make a sustainable and eco-conscious decision for themselves and
the planet as a whole.
The ordinary person takes reality to be . . .

everything which has come into their consciousness as

pertaining to themselves– body, etc.

This they have to unlearn.

-Shri Raman Maharshi

मोक्ष
Moksha is derived from the root Sanskrit: मुच ्, which means free, let go, release,
liberate. In Vedas and early Upanishads, the word Sanskrit: मच्
ु यते, appears, which
means to be set free or release.
Moksha (मोक्ष), is a term in Hinduism, Buddhism, Jainism and Sikhism which refers to
various forms of emancipation, enlightenment, liberation, and release. In
its soteriological and eschatological senses, it refers to freedom from Saṃsāra, the cycle
of death and rebirth caused by the Karma. In its epistemological and psychological
senses, moksha refers to freedom from ignorance: self-realization, self-actualization and
self-knowledge.
 Moksha is a Central concept in Hinduism , one of the four purusharthas, ot stage of life: Moksha is the
final stage after dharma (virtuous, proper, moral life), artha (material prosperity, income security, means of
life), and kama (pleasure, sensuality, emotional fulfillment).
 Vimoksha

Mukti

Apavarga

Other terms used Nihsreyasa

interchangeably.
Nirvana is a term Kaivalya
popular in Buddhism;
while Kaivalya in Jainism Nirvana
and Mukti in Sikhism.
Brahmi stithi

Brahmabhava

Paramapada

Brahmajnan

For example, Vivekachudamani – an ancient book on moksha, explains one of many meditative
steps on the path to moksha, as:

जातत नीतत कुल गोत्र दरू गं

नाम रूप गुण दोष वर्जितम ् |
दे श काल ववषया ततवतति यद्
ब्रह्म तत्त्वमसि भाव यात्मतन ||२५४||

Beyond caste, creed, family or lineage,

That which is without name and form, beyond merit and demerit,
That which is beyond space, time and sense-objects,
You are that, God himself; Meditate this within yourself. ||Verse 254||

— Vivekachudamani, 8th Century AD

 In its historical development,
the concept of moksha appears
in three forms::

Vedic
Moksha was a concept with
ritualistic beliefs in the Vedic
period.
Eg. The Agni rituals Yogic
performed for the fire God.
The funeral is performed so The emphasis shifted to
the particles of the body will knowledge, and ritual activities
rise with smoke up to the were considered irrelevant to
heaven , leading to Moksha. the attainment of moksha by
the middle to late Upanishadic
period. Bhakti
Vedic rituals were no more
performed by the masses for
attaining Moksha. People Bhakti moksha replaced Yogic
opted to personal Moksha. Constant love and
development and meditation
contemplation of God which
and the realization of the
ultimate knowledge in self as over time results in a perfect
the path to moksha. union with God, was the main
idea.
MOOD BOARD
The Sādhu is solely dedicated to achieving moksa (liberation), the fourth and final
aśrama (stage of life), through meditation and contemplation of Brahman.
This they have to unlearn.
“Through the higher spiritual
intelligence, there is the
realization of the Light of the
Self”

— Lord Shiva
Rishi-muni sculptor, Jaipur City Museum.

Photographer: Antoine Mournetas

 I travelled to Pushkar (Rajasthan),
Varanasi (Uttar Pradesh) and
Mokshaprapti Allahabad (Uttar Pradesh).

To understand my concept I
decided to visit the spiritual
places of tourist attraction in
India. The 15 days tour helped
me understand my client, their
choices, their budget, market
trends and needs.
Vedanta and moksha
The Advaita- Vedanta philosophy in Hinduism puts forward a thought that
One’s spiritual self, Aatman is not different from the Supreme Being, Brahman. The state
of paripurna-brahmanubhava (the experience of oneness with Brahman, the One Supreme
Self), a state of knowledge, peace and bliss. Giving your everything to the Brahman is the
path to Moksha.

Universal Principle, the Ultimate

Reality in the universe.
Aatman Brahman

Moksha

Aatman (Self, soul) and Brahman

(Universal soul), unity of both is
attainment of Moksha. The client is Self-
conscious and also conscious about the
environment and the universe as a
whole. A spiritual nomad who travels a
lot to peaceful and spiritual places.
Makes eco-conscious decisions and
takes care of his/her health, their body.
CONCEPT IDEATION
 Rural “Natural and rustic materials, for their authentic, raw feel and applied into
Wabi ultra sleek volumes and sleek layers.”

Hippy “After Yoga and meditation other spirituality focused disciplines are
3.0 becoming new tools of self improvement.”

Native “We turn to eternal guardians of the earth to learn from their knowledge and their
teachings to heal the affictions of contemporary society. Achieving harmonious

Wisdom relations with others and Nature; borrowing from indigenous way of life and
handicrafts to reinvent wardrobes brimming with energy.”

Indigenous “Materials are treasured for their authentic and ornamental qualities as we
explore our roots with a new take.”
Rituals
PROMOSTYL SS 21
Woenswear
The Sadhus are divided in various
sects; and further as per their sects
they stay collectively in an Akhada.
I got a chance to visit the
Mahanirvani Akhada in Varanasi.
The Akhada had a Shivlinga and
Nandi in the center, Sadhus were
performing their evening prayers.
There were around 12-15 rooms
surrounding the central installation.
One of the Sadhu took us to the
chief Sadhu or Digambar of the
Akhada.
The Digambar welcomed us inside,
he was watching a movie on the
small TV they had installed. A TV in
an Akhada was totally unexpected
by me. A Sadhu is a person who
performs Sadhna, leaving all
materialistic luxury and happiness
behind; detached from his
possessions and families but here
the Sadhus were attached in
materialistic world and happiness. In
todays times its not easy to leave all
your belongings behind and just be a
spiritual nomad.

I can relate it to a photo series by

Sharmistha Dutta on the Urban
Sadhu,
The Urban Sadhu is a story of a
modern man trying to leave the
materialistic world and get lost in
the woods in search of a higher
truth but the materialistic pleasures
refrains him from doing that. Living
a bohemian lifestyle he is still
connected to the society. At the end
this Sadhu tries to maintain a
balance in both his lifestyles.
 But which path to take?
Should I be a sadhu?
Meditate to liberate the self?
Look for the guru
with the right mantra?
It started with the void:
Seek the echo of Om that vibrates
The emptiness I felt within.
with the essential me?
And yearned to fill.
Should I renounce
Could I do so
the worldly life?
by walking away from it all?
Be a spiritual warrior?
But to walk away An ascetic in search
one must walk towards something. of enlightenment?
Towards what? Awareness? Should I light up,
cry Bom Shiva,
Awareness. as I vanish behind
Misused word. a cloud of smoke?
Abused word. Delete. Reset. Alter the mind?
Simplify thoughts. Reach an understanding?
Clarify ideas. Am I capable of living
I started again. a life of austerity?
Redefined my journey Do I need to?
As a search for a place Between epicureanism
where there is something and asceticism,
bigger than I, me, myself. is there not a middle path to take?

Wandering aimlessly To reach a place

gave me an aim. where I may fill the void I feel?
I felt compelled to raise Or at least realise
my chin, my knees, that the emptiness is imaginary?
my altitude. That it is my fullness
that is real?
Up in the mountains,
More questions than answers.
things seem clearer.
And yet,
One’s ego is dwarfed
a glimmer of understanding.
by the scale of Nature.
A shimmer of hope.
You are infinitesimal.
It breaks through
But, could it be,
the clouds of my thoughts.
that you are also one
If but for a moment,
with the infinite?
I spy the light. Within.
Not greater, not lesser?
-Sharmistha Dutta
For the Spiritual Nomad.
Age: 22- 30
Sex: Male-Female (Unisex)
Traveller who loves to visit spiritual places
Loves to spend on Travelling, but has
budget constraints.
Eco-Conscious, Bohemian.
onsumer

CONSUMER PROFILE
 MARKET • Sustainability is the like the fourth industrial
revolution.
RESEARCH • Clients are attracted to organic products from
India.
• Earlier bright and intricate Indian crafts were
in demand
• Now along with them hemp, organic cotton,
muslins, jutes, organic dyes, handicraft items
are preferred.
• Spiritual touch to the products, with Indian
elements in it adds to the preference.
• Basic is the new cool, products taking us back
to our roots are preferred.
Other Designers

Designers like Tarun Tahiliani and Rohit Verma have came up with an ethnic collection with the
same theme.

Tarun Tahilianis collection themed Kumbha, had its inspiration from the Mahakumbh mela. The
collection had elaborate Sarees printed with sacred hymns, shlokas.

Rohit Vermas collection focuses on Khadi and various textural embellishment on the surface.

Many accessory designers have also worked with a similar theme.

Draped yet comfortable
Street wear garments.
Comfortable for Indian
climate, breathable and
healing fabrics.
Layering of garments, Bi-
forcation, Draping elements
are the key features from
the forecast.
Comfortable dresses,
jumpsuits, tunics and long
light jackets makes the
Silhouette Direction.
SILHOUETTE BOARD
 Indigenous fabrics with a raw texture was my main idea. Natural fibers like Hemp, Kala
Cotton, Khadi or fine muslin are opted which will best suit the hot and humid climate of
India.

• From Rishikesh Almora, Himadri Hans Handicrafts.

• Bombay hemp company, Hemp Republic for sourcing Hemp fabric.

• Dyeing and printing from Adiv pure nature, Bombay or natural dyeing Artisan, Naresh
Bhai from Bhuj, Kutch.

Muslin being cheaper and readily available was selected; also for production purpose the
base fabric should cost minimum, because organic dyeing and botanical printing will
increase the cost. The base fabric must be cheaper so the garments will be inexpensive for
the consumer to buy.
 Forecast Reference:
Womenswear Spring/Summer 2021

Getting the Earth aesthetics from the earth colours,

natural sources of color.
Pantone also suggests sustainable and organic color
choices.
Marigold and rose flowers from the temple, Sandalwood,
Vermillion, Onion Peels, Turmeric gives the colours fitting
in my color palette.

COLOR FORECAST
Bright, warm yet a
sophisticated Indian
palette with natural
colours. The colour story
revolves around bright
and warm tones of
yellow, vermilion and
reds, contrasting with
the neutrals like beige
and grey tones.

Maha-Kaal

Raakh Grey

Chandan Shwet

Haldi Yellow

Kesariya

Sinduri Laal

Rudraksha brown
“Vibrant colour options are constantly given to us by the natural world”

Just a handful of the thousands of kilos of temple marigolds used by Mumbai’s Adiv Pure Nature in its natural dye work. Photo by Julie Hall for Adiv Pure Nature

“WGSN been looking at natural dyes, both as a source of inspiration for

colour but also as a possible option for a more sustainable way of using
colour within the design industries. WGSN’s Head of Colour, Jane Boddy,
caught up with Keith Recker, a colour expert and the founder of Hand/Eye
magazine, to talk about his timely new book, True Colors: World Masters of
Natural Dyes and Pigments…”

Sep 03, 2019

By Jane Boddy
https://www.wgsn.com/blogs/vibrant-colour-options-are-constantly-given-to-us-by-the-natural-world/
The temple bells stop but I
still hear the sound coming
out of the flowers.

- Basho
निर्माल्य

Sanskrit word for flowers, fruits and other natural offerings to Hindu Gods. Traditionally the organic
waste from temples, should be immersed in water, but its also polluting natural resources.
Using maximum part of this temple waste for dyeing products can reduce the pollution also save on
harmful chemical dyes.
The temples are a place of worship, where devotes
offer flowers and other offerings to the God. Devotion
These religious offerings in the temple, referred as
Nirmalyam are often thrown away in the water bodies,
should not be a
thus polluting them. The flowers which touched the reason for
pollution
feet of the God is polluting the ecosystem.
These offerings can be collected and segregated and
be further used. I have seen the poor children
collecting the coconuts from the water bodies.
Similarly these flowers can be reused to dye and print
clothes. Wearing clothes dyed from the Nirmalyam, is
like carrying a part of the almighty, a spiritual take on.
 Aayurvastra
Fabrics from nature and also dyed from natural herbs

The most exposed part of our body is the skin, a layer which protects all our organs inside. The
skin comes in contact with so many harmful chemicals. With Ayurvastra, the skin is heeled in
the traditional organic way.
Chandan , flower colours help heel the skin. These small changes makes a big difference. To
you and to the planet as a whole.
Avoiding chemical dyes and using turmeric, the Indian cure in the pandemic will definitely heel
then harm.
 An estimate of almost 800 million tonnes of flowers, including roses and yellow marigolds, are
offered across the temples mosques and gurudwaras in the country. The plastic packets of
vermillion and turmeric, incense sticks etc. comes along with them. These offerings create
colossal waste which is tough to handle.

COLOUR
SURFACE
TEXTURE
Fine muslin as base fabric.
Muslin has good dyeing
properties
Botanical Dyeing with Marigold
flowers, abstract patterns can be
created by randomly sprinkling
Marigold petals.
 Adiv Pure Nature

Botanical Dyeing with Nirmalyam, Organic waste from temples on

COLOR Muslin Fabric (Khadi, Hemp and Kala Cotton option)
Marigold

AND Sandalwood
Beetroot

PRINT
Rose Petals in salt water(sea water, to save the drinking sources and
ocean water is available in abundance)

• Botanical Dyeing
• Heeling
• Ombre Effect
• Gradiation
• Petals Pattern
• Religious Story

Dyeing with Marigold Flower

Washing the fabric and
dry before dying
FABRIC DYEING
EXPLORATIONS
Experimenting on different fabrics with
onion peels and other ingredients like
lemon (acidic.) or baking soda (basic).
Different fabrics react differently with
the dye giving a range of colors.
Addition of acids and bases alter their
color shades too.
 Dye Dye+Acid Dye+Base

• Hemp

• Muslin

• Khadi

• KalaCotton

• Oxford Cloth

• Cotton-Poly

• Silk

• Mulmul

• Chiffon

SWATCH
• Satin
BOARD
 Color Fastness with Turmeric Different Fabrics Onion Dyed

A vast range of colors can be extracted for dyeing by simple alterations in ingredients.
Like adding a little tea to turmeric will give a slightly deeper yellow. Fabrics, concentration and
temperature alters the colors.
 Mix alum in water Materials. Cover it with a plastic
Arrange the flowers
and immerse the Wooden rod , Threads, sheet, so color wont
on the fabric.
fabric in alum water. Scissors, Fabric Swatch print on the other
side when u roll.

Roll the fabric. Tie it tightly. Steam around 45 mins.. Keep for a day and
open.Dry the fabric,
and treat with salt
water.
The flowers available near me were used for
experimenting natural dyeing and botanical printing.

These flowers were of vibrant color but not all gave

the rich color or pattern to the fabric.

Bougainvillea had a rich pink color, which goes off

after just 1 wash, using these flowers was not a good
idea.
Dyeing

Printing
 3.

2.

1.
BOTANICAL
PRINTING
4.
1. The Nirmalyam from
Dholeshwar Mahadev temple
was used.
2. The flower petals were
spreaded on wet fabric. already
treated with alum.
3. The fabric was rolled and tied,
tightly.
4. The rolled fabric was put in
boiling water and let it simmer.
5.Once done, dry the fabric, the
petals will eventually fall off.

5.
 2. 3.
1.

BATIK
1 and 2. Applying on wax on already treated fabric
3. The motif on Muslin with wax
4,5. The swatch after dyeing with beetroot.
Iron the swatch between two papers , so the wax melts
6. Unavailability of bodyform,
Pinned the pleats on sofa and
7. Stitching the garment on dining table
4.

5.
6. 7.
Forecast understanding
PROMOSTYL
SPRING/SUMMER 2021
Forecast understanding
PROMOSTYL
SPRING/SUMMER 2021
 FORM
INSPIRATIONS

Form Inspirations taken from कमण्डलु and

ततलक.
कमण्डलु inspires for silhouette of a cocoon
dress.
ततलक shaped plackets, back yokes and
three stripes batik on arms, as if Chandan is
applied.
ENSEMBLE 1
COLORWAYS
ENSEMBLE 2
COLORWAYS
ENSEMBLE 3
COLORWAYS
ENSEMBLE 4
COLORWAYS
ENSEMBLE 5
COLORWAYS
COLLECTION - ILLUSTRATION
ENSEMBLE 1

The pleated jumpsuit

is dyed with turmeric .
Back of the jumpsuit
has a wide opening, a
Rudraksha button at
the top edge of the
band collar secures the
back opening.
 Flat Drawings
Front and Back

Details
ENSEMBLE 2

The Haldi dyed slit

Kurta has some
Rudraksha details at
the hem.
The flared pants are
dyed with beetroot.
The zero waste
Kimono Jacket is made
of Mul giving the
Kimono a translucent
elegance.
 Flat Drawings
Front and Back

Details
ENSEMBLE 3

The Jumpsuit has a drop

crotch and cowls on the
neckline.
A Rudraksha button detail
is added on the neckline.
Three stripes are printed in
vermillion and the same
dye is used to patch a
Ombre Bindu at the back.
 Flat Drawings
Front and Back

Details
ENSEMBLE 4

The knitted top has no

side-seams , it is easier
to tie and adjust the
top as per ones body.
The ballon pants are
dyed with coffee and
mehendi giving a
muddy brown ombre
color from the hem of
the trouser.
 Flat Drawings
Front and Back

Details
ENSEMBLE 5

Cocoon shaped shirtdress

inspired from the shape of
Kamandalu. The neck-placket is
inspired from the tilak on the
forhead of the Sadhus.
The Yoke is dyed with beetroot.
Wax and dye, resist method is
used to print the motif of tilak
on the back and the 3 stripes on
the fore-arm.
 Flat Drawings
Front and Back

Details
LOOKBOOK
M O K S H A
Moksha as a collection goes back to the roots. Natural fabrics, organic
dyeing is making a conscious statement towards the environment.
The rough estimation for my final year collection would have been pretty
expensive, but because of the pandemic situation and lockdown, I wasn’t
able to source hemp fabric. Using the available resources was the only
option, so I collected all the leftover Muslin fabric I had throughout my
college, I also got some fabric from my friends and stationary. The costs
were cut on natural dyers, printers; as I did my own dyeing and stitching.
The collection which would rather have been costed me around 20K was
ready in just 2K Rs. Cutting on the base fabric helped a lot in reducing the
expenses and putting down the garment costing.
The commercialization of the collection was an idea, I clicked after my
project was shortlisted for next-gen awards. The feedback from the
selectors was very helpful. I am very thankful to the Course Co-Ordinator,
Fashion Design Department, Assoc. Professor Mr. Shrinivasa.
I would like to thank my faculty mentor Prof. Ravi Joshi who corrected
me on every step; not by giving direct ideas and answers to my questions
but by making me research and think in a direction which helped me
grow as a designer. I am thankful to my parents for their constant
support and trust on me.
I will also like to thank the temple authorities at Dholeshwar Mahadev
Temple, who gave me the temple waste , I needed for my project. A great
thankyou to the Sadhus in Mahanirvani Akhada, Benaras who permitted
me to visit their Akhada and also shared a lot about themselves.
I would also like to express my gratitude to my friends who modelled for
me Jimmy Techi, Jessica Narayan, Keerthy R., Anjali Kachhap and Versha
Verma; the photographers Sameer Khatri and Prafull Singh.
Thankyou for being my backbone and supporting me in every way
possible.