Production Planning Control and Systems

Project Report of

Submitted to:
Gaggan Bhatia, Manas Barua, Rahul Jain, Neeraj Kapoor
and Alka Gupta
School of Creative Business Pearl Academy, New Delhi

Submitted by:
Himali Lalwani
B.A. (Honors) Fashion Business Management, Level 2 Semester
VA, 2014 2018

Submitted on:
29th November, 2016
 Acknowledgment
The success and final outcome of this project required a lot of guidance and assistance from many people and I am extremely fortunate to have got this all along the completion of our project work.

At this juncture I feel deeply honored in expressing my sincere gratitude to the mentors Ms. Shazia Amanat, Ms. Rachna Imam, Mr. Piyush Pandey and Mr. Bhaskar Das for their guidance and constant supervision as
well as providing me with the relevant information as and when required to help me to complete the project on time.

I would also like to pay regards and thanks to the library faculty at Pearl Academy, New Delhi for providing with constant and all possible support whenever requested for.

Lastly, I thank all my family members and friends who have been constant source of support during the preparation of this project work.
 Declaration
This is to certify that the project entitled Project Report on Indo Weston submitted to Pearl Academy of Fashion, New Delhi, is a record of an original work done by me under the guidance of Ms. Shazia Amanat,
Ms. Rachna Imam, Mr. Piyush Pandey and Mr. Bhaskar Das.

This information and data given in the report are authentic to the best of my knowledge.

- Himali Lalwani
 Table of Contents

Serial Number Particulars Page Number

Section - I
1 About the brand 1
2 Business Idea 1-12
3 Market 13-15
4 Customer 16-17
5 Research Methodology 18
6 Data Analysis and Findings 18-32
7 Competitor Analysis 32-33
8 SWOT Analysis 34
9 Need Gap 35
Section II
10 Approach to Spring Summer 2018 36-37
11 Spring Summer 2018 States of Mind 37-38
12 Theme Board 39
13 Inspiration Board 40
14 Mood Board 41
15 Color Board 42
16 Fabric Board 43-79
Section III
17 Product development 80
18 Product range 81-105
19 Look book 106-110
20 Techpack 111-157
Section IV
21 Shoot 158
22 CSR 159
23 Marketing and Advertising Strategy 159-161
24 Reflection 162
25 Referencing 163
26 Annexure 164
1. About the brand
Indo - Weston Clothing is a Womens wear brand label which encompasses and explores street culture diversifying it for its range of apparel. Label is created
for a new league of sophisticates.
Street Culture is a Cultural aspect of the streets in cities and towns where youth express the creativity they have instilled within them. Street Culture is mostly
popular among youngsters and in particular of urban centers.
Sophistication is in direct conflict with nature. Modern definitions include quality of refinement, displaying good taste, wisdom and subtlety rather than crudeness,
stupidity and vulgarity.
Street culture have a direct relation with sophistication with reference to new generation because they want to wear clothes which should not only be comfortable
but also provide a sophisticated look, which meets to their status in society. It applies to everyone whether it is a students or working class executives.
There is casual element to street but it does not define it. This means certain level versatility, ease and comfort for moving around. The clothes are style with an
emphasis on latest design.
Sophistication is a style, a mindset and a way of life.
Indo Weston is a Women's wear Brand which is western in look, with traditional ethnic technique.
Figure 1
Indo Weston Logo The segment primarily stands as fusion of ethnic and western style to offer an innovative solution to the changing fashion taste of Indian women. This genre
Source: Self basically refers to silhouettes that are inspired by western fashion trends and patterns and yet rely on Indian fashion sensibilities in terms of prints, fabrics and
overall styling.
Indian Women are more attached to western style, as they are more comfortable and flexible. At Indo Weston we are safeguarding Indian craftsmanship and improvising in western look giving an innovative
fashion taste.

2. Business Idea
Indo Weston is a brand for women which is western in look, but Indian in essence. It talks about two strands which this brand looks upon one is to safeguard the traditional Indian textiles and craftsmen and
secondly to maintain the upcoming fashion trend, giving a different taste to the customers.

2.1 Traditional Indian Textiles

Indian textile industry largely depends upon the textile manufacturing and export. It also plays a major role in the economy of the country. India earns about 27% of its total foreign exchange through textile
exports. Further, the textile industry of India also contributes nearly 14% of the total industrial production of the country. It also contributes around 3% to the GDP of the country. Indian textile industry is
also the largest in the country in terms of employment generation. It not only generates jobs in its own industry, but also opens up scope for the other ancillary sectors. Apart from providing one of the basic
necessities of life, the industry also plays a vital role through its contribution to industrial output, employment generation, and the export earnings of the country.
The textiles sector has also witnessed a spurt in investment during the last five years. The industry attracted foreign direct investment (FDI) worth US$ 1.04 billion during April 2000 to November 2012.
And the potential size of the Indian textiles industry is expected to reach US$ 220 billion by 2020.
India has one of the finest textile traditions in the world with respect to dyeing, weaving and surface embellishment. The richness of its crafts is evident in the excavated findings of Harappa and Mohenjo-
Daro in the Indus Valley, which can be dated back to 5000 years. Indian textile history has been layered and enriched by nuances of migratory weavers, foreign invasions and religious influences. The wide
range of design and weave, specific to the region of their origin, are masterpieces enhanced by the skills of the particular craftsmen and their tradition. The crafts thrived on the exploration and ingenuity of
the craftspeople and their knowledge of locally available material.
Indias expertise in vegetable dye dates back to ancient times, as the remnants of madder-dyed fabrics, printed in Gujarat were found in early Egyptian excavations in Fostat. Each state of India displays a
variety of designs, producing distinct textiles and crafts indigenous to the region. Thus traditional Indian textiles can be classified according to the region of production. Another classification of Indian
textiles can be based on the technique of production. (Joshi et al., 2014)

1|Page
2.11 Embroidered Textiles
1. Kashida
Region: Kashida is an embroidery style from Kashmir that is practiced by men folk of the region.
Technique: The base material for Kashida is cotton, wool or silk in a variety of colors like white, blue, yellow, purple, red, green and black.
End use: Kashmiri embroidery is primarily done on shawls and regional garments like phiran. Chain stitch embroidery is done on woolen floor rugs
called Gabbas and Namdas. Nowadays, Kashida is also used to decorate household items like bed covers, cushion covers, lampshades, bags and other
accessories. (Joshi et al., 2014, P3)

Figure 2
Kashida
Source:freehandembrioderybasics.blogspot

2. Phulkari
Region: Phulkari is an embroidery style that originated in Punjab. It is used and embroidered in different parts of Punjab namely Jalandhar,
Amritsar, Kapurthala, Hoshiarpur, Ludhiana, Ferozepur, Bhatinda and Patiala.
Technique: The base material to execute Phulkari is handspun and handwoven Khaddar that is dyed in red, rust, brown, blue and darker shades.
End use: Phulkari is an important part of the bridal trousseau and is worn as a veil or wrap by women on special occasions like Karva Chauth, a
festival celebrated in North India for longevity of husbands. A specific pattern of Phulkari is also used as canopy on religious occasions.
Presently, Phulkari is being done on bed linen and apparel like tops, tunics and skirts. (Joshi et al., 2014, P5)

Figure 3
Phulkari
Source:uisolutions

3. Chamba Rumal
Region: Chamba rumal, an embroidery from Himachal Pradesh dates back to the 15th century.
Technique: The embroidery is executed on two types of unbleached cotton cloth: lightweight, delicate muslin or handspun, hand-woven, coarser khaddar.
End use: Traditionally the rumal was used as a cover for food prasad offered to gods and goddesses. Now days, the Chamba embroidery is done on fabrics
like silk, polyester or terrycot and made into blouses, caps, slippers, cushions covers etc. embroidered silk wall hangings are also exported from Himachal
Pradesh. (Joshi et al., 2014, P7)

Figure 4
Chamba Rumal
Source: WordPress

2|Page
4. Embroidery from Gujrat
Region: The embroidery of Gujarat is colorful and vibrant practiced by different communities of the state. The most popular embroidery styles
originate from Kutch and Kathiawar region of Gujarat.

Technique: The embroidery is done with multi-colored threads, usually cotton or silk embroidery threads.

End use: a range of embroidered articles are produced in various regions of Gujarat. Some examples are quilts, doorway hangings, pouches, bags,
ghagra, choli, wedding costumes, animal trappings etc. (Joshi et al., 2014, P10)

Figure 5
Embroidery from Gujrat
Source: wordpress

5. Parsi Embroidery
Region: as the name suggests, the Parsi embroidery is practiced by the Parsi community living in Mumbai. The Parsi embroidery is an interesting mix of
eastern and western cultures, imbibing from Persian, Chinese, Indian and European influences.

Technique: The base material for Parsi embroidery is silk fabric in bright red, purple, blue, magenta and black color.

End use: The Parsi embroidery is done on garas (sari) and jhablas. A time consuming embroidery, the richly embroidered Parsi garas are regarded as
heirlooms.
Though the embroidery is becoming extinct, attempts are being made to revive the craft and produce fast selling products like scarves, bags and other
accessories. (Joshi et al., 2014, P12)
Figure 6
Parsi Embroidery
Source: BlogSpot

6. Chikankari
Region: Chikankari is white work embroidery practiced in Lucknow, Uttar Pradesh.

Style of embroidery: A common style present in each piece of Chikankari is the shadow work. To create the light and shade effect.

End use: Traditionally the embroidery was done mainly for male garments such as kurta, bandi, choga etc. for summer wear.
Presently Chikankari is being explored for apparel as well as home products on different fabrics like crepe silks, chiffons, georgettes and cotton polyester
blends. Besides the traditional white on white embroidery, the contemporary chikankari has a wider color palette, from pastels to bright colors. (Joshi et al.,
2014, P14)

Figure 7
Chikankari
Source: WordPress

3|Page
7. Phool Patti Ka Kaam
Region: Phool Patti ka Kaam is traditional appliqu style embroidery practiced in Uttar Pradesh.

Techniques: The appliqu is done on fine white cotton fabric or organdy.

Style of embroidery: There are two styles of Phool Patti ka Kaam according to the size of motifs appliqud on the fabric. The Badi-
patti style uses bigger floral forms for appliqu whereas in Choti-patti style very small diamond shapes are applied on the fabric.
End use: Phool Patti ka Kaam was traditionally done on dupattas and saris. Now a days the appliqu is also done on home furnishings
like curtains, table linen and cushion covers using other colors besides white. (Joshi et al., 2014, P15)

Figure 8
Phool Patti Ka Kaam
Source: Mohitanigam

8. Zardozi
Region: Zardozi, the gold and silver embroidery is practiced in Lucknow, Agra, Varanasi, Bareilly, Bhopal, Delhi and Chennai.

Technique: The embroidery is done on different fabrics like velvet, satin and silk with a variety of zari threads and materials like badla (the untwisted wire),
salma (stiff finely twisted circular wire) gijai (twisted metallic wire), dabka (zig-zag coiled wire), sitara (small circular disc), pearls and colored beads.

End use: Zardozi was traditionally done to ornament wall hangings, bedcovers, cushion covers, curtains, palanquin covers, trappings for elephants, bullocks
and horses, canopies, shoes, jackets, purses, boxes etc.
The embroidery continues to be one of the most favored ornamentation for decoration of apparel such as lehenga choli, sari etc. (Joshi et al., 2014, P16)

Figure 9
Zardozi
Source: Exotic India Art

9. Kasuti
Region: Kasuti embroidery is practiced in Karnataka. The embroidery considered as an auspicious craft, is executed by women.

Technique: The embroidery is done on hand-woven cloth of darker color usually black with cotton threads in different colors like red, orange, purple, green,
yellow and blue.

End use: Traditionally the embroidery was done on Ilkal sari and other apparel items like womens blouse and childrens bonnets.
Presently Kasuti embroidery is also done on home products like cushion covers, bedcovers, curtains and accessories like handbags, mobile pouches, belts etc.
(Joshi et al., 2014, P19)

Figure 10
Kasuti
Source: Pinterest

4|Page
10. Lambadi Embroidery

Region: Lambadi embroidery is practiced by the Lambadas or Lambanis, the Banjaras of Bellary and Bijapur in Karnataka and Hyderabad in Andhra
Pradesh.

End use: In the past, Lambani women embroidered their garments and other utility products like pouches and bags. Nowadays, the embroidery is done on
a variety of products like cushion covers, bedcovers, wall hangings, garments and accessories like bags, headbands, waist belts etc. (Joshi et al., 2014, P21)

Figure 11
Lambadi Embroidery
Source: Dsource

11. Kantha

Region: Kantha is an embroidery style that originated in West Bengal. In the past, it was used to transform old, used fabric into an embroidered textile.

End use: Kanthas were mainly used as quilts and also offered to special guests to sit or sleep on it. It was presented to the bride and groom as well as used
to wrap valuables and gifts. Other uses of Kantha include bags for keeping money and book cover. Nowadays, Kantha embroidery is done on single layer
of white or colored fabric base using contemporary motifs. The product range includes stoles, dupattas, saris and suit materials. (Joshi et al., 2014, P23)

Figure 12
Kantha
Source: Webindia123
12. Sujani
Region: Sujani is an embroidery style practiced in parts of Bihar, namely Muzaffarpur, Bhusra, Madhubani and Patna. Similar to Kantha, the
embroidery was traditionally done on layers of old saris and converted into a quilt.

Style of embroidery: The embroidery layout is such that each piece of Sujani tells a story. The motifs are simpler and bolder in comparison to
the Kantha embroidery.

End use: Traditionally Sujanis were used as baby wraps. Presently the women artisans are doing sujani embroidery on different products like
bed covers, cushion covers, wall panels, stoles, dupattas and fashion accessories. (Joshi et al., 2014, P26)

Figure 13
Sujani
Source: Param Parik Karigar

5|Page
 13. Pipli Applique
Region: Pipli appliqu is a traditional craft from Orissa that gets its name from its place of origin. Pipli is a small town in Orissa, where the
appliqu embroidery is practiced by artisans called Darjis. It is believed that the appliqud textiles were initially made to decorate the idols
in Lord Jagannath temple of Puri, Orissa.

Technique: The appliqu is done using pieces of fabric that are cut into specific shapes and stitched on a base fabric.

Motifs: The motifs in Pipli work are mainly geometric, abstract and stylized inspired from flora, fauna and mythology. Typical motifs are
flowers, birds, animals, fishes and deities of the Lord Jagannath temple.

Style of embroidery: The Pipli appliqu is easily identified by its vibrant colors. Fabric pieces in bright colors are cut in a particular shape
and applied on a contrasting colored base material.
Figure 14
Pipli Applique
Source: Strand of silk End use: Traditionally Pipli products were used to decorate the royal kingdoms and the Jagannath Temple of Puri. Even today, big sized
appliqud canopies are used for deities during religious processions. (Joshi et al., 2014, P27)

2.12 Resist Dyed Textiles

1. Bandhani Of Gujrat

The tie-dye from Gujarat called Bandhani is regarded for its fine resist dots and intricate designs. Traditionally the tie-dye is done on silk, cotton and wool.
The motifs created by outlining with tiny dots are animal and human figures, flowers, plants and trees. The products range varies from odhanis, saris, shawls
to stitched garments like kurta and skirts. (Joshi et al., 2014, P32)

Figure 15
Bandhani
Source: Msbandhani

2. Bandhej and Lehariya of Rajasthan

The tie-dyed textiles produced in Rajasthan are known as bandhej and are similar to the bandhani of Gujarat in terms of production process. Besides the
fine resist dots, other types of shapes seen in bandhej are tiny boxes called dabbi, sweetmeats termed laddu and cowrie shells named kori. The tie-dye motifs
range from very simple to complex forms including geometric and floral designs. (Joshi et al., 2014, P35)

Figure 16
Bandhej and Lehariya
Source: Craftsvilla

6|Page
3. Patola of Gujarat

The double ikat weaving tradition of Gujarat is called Patola. The textile is produced by the weavers of the Salvi community using expensive silk
yarns.
In India, Patola saris are considered to be auspicious and are thus worn on very special occasions like weddings and festivals. In the past, the textile
was also used as temple hangings and offered to the divinity.
The expensive Patola saris are prized possession of every Indian woman, reserved for Ceremonial wear. (Joshi et al., 2014, P41)

Figure 17
Patola of Gujarat
Source: Wikipedia

4. Bandhas of Odisha
The bandhas of Odisha are characterized by curved forms with hazy outlines. The distinct hazy lines are created since only one set of yarns in the fabric
are tie-dyed.
The bandha weavers of Odisha are known for the usage of striking color combinations and delicate intricate patterns.
A well-known example of the ikat sari from Odisha is Saktapar sari. (Joshi et al., 2014, P43)

Figure 18
Bandhas of Odisha
Source: Strand of Silk

5. Telia Rumal

The traditional ikat textile known as Telia rumal is produced in Chirala, a coastal village in Andhra Pradesh.
Traditionally the telia rumal were produced by the weavers belonging to the Padmasali community. In the early 20th century, these double ikat rumals
were exported to Middle East, Africa and Burma. Within the country, the telia rumal became part of the fishermens clothing, worn as a turban or as a
lower garment called lungi. (Joshi et al., 2014, P44)

Figure 19
Telia Rumal
Source: America Pink

7|Page
 6. Pochampalli Ikats from Andhra Pradesh
The Pochampalli weavers applied the technique of ikat weaving to saris, dupattas and yardage. Initially the ikat designs were copied from the
Patolas of Gujarat, but later on the weavers developed geometric motifs of their own, mainly inspired from the telia rumal.
The Pochampalli ikats can be found in a range of colors including magenta, brown, parrot green, bright golden yellow, orange, off-white, black
etc.
The weavers also imitate patola patterns and develop saris preferred by many due to cheaper costs in comparison to a double ikat patola sari.
(Joshi et al., 2014, P45)

Figure 20
Pochampalli Ikats
Source: Weaves Mart

2.13 Printed Textiles

1. Bagru Prints from Rajasthan
Region: Bagru is a small village in Rajasthan, which is known for its mud-resist block prints.

Technique: In Bagru, the printer first processes the raw material which is mainly cotton. Other natural fabrics are silk, cotton and silk blends
etc. The fabric is then printed with mordants in paste form. The printing is done by using outline and filling blocks.

End use: The brightly colored block printed fabrics from Bagru are used for apparel as well as home furnishings such as quilts, bedspreads,
cushions and curtains. (Joshi et al., 2014, P52)

Figure 21
Bagru Prints
Source: Pink City

2. Sanganer Prints from Rajasthan

Region: Sanganer on the outskirts of Jaipur is a large centre for printing on fabrics. Many block printing and screen printing units are located
here.

Technique: The technique used by the printers in Sanganer is much simpler than Bagru.

End use: The block printing is done mainly for products such as saris, dupattas, salwar kameez sets, bedcover, curtains, scarves, and yardage
for apparel and home. (Joshi et al., 2014, P53)

Figure 22
Sanganer Prints 8|Page
Source: India Mart
 3. Kalamkari from Andhra Pradesh

Andhra Pradesh is famous for many of its textile crafts, one of which is Kalamkari, which means Pen-craft.
Kalamkari fabrics were believed to brighten up with each subsequent wash. The specially prepared cotton fabric was hand drawn with a special pen using
mordants as ink. These fabrics were then dyed in natural dyes. (Joshi et al., 2014, P53)

Figure 23
Kalamkari
Source: Stone Mountain Fabric

2.14 Hand Woven Textiles

1. Banaras Brocades
Region: The brocaded fabrics from Banaras are considered to be one of the finest saris. In India and are known for their gold and silver brocade or
'zari'. These are made of finely woven silk, decorated with intricate design.

The designs are extremely fine and delicate. They have a strong Mughal influence.
Motifs like intertwining floral and foliage (Jaal), paisley in a creeper (Kalka bel) and hunting scene (shikargah pattern) are often seen.

End use: These textiles were popular items of export to European countries. Traditionally, banarasi brocades were used during Mughal period as
fabrics for royal coats, achkans and jamas. Courts and palaces were adorned with brocade curtains, fabric fans, bolsters and foot stools, upholstered
with brocades. Brocade saris, dupattas and dress fabric were worn by women on special occasions, mainly on weddings and festivities. (Joshi et al.,
Figure 24 2014, P60)
Banaras Brocades
Source: Wikipedia

2. Paithani

Region: Paithani are woven in Paithan and yevla villages of Aurangabad in Maharashtra. Paithani are heavy silk fabric which are preferred for wedding
trousseau and festive wear.

Technique: The intricate motifs are woven by interlock twill tapestry weaving technique on traditional handlooms. (Joshi et al., 2014, P64)

Figure 25
Paithani
Source: Indrayani Handlooms 9|Page
 3. Chanderi
Region: Chanderi, near Gwalior, in Madhya Pradesh is renowned for its woven saris appropriate for summer wear. The craft is practiced by
Muslim Ansari weavers.
Technique: It is woven in a blend of cotton and degummed silk. It is diaphanous and is woven in pastel colors with small buties and a
narrow gold border. The pallu generally has finelines in zari yarn. The motifs are very simple. (Joshi et al., 2014, P66

Figure 26
Chanderi
Source: Exotic India

2.2 Protecting the Weavers Signature

Figure 27
Weaver
Source: Mint

Power-loom masquerading as a Banaras handloom, Kantha and Phulkari embroidery replicated by silk-screen, Telia Rumal weaves and Ajrakh hand-blocks printed on a roller machine, the stories are endless.
The unauthorized business of churning out copies of traditional handlooms through mass-production technologies has become a win-win business model for many.

10 | P a g e
For weavers and other textile communities who are at the receiving end, this has led to a huge loss in income, livelihood and community skills passed down generations. This is only compounded by feelings
of marginalization and helplessness. (Sethi, 2016, L5)

While crafts received royal and aristocratic patronage during pre-Independence days they have slowly lost relevance with the advent of industrialization. Currently, the sector carries the stigma of inferiority
and backwardness, and is viewed as decorative, peripheral and elitist. This is compounded by the Governments treatment of crafts as a sunset industry, which has resulted in a lack of well-developed
policies and programs to protect and strengthen the ecosystem for artisans.
The main challenges that artisans are facing in creating sustainable livelihoods in todays economy can be described as follows:

1. Low productivity
The sectors informal nature and the low education of most artisans create
Issues such as:
Unorganized production - As a largely unorganized sector, handicrafts faces problems such as a paucity of professional infrastructure such as work sheds, storage space, shipping and packing facilities.
Low education - Many crafts require the entire household to participate in production in some capacity. In many cases, crafts also serve as a seasonal source of income for agricultural households. This
means that children miss school, resulting in low education levels for the family overall. The lack of education makes it difficult to manage inventory, access government schemes and market information
and bargain with traders and middlemen. It is estimated that in 2003 around 50% of heads of households of crafts producing families had no education whatsoever, and more shockingly, around 90% of
the women in these households were completely uneducated.
Outdated production methods - Artisans may also lack the financial capability to upgrade technology in production, or undergo necessary training on a regular basis, as would be available to them in a
formal work setting. This compromises the quality of their products and raises the cost of production.

2. Inadequate inputs
There are three main issues:
Lack of quality raw materials Rural artisans often lack access to quality raw materials. Due to the low volumes required, they have low bargaining power and are forced to buy sub-standard materials at
a higher price. In crafts such as weaving, handloom weavers have to compete with the power loom industry for high quality raw materials, which are more easily accessible the to the power loom industry
as a result of government subsidies.
Lack of funding - Craft producers suffer greatly from lack of working capital and access to credit and loan facilities. Banks cite poor recovery rates, wrong utilization of funds, lack of marketing facilities
for finished products and lack of education on part of the borrowers as reasons for the low proportion of loans made to artisans. In general, this forces artisans to borrow from their local moneylender or
trader at high interest rates. The All India Debt and Investment Survey (2002) showed that the proportion of money borrowed by rural households from money lenders rose by over 10% from 17.5% in
1991 to 29.6% in 2002.
Design inputs - In most traditional societies, design evolved in the interaction between the artisan and the consumer. Further, the artisan was aware of the sociocultural context of the consumer, and could
thus design products that suited their needs and tastes. Due to the breakdown of the historic artisan-consumer relationship, and the increasing urbanization and globalization of markets for crafts, artisans
have difficulty understanding how to tailor their products to changing demands. The artisan may not speak the same language as the consumer, both literally as well as metaphorically.

3. Information asymmetry
Due to their low education, artisans often cannot identify potential new markets for their products, nor do they understand the requirements for interacting with these markets. This reduces their understanding
of the market potential of their goods, the prices of their products in different markets, government schemes instituted for their welfare and diversification opportunities.

4. Fragmented value chain

Lack of market linkages - While consumers of crafts products are increasingly becoming urbanized, crafts continue to be sold through local markets; artisans have few opportunities to reach new consumers
through relevant retail platforms such as department stores and shopping malls.
Dominance of middlemen - Although middlemen are necessary to enable effective market linkages, they often, if not always, exploit artisans by paying them a fraction of their fair wages. This may be due
to lack of information on the part of middlemen about true manufacturing costs, or merely due to their ability to coerce artisans, who often lack bargaining power.

11 | P a g e
5. Lack of an enabling environment
Neglect by central and state governments - The Government views the sector as a sunset industry, no longer relevant in Indias technology-driven economic growth. Thus, schemes designed for artisans
tend to have low priority in terms of execution and assessment.
Lack of interest by second generation - Rural youth are increasingly disinterested in continuing their family craft traditions, for three main reasons. First, having seen their parents struggle to find markets
and fair prices for their products, they are inclined to pursue other trades. Second, the school system today does not integrate lessons regarding the importance of crafts into the school curriculum, and
instead students are pushed towards white collar office jobs, even if they are lower paying. Finally, crafts are strongly associated with a familys caste. (Chamikutty, 2013)

In India, one protective route became possible with the enactment of the Geographical Indications of Goods (Registration and Protection) Act of 1999, in force since 2003. The idea was, and is, to provide
the legal protection of geographical indication (GI) to products. Though commonly given to natural, agricultural and manufactured goods attributable to a geographic origin, the GI tag also enables producers
to protect those goods associated with, or deriving from, local cultural traditions. This is what the law states: A geographical indication is a name or sign used on certain products which corresponds to a
specific geographical location or origin (eg. a town, region, or country). The use of a GI may act as a certification that the product possesses certain qualities, is made according to traditional methods, or
enjoys a certain reputation, due to its geographical origin.
More than 270 GIs have been granted in the areas of traditional arts, crafts and handlooms. This is a noteworthy number that includes traditional handlooms, and indicates that this law is being taken seriously
by the sector. From Banarasi brocades, Paithani weaves, Uppada Jamdani, Bomkai, Ilkal, Venkatagiri, Baluchari and Gadwal to Balaramapuram weaves and many others, all have acquired the GI status.
(Sethi, 2016, L5)
GI is a legal instrument, but the interest of the practitioners of these traditions should be at the heart of the debate. Civil society, weaver cooperatives, design schools and other stakeholders need to develop a
guide to the process that comes into play once the GI stamp is granted. It would be worth investigating and analysing the range of issues that obstruct the management of GIs.
The first step should be to adopt a handloom cluster registered under the GI law and initiate steps to create a brand, with guidance perhaps from corporate houses and marketers who have created successful
brands. Covering the bases from ensuring that quality parameters are met for each product, to certifying that the hand-weaving process meets GI requirementswould be essential. This would also mean
that where quality and process norms are not met, legal action is taken against what are essentially fakes. (Sethi, 2016, L5)
Machine-made textiles should ideally not pose a threat to handmade textiles because it is simply impossible for a machine to replicate the distinctive, almost luminous, qualities of the handwoven. It is
important for us, and future generations, to understand, respect and value the effort that goes into the making of handmade textiles.
A conscious effort has to be made to sustain these skills, especially in the area of hand-spinning, which lends to handwoven fabric such singular character. It is only in the development of specialized hand
skills and their application that hand-weaving will be able to make its mark in world markets.
There is little hope for the wonderful inheritance of Indian handmade textiles unless the product speaks for itself. It is here that design intervention must focusby playing upon the uniqueness and luxury
that handmade offers. This is where experimentation can play a vital role in supporting the survival of exquisite textiles made by the human hand, mind and eye, and the knowledge and skills that India is
fortunate to still possess in such abundance. (Kumar, 2016, L3)

12 | P a g e
3. Market
3.1 Examining the population of India in terms of the market available

Population in terms of percentage

5%
6%
26%
The total population of India is 1.252 billion.
0-17 years is 26%, 18-34 years is 24%, 35-54 years is 39%, 55-64 years is 6% and 65 years and above is 5% of the total.

39%
The Segmented Population is of 18-34 years of age being 24% of the 1,252 billion. (Business World, 2016, P.55)

24%

0-17 years 18-34 years 35-54 years 55-64 years 65 years and above

Graph 1
Population of India

Male: Female ratio in the age bracket of 18-34 years

47% According to the graph, the female ration in the age bracket of 18-34 years of age is 47% of male and 53% of female. . (Business
World, 2016, P.56)

53%

Male Female

Graph 2
Female population in the age bracket of 18-34 years

13 | P a g e
 Male: Female ratio in the age bracket of 18-34 years who
spends time online

48% In the age bracket of 18-34 years of age who spends time online.
There is 48% of female and 52% of male that spends time online. (Business World, 2016, P.56)
52%

Male Female

Graph 3
Male: Female ratio of 18-34 years who spends time online

Shopping Apps
Shopping Apps,
50%

50%

According to the graph, both the genders spend over 1.5 hours a month on mobile shopping Apps
49%

There is 50% of men and 46% of female spends time on shopping apps.
48%

Shopping Apps, So, out of 48% of female, maximum number of female spends time on shopping apps (46%). (Business World, 2016, P.58)
47%
46%

46%

45%

44%
Shopping Apps

Men Female

Graph 4
Male: Female spending time on shopping Apps

14 | P a g e
3.2 Segmentation, Targeting and Positioning
Segmentation
Indo Weston focuses much on young working women and has segmented the market on the basis of following variables:
Demographic, Geographic, Psychographic and Behavioral Segmentation
Demographic Segmentation
Indo Weston focuses mainly on independent young women in the age group of 18 34 yrs., who are fashion conscious. These are the customers from middle and high income group mostly with a good
educational level and working professionals.
Psychographic Segmentation
Indo Weston focuses on young women who are interested in quality and value of product with Indian essence in it. The women are aware of the latest trend and are keen of trying new styles.
Behavioral Segmentation
Clothes that fit into their body shape and make them look beautiful.
Targeting
The target customer are the one with the latest tending style and also for the one who loves going with the divergent trends. The Indian work would create a priority among its customer.
Positioning
Fast high fashion with Indian essence providing value for money. The brand that thinks about body, shape, respect it and designs especially for their customers.
Points of Parity
Quality direct from the manufacturer. No middlemen involved.
Points of Difference
Exclusivity in apparels through minimal production for each style.

15 | P a g e
4. Customer
4.1 Demographic and Psychographic profile
The demographic and psychographic profile of an Indo Weston customer.

The Customer for Indo Weston The customer often shop from
is mostly of the age group of 18 shopping malls and super
34 years, residing in Delhi markets, preferably every
and NCR month.

They are mostly students The customers like to listen to

belonging from educated music, read books and novels.
nuclear families.

The customer prefers to The customers are more of an

purchase from AND and independent and innovative
FabIndia keeping design,
kind of people.
sizing/fit, comfort, price and
brand value in mind.

16 | P a g e
4.2 Day in the life of the customer (DILO)

17 | P a g e
5. Research Methodology
Research objective
To understand the customer preference towards garments made up out of Indian Textiles.

Research design
The research design is exploratory because it relies more on the secondary research and is qualitative in nature. The knowledge obtained is limited.

Data collection methods and tools

The data collection methods are primary sources which include tools like questionnaires; secondary sources which include tools like books, online journals and online newspapers.

Sample design
Sampling frame The sampling frame is the potential customers of Indo Weston.
Sampling unit The sampling unit of potential customers of Indo Weston is Delhi and NCR.
Sampling size The sample size is 100 respondents
Method of sampling The method of sampling used is probability stratified random sampling
Sample The sample has respondents of age group 18 to 35 years

6. Data Analysis and Findings

Data Methods and Tools
Data Methods Primary and Secondary Data
Data Tools Primary: Questionnaires.
Secondary: Books, Journals and Newspapers

Finding and Interpretation

The questionnaire that was prepared for the customers to analyze their preferences while buying a product and choice made for the garments that were made up out of Indian textiles.

A. Research
Indo Weston is a Women's wear Brand which is western in look, with traditional ethnic technique and has not launched yet. In India

18 | P a g e
 Age Group
45%
40%
35%
Question 1 - What age group do you fall in? 30%

Frequency
1. 15-20 25% Interpretation: From the bar graph it is analyzed that 41% of
2. 20-25 20% the total respondents that of the age group of 15-20 years
3. 25-30 15% and there are only 6% of respondents that belong to the age
10%
4. 30-35 group of 25- 30 years.
5%
5. 35 above
0%
35 Years and
15-20 Years 20-25 years 25-30 Years 30-35 Years
above
Frequency 41% 25% 6% 9% 19%

Graph 5
What age group do you fall in?

Live
35%
30%
Question 2: Where do you live? 25%
1. North Delhi

Frequency
20%
2. South Delhi Interpretation: From the bar graph it is analyzed that 33% of
3. West Delhi 15% the total respondents that are residing in NCR and there are
4. East Delhi 10% only 6% of respondents that resides in Central Delhi
5. Central Delhi 5%
6. NCR 0%
Central
North Delhi South Delhi West Delhi East Delhi NCR
Delhi
Frequency 8% 8% 17% 28% 6% 33%

Graph 6
Where do you live?

Education Level
45%
40%
35%
30%
Frequency

Question 3: What is your education level? 25% Interpretation: From the bar graph it is analyzed that 40% of
1. High School 20%
the total respondents belong to High school level of education
2. Graduate 15%
3. Post graduate 10% and there are only 2% of respondents that are M.Phil. or PhD
4. M Phil/PhD 5%
0%
High School Graduate Post Graduate M Phil / PhD
Frequency 40% 30% 25% 2%

Graph 7
What is your education level?

19 | P a g e
 Occupation
70%
60%
50%

Frequency
Question 4: In what does your occupation falls in? 40% Interpretation: From the bar graph it is analyzed that 62% of
1. Student 30% the total respondents are students and there are only 2% of
2. Service 20%
respondents that are unemployed.
3. Business
4. Unemployed 10%
0%
Student Service Business Unemployed
Frequency 62% 16% 7% 2%

Graph 8
In what does your occupation falls in?

Marital Status
70%
60%
50%
Question 5: What is your marital status?

Frequency
40% Interpretation: From the bar graph it is analyzed that 62% of
1. Single
30% the total respondents are Single and there are only 1% of
2. Married
3. Separated 20%
respondents that are Separated.
10%
0%
Single Married Separated
Frequency 62% 37% 1%

Graph 9
What is your marital status?

Annual Household Income

45%
40%
Question 6: What is your annual household 35%
income? 30%
Frequency

Interpretation: From the bar graph it is analyzed that 41% of

1. Rs.1,00,000 or below 25%
20% the total respondents are of Rs.9,00,000 and above income
2. Rs. 1,00,000 Rs.3,00,000
15% group and there are only 5% of respondents that are of
3. Rs.3,00,000 Rs.6,00,000 10%
4. Rs.6,00,000 Rs.9,00,000 Rs.1,00,000 or below income group.
5%
5. Rs.9,00,000 and above 0%
Rs.1,00,000 or Rs1,00,000 - Rs.3,00,000 - Rs.6,00,000 - Rs.9,00,000
below Rs. 3,00,000 Rs.6,00,000 Rs.9,00,000 and above
Frequency 5% 6% 18% 30% 41%

Graph 10
What is your household income?

20 | P a g e
 Family Type
80%
70%
60%

Frequency
50%
Question 7: What is your family type? 40% Interpretation: From the bar graph it is analyzed that 72% of
1. Nuclear Family 30% the total respondents have a nuclear family and there are only
2. Joint Family 20% 28% of respondents that have a joint family.
10%
0%
Nuclear Family Joint Family
Frequency 72% 28%

Graph 11
What is your family type?

Lifestyle
45%
40%
35%
Question 8: What best defines your lifestyle? 30%

Frequency
1. Modest 25% Interpretation: From the bar graph it is analyzed that 40% of
2. Fashionable 20% the total respondents have an Independent kind of a lifestyle
3. Independent 15% and there are only 7% of respondents that have conservative
4. Conservative 10% and traditional way of lifestyle.
5. Traditional 5%
0%
Modest Fashionable Independent Conservative Traditional
Frequency 23% 23% 40% 7% 7%

Graph 12
What best defines your lifestyle?

Time
Question 9: How do you spend your time? 25%
1. Read Magazines/Novels 20%
2. Browsing the net
Frequency

15%
3. Watching TV Interpretation: From the bar graph it is analyzed that 22% of
10%
4. Listening to music the total respondents spend their time in listening to music
5. Hanging out with friends 5% and there are only 6% of respondents that spends time in
6. Spend time with family 0% shopping
Read Hanging Spend
7. Shopping Browsing Watching Listening
Magazine out with time with Shopping
the net TV to music
8. Others, please specify s/Novels friends family
Frequency 12% 17% 13% 22% 19% 11% 6%

Graph 13
How do you spend your time?

21 | P a g e
 Shop
60%

Question 10: Where do you shop from? 50%

Frequency
1. Super markets and shopping 40%
malls 30% Interpretation: From the bar graph it is analyzed that 57% of
2. Designer boutiques 20% the total respondents shop from supermarkets and shopping
3. Seasonal Sales and exhibitions 10% malls and only 35 of respondents shop from seasonal sales
4. Flea Markets 0% and exhibitions.
Super markets Seasonal Sales
5. Online Designer
and shopping and Flea Markets Online
boutiques
malls exhibitions
Frequency 57% 7% 3% 15% 18%

Graph 14
Where do you shop from?

Often
60%
50%
Question 11: How often do you shop? 40%

Frequency
1. Every week
2. Every Month
30% Interpretation: From the bar graph it is analyzed that 50% of
3. Once in 3 months
20% the total respondents shop every month whereas only 3% of
4. Every 6 months 10% the respondents shop once in a year.
5. Once in a year 0%
Once in 3 Every 6
Every week Every Month Once in a year
months months
Frequency 12% 50% 26% 8% 3%

Graph 15
How often do you shop?

Spend Monthly
40%
35%
Question 12: How much do you spend monthly on 30%
Frequency

shopping? 25%
20%
Interpretation: From the bar graph it is analyzed that 35% of
1. Below Rs. 2000
2. Rs.2000 Rs. 5000 15% the total respondents spends Rs.2000 Rs.5000 on shopping
3. Rs.5000 Rs.8000 10% and only 8% of the respondents shop above Rs.8000 in a
4. Above Rs.8000
5% month.
0%
Rs.2000 Rs.
Below Rs. 2000 Rs.5000 Rs.8000 Above Rs.8000
5000
Frequency 16% 35% 31% 8%

Graph 16
How much do you spend monthly on shopping?

22 | P a g e
 Brand
35%
30%
Question 13: Which Brand do you like? 25%

Frequency
1. AND 20%
2. Fab India Fabels 15%
Interpretation: From the bar graph it is analyzed that 32% of
3. Zara
10%
the total respondents like Fab India and only 7% of the
4. Forever 21 respondents like H&M.
5%
5. Forever New
0%
6. H&M AND
Fab India
Zara Forever 21
Forever
H&M
Fabels New
Frequency 16% 32% 22% 21% 9% 7%
Graph 17
Which brand do you like?

5 4 3 2 1
Question 14 - Prioritize your considerations Design 46 35 11 4 4
while buying a product?( (Rank your Comfort 70 17 7 1 5
preference for each brand where 1 stands for Interpretation: From the table it can be analyzed that Design,
the least preferred and 5 stands for most Price 18 31 38 9 4 comfort and sizing/fit is most preferred while buying a
preferred) product as compared to brand value and price.
Sizing/ Fit 69 19 7 4 1
Brand
21 39 20 9 11
Value
Graph 18
Prioritize your considerations while buying a product?

Fashion Style
70%
60%
50%
Frequency

Question 15- What is fashion style you like the 40%

Interpretation: From the table it can be analyzed that 61% of
most? the total respondents like an innovative kind of fashion style
30%
1. Innovative and only 39% of the respondents like to have a contemporary
20%
2. Contemporary fashion style.
10%
0%
Innovative Contemporary
Frequency 61% 39%

Graph 19
What is fashion style you like the most?

23 | P a g e
 Indian Textiles
90%
80%
70%
60%

Frequency
Question 16: Would you like to wear if your 50% Interpretation: From the table it can be analyzed that 81% of
dress is made up out of Indian textiles? 40%
the total respondents like dresses made out of Indian textiles
1. Yes 30%
2. No 20%
and 19% of the respondents does not like it.
10%
0%
Yes No
Frequency 81% 19%

Graph 20
Would you like to wear if your dress is made up out of Indian Textiles?

B. Analysis for Question 1 and Question 6 by measures of central tendency and variation
Question 1 - What age group do you fall in?
1. 15-20
2. 20-25
3. 25-30
4. 30-35
5. 35 above
Question 6 - What is your annual household income?
1. Rs.1,00,000 or below
2. Rs. 1,00,000 Rs.3,00,000
3. Rs.3,00,000 Rs.6,00,000
4. Rs.6,00,000 Rs.9,00,000
5. Rs.9,00,000 and above

Measure of Central Tendency

1. Mean The most popular and widely used measure of central tendency, Mean is an average of data. Its value is obtained by adding together all the observations and by diving this total by the
number of operations.
2. Median The median is a measure of central tendency which appears in the middle of an ordered sequence of values.
3. Mode Mode is defined as that value which occurs the maximum no. of times i.e. having maximum frequency.

Measures of Variation
Standard Deviation The standard deviation measure the absolute variation of a distribution; the greater the amount of variation, the greater the standard deviation, for the greater will be the magnitude of
the deviation of values from the mean.
A small standard deviations means a high degree of uniformity of the observations as well as homogeneity of a series and vice versa.

24 | P a g e
 Table 1
Measure of Central Tendency and Variance
Analysis:
From the above table, it is analyzed that 41% of the total respondents that is of the age group of 15-20 years and there are only 19% of the total respondents that belong to the age group of 35 years and
above.
Mean of the above data came out to be 2.40 i.e. 2. This implies average number of customer belong to the age group of 20-25 years of age.
Mode of the above data came out to be 1 which implies, the modal size is 1 since it appears maximum number of times in the data. This states that maximum number of customers are of age bracket 15-
20 years of age.
Median of the above data came out to be is 2. This implies the median age of the customers is of the age bracket of 20 - 25 years.
Standard deviation of the above data is 1.55.

Table 2
Analysis: Measure of Central Tendency and Variance
From the above table, it is analyzed that 41% of the total respondents that is of the income group of Rs.9,00,000 and above, and there are only 5% of the total respondents that belong to the income group of
Rs.1,00,000 or below.
Mean of the above data came out to be 3.96 i.e. 4. This implies average number of customer belong to the income group of Rs. 6,00,000 Rs.9,00,000.
25 | P a g e
 Mode of the above data came out to be 5 which implies, the modal size is 5 since it appears maximum number of times in the data. This states that maximum number of customers are of income bracket
Rs.9,00,000 and above.
Median of the above data came out to be is 4. This implies the median income of the customers is of the income bracket of Rs. 6,00,000 Rs.9,00,000.
Standard deviation of the above data is 1.14.

C. Analysis for Question 13 and Question 14 by measure of central tendency and Independent T- test
Question 13 - Which Brand do you like?
1. AND
2. Fab India Fabels
3. Zara
4. Forever 21
5. Forever New
6. H&M
Question 14 - Prioritize your considerations while buying a product?( (Rank your preference for each brand where 1 stands for the least preferred and 5 stands for most preferred)
5 4 3 2 1
Design
Comfort
Price
Sizing/ Fit
Brand Value

Independent Sample T Test

The Independent Samples T Test compares the means of two independent groups in order to determine whether there is statistical evidence that the associ ated population
means are significantly different. The Independent Samples T Test is a parametric test.

26 | P a g e
 Table 3
Measure of Central Tendency and Independent T Test

Analysis:
According to the above tables it can be analyzed that the least preferred brand among all the given brands is H&M. However, the most preferred brand is Fabindia Fabels.
Therefore, it can be concluded that the customer preference for Fabindia is more than Zara, AND, Forever 21, Forever New and H&M.
So, the customer who purchases Fabindia products, their main priority is comfort and least priority of brand value whereas in context of H&M which is least preferred by customers, their main priority is
Design and least priority is Price.
So it can be concluded that the customer preference is more towards comfort and sizing/fit as compared to brand value and price of the product.

27 | P a g e
D. Analysis for Question 1 and Question 14, Question 6 and Question 14 by One way ANOVA
Question 1 - What age group do you fall in?
1. 15-20
2. 20-25
3. 25-30
4. 30-35
5. 35 above
Question 6 - What is your annual household income?
1. Rs.1,00,000 or below
2. Rs. 1,00,000 Rs.3,00,000
3. Rs.3,00,000 Rs.6,00,000
4. Rs.6,00,000 Rs.9,00,000
5. Rs.9,00,000 and above

Question 14 - Prioritize your considerations while buying a product?( (Rank your preference for each brand where 1 stands for the least preferred and 5 stands for most preferred)
5 4 3 2 1
Design
Comfort
Price
Sizing/ Fit
Brand Value

ANOVA
Analysis of Variance (Annova) is a collection of statistical models used to analyze the differences among group means and their associated procedures (such as "variation" among and between groups).
The one-way analysis of variance (ANOVA) is used to determine whether there are any statistically significant differences between the means of three or more independent (unrelated) groups.

28 | P a g e
For Question 1 and Question 14

Interpretation: According to the table, it can be observed that design is

most prioritized while buying a product by the consumers ageing between
30-35 years.
This implies design is prioritized more while buying a product as compared
to comfort, price, sizing/fit and brand value by the age group of 30 35
years of age and least prioritized by 35 years and above of age customer.
The data for the population is rejected because the level of significance is
more than 0.05

The table indicates that comfort is most prioritized while buying a product
by the consumers ageing 35 years and above.
This implies comfort is prioritized more while buying a product as
compared to design, price, sizing/fit and brand value by the age group of
35 years and above and least prioritized by 20-25 years of age customer.
The data for the population is rejected because the level of significance is
more than 0.05

The table shows that price is most prioritized while buying a product by
the consumers ageing between 30-35 years.
This implies price is prioritized more while buying a product as compared
to design, comfort, sizing/fit and brand value by the age group of 30-35
years and least prioritized by 15 -20 years of age customer.
The data for the population is rejected because the level of significance is
more than 0.05

The table indicates that sizing/fit is most prioritized while buying a product
by the consumers ageing between 30-35 years.
This implies sizing/fit is prioritized more while buying a product as
compared to design, price, comfort and brand value by the age group of
35 years and above30-35 years and least prioritized by 15 -20 years of age
customer.
The data for the population is rejected because the level of significance is
more than 0.05

The table indicates that brand value is most prioritized while buying a
product by the consumers ageing between 30-35 years.
This implies brand value is prioritized more while buying a product as
compared to design, price, sizing/fit and comfort by the age group of 30-
35 years and least prioritized by 15-20 years of age customer.
The data for the population is rejected because the level of significance is
Table 4 more than 0.05.
Anova
29 | P a g e
For Question 6 and Question 14
Interpretation: According to the table, it can be observed that design is most
prioritized while buying a product by the consumers whose income is between
Rs.1, 00,000 Rs.3, 00,000.
This implies design is prioritized more while buying a product as compared to
comfort, price, sizing/fit and brand value by the income group of Rs.1,00,000
Rs.3,00,000 and least prioritized by Rs.1,00,000 or below customers.
The data for the population is rejected because the level of significance is more
than 0.05

The table indicates that comfort is most prioritized while buying a product by the
consumers whose income is between Rs.6, 00,000 Rs.9, 00,000.
This implies comfort is prioritized more while buying a product as compared to
design, price, sizing/fit and brand value by the income group of Rs.6,00,000
Rs.9,00,000 and least prioritized by Rs.1,00,000 or below customers.
The data for the population is rejected because the level of significance is more
than 0.05

The table shows that price is most prioritized while buying a product by the
consumers whose income is between Rs.3, 00,000 Rs.6, 00,000.
This implies price is prioritized more while buying a product as compared to
design, comfort, sizing/fit and brand value by the income group of Rs.3,00,000
Rs.6,00,000 and least prioritized by Rs.1,00,000 or below customers.
The data for the population is rejected because the level of significance is more
than 0.05

The table indicates that sizing/fit is most prioritized while buying a product by
the consumers whose income is between Rs.1, 00,000 Rs.3, 00,000 and Rs.3,
00,000 Rs.6, 00,000.
This implies sizing/fit is prioritized more while buying a product as compared to
design, comfort, price and brand value by the income group of Rs.1, 00,000
Rs.3, 00, 000, Rs.3, 00,000 Rs.6, 00,000 and least prioritized by Rs.1, 00,000 or
below customers.
The data for the population is accepted because the level of significance is less
than 0.05

The table indicates that brand value is most prioritized while buying a product by
the consumers whose income is Rs.9, 00,000 and above.
This implies sizing/fit is prioritized more while buying a product as compared to
design, comfort, price and sizing/fit by the income group of Rs.9, 00,000 and
above and least prioritized by Rs.1, 00,000 or below customers.
The data for the population is rejected because the level of significance is more
Table 5 than 0.05
Anova
30 | P a g e
E. Analysis for Question 1 and Question 14, Question 6 and Question 14 by Chi square Test.
Question 15 - What is the fashion style you like the most?
1. Innovative
2. Contemporary

Question 16 - Would you like to wear if your dress is made up out of Indian textiles?

Phulkari

Kantha Crochet Hand-Embroidery

1. Yes
2. No

Chi - square
Chi-square is a statistical test commonly used to compare observed data with data expected to obtain according to a specific hypothesis.
Interpretation: According to the table it can be analyzed that data is correct.
H1: Variables are dependent
= 0.05 = 5%
It can be analyzed that the variables are dependent. The probability shows that data is 95% correct.
So the expected distribution in both the cases is true.

31 | P a g e
 Conclusion
1. On the basis of the findings in the above report, it can be concluded that most of the people belonged to age group of 15-20 years of age, residing in East Delhi, being a high school student, single living in
a nuclear family with an annual household income of Rs.9,00,000 and above.
2. Most of the respondents belonged to an independent kind of a lifestyle and loved to listen music.
3. There were respondents that mostly shopped from shopping malls and super markets spending Rs.2000 Rs.5000 every month.
4. The brand that was mostly liked was Fab India. The customer of Fab India prioritized on comfort as compared to the brand value. So, it was analyzed that the customer preference is more towards comfort
and sizing/fit as compared to brand value and price of the product.
5. It was observed that Design, comfort and sizing/fit is most preferred while buying a product as compared to brand value and price.
6. The customer had more of an innovative kind of fashion style as compared to Contemporary styling.
7. Most of the customers liked the concept of western wear made using Indian technique.

7. Competitor Analysis
The closest competitors of Indo Weston are And and FabIndia Fabels.

AND
a) Company Profile
Founded in 1995 by Anita Dongre, Meena Sehra and Mukesh Sawlani, House of Anita Dongre Limited (HOAD) (formerly known as And Design India Limited) is one of India's
leading fashion houses today. A well-recognized, well-respected and well-loved name. The company owns and operates three brands with three extremely distinct identities. AND
with its line of chic, contemporary western-wear for women, Global Desi a young, free-spirited, vibrant line of boho-chic ensembles and the Anita Dongre label offering breathtaking,
curated looks in bridal, couture, pret, menswear and handcrafted jadau Jewellery (Pink city).
Figure 28 Today, HOAD has a widespread reach that extends not just across the country, but beyond the borders as well. Within India, the network includes well above 800 points of sale with
AND Logo more than 180 exclusive brand stores and over 620 multi-brand large format stores in 83 cities. Globally, HOAD marked its presence in Mauritius with the launch of its first
Source: And India.
international Global Desi store in 2013, followed by the grand opening of a flagship store of all 3 brands in November 2014. (And India Anita Dongre)
Anita Dongre

b) Brand Profile
AND caters to the needs of the Indian woman. The country is unique in terms of its culture, which made it even more important to understand what she was looking for, her psyche, her body and her
comfort levels. And offers a chic collection of western wear that comfortably combines formal and evening wear. It has evolved to keep pace with its clients changing lifestyles. And takes them to higher
levels of comfort and confidence by making them look, feel, work and play better. The label constantly refreshes its designs and experiments with international trends to help customers create their own
personal style.
Presently, And is retailed through over 350 points of sale, which include 76 exclusive stores, and 290 established multi-brand lifestyle formats like Shoppers Stop, Lifestyle, Central etc.. (And India Anita
Dongre)

32 | P a g e
FABINDIA - FABELS
a) Company Profile
Fabindia is India's largest private platform for products that are made from traditional techniques, skills and hand-based processes.
Fabindia links over 55,000 craft based rural producers to modern urban markets, thereby creating a base for skilled, sustainable rural employment, and preserving India's traditional
handicrafts in the process.
Figure 29 Fabindia products are natural, craft based, contemporary, and affordable. (Fabindia)
Fabindia logo
Source: Fabindia

b) Brand Profile
Fabindia brings up Fabels giving an all new contemporary brand of western wear for men and women. With Indian craft techniques and western cuts and styles, giving a whole new way of dressing.
(Fabindia)

Parameters Fab India Fabels AND Indo Weston

Products Women and Mens wear Womens wear Womens Wear

Price Rs. 290- 5990 Rs. 349 Rs.4499 Rs. 300 Rs.4995

Place Total stores: 211 Total stores: 180 Online presence

In India: 203
In rest of the world: 8 Established multi- brand lifestyle formats 620

Promotion 1. Fabindia has traditionally relied on word of
mouth advertising. It believes that product
speaks for itself and this strategy works
very well.
2. Mobile marketing and newspaper
advertisements are also used to promote
the brand as well.
(Fabindia)
1. AND relies on word of mouth advertising.
2. Newspaper and online advertisements is
used to promote the brand as well.
1. The company relies heavily on the word of
mouth advertising.
2. Promotion of brand on social media
3. Advertisement on newspapers.
4. Exhibitions and mobile marketing to make the
brand and product more aware.
(And India Anita Dongre)

Table 6
Comparison between Fab India Fabels, AND and Indo Weston

33 | P a g e
8. SWOT Analysis
Strength
Higher quality, innovative product at competitive prices.
Direct supply to customer from manufacturer without any middlemen involved.
Value for money results in providing products with high quality at reasonable price.

Weaknesses
Only online presence, no physical store.
Limited brand awareness
Less advertising due to huge funds involved.

Opportunity
Increasing internet awareness even to smaller cities results in increasing consumer base for online procurement.
Increase in Demand in international market for Indian products particularly when there is fusion of both cultures Indian and western in the brand.

Threat
Strong competitors offline as well as online with huge production base
Decreasing Fashion Cycle - There has been an increase in seasons per year which has resulted in shortening of the fashion cycle.

34 | P a g e
9. Need Gap
To fill the gap between the Western and the Traditional, by fusing these and adding a Fun and Fashionable element to the appeal.

AND is a brand that caters to the needs of Indian Women. GAP FABELS giving an all new contemporary look of western wear for
It offers chic collection of western wear that combines with formal men and women. With Indian craft techniques and western cuts and
and evening wear. styles, giving a whole new way of dressing.

Missing Elements in the above two:

And is brand which mainly focuses on formal and evening wear and not the basics (regular wear) whereas Indo Weston primarily work for basics and fashion basics.
Anita Dongres (And) Label works with the phenomena of fusion wear buy that brand is not for masses in terms of price.
Fabelss look of their clothing has an Indian touch, they act more towards the Indian wear styling than to Western styling.

Indo Westons collection would focus on western look, but have some Indian in essence into it.
It basically refers to silhouettes that are inspired by western fashion trends and patterns and yet rely on Indian fashion sensibilities in terms of prints, fabrics and overall styling.

AND FABINDIA - FABELS INDO WESTON

Figure 30 Figure 31
Source: And India. Anita Figure 32
Source: Fabindia
Dongre Source: Fabindia

35 | P a g e
10. Approach to Spring Summer 2018
10.1 Economic scenario
India has emerged as the fastest growing major economy in the world as per the international monetary fund. (Indian Economy Overview, 2016)
India has emerged second largest growing economy after China but it is likely to overtake its neighboring country by 2018 as per research conducted by economic intelligence unit of London based
economist magazine. As per this research Indias growth is expected on average of 8% till 2020. However as per central statistical organization, an arm of the Indian government projected growth
in Economy is between 7.2% to 9 %.( Igovernment, 2013)
GDP acceleration will make India the fastest growing trillion dollar plus economic and will bring lot of investment opportunity in education, health care, housing finance and real estate. As per
research of Tata securities by 2018, Indias GDP may exceed US $ 3 Trillion. There is no other Trillion dollar plus economy that is going to grow faster and India will grow 1.5 to 2% higher than
China in next few years. (Prasad, 2015)
In the financial sector investment opportunity lies in remittance and mobile payments. This will impact current and saving account cash balances of banks as well as in credit scoring and risk
assessment for retail loans. (Prasad, 2015)
There are some challenges ahead as labor rate likely to increase sharply as US Federal reserve raises interest rates. Another challenge will be the shrinking of governments total expenditure due to
withdrawal of interest and subsidies which will be a challenge to economic activities. (Prasad, 2015)
Indias foreign exchange reserves stood at US $ 360 billion by end of March 2016 as compared to US$ 342 billion at same time last year (march, 2015).With the improvement in economic scenario,
there have been various investments leading to increased M&A (merger and acquisition) activities. According to data from Thomson Reuters, total M&A deals involving Indian companies grew
by 82% during January to June 2016. A number of foreign companies are setting up there facilities in India on account of various government initiatives like Make in India and Digital India.
The main aim of Make in India initiative is to boast the manufacturing sector of Indian economy. This initiative will increase purchasing power of an average Indian customer, which will give a
boast to demand in market. (Indian Economy Overview, 2016)

10.2 Industry growth

Indias Industrial growth is recovering, capital goods, consumer goods and the manufacturing sector as a whole is showing initial signs of recovery. Some key opportunities to achieve targeted GDP
growth from the consumption point of view will be in housing, home durables, travel, leisure, entertainment and FMCG goods. From the infrastructure and capital expansion point of view,
investment opportunity lies in mass transport, low cost health care, education and vocational training. (Prasad, 2015)

8.22 Textile industry

Indians textile sector is one of the oldest Industries in Indian economy dating back several centuries. Textile sector is second largest provider of employment after agriculture. Hence growth
and all round development of this industry has a direct bearing on the improvement of Indias economy (Textile Industry in India, 2016). The industry realized that export earnings worth
US $ 40 billion in 2015 -16 and expected to reach a target of 72 billion US $ by 2018- 19. However this is just 8% of the total world textile export. (Danda, n.d.)
The textile industry employees about 40 million workers directly and 60 million indirectly (Danda, n.d.)
The Indian textile industry is extremely varied, with the hand spun and hand- woven textile sector at one end while capital intensive sophisticated mill sector at the other end India brand
equity foundation, 2016). The major strength of the Indian textile industry is availability of low cost and skilled man power, availability of large variety of cotton fiber and a fast growing
synthetic fiber industry. India is one of the largest exporter of yarn in International market. (Danda, n.d.)
The slowdown in the Chinese economy has rendered the cost of textile production cost in China high so Chinese textile manufacturers have lost competitive advantage of lower cost of
production in recent times. This has given an opportunity to Indian textile sector to grab the market share of China in the developed world specially the European Union and United States.
(Danda, n.d.)
The share of textile industry in the India GDP is 6% and in exports 13%.
The government of India has started a number of initiative to provide a boost to this industry in form of incentives, training for workers and encouragement of foreign investments in local
Industry. (Danda, n.d.)

36 | P a g e
 The future for the Indian textile industry looks promising in terms of both domestic consumption and export demand. With consumerism and disposable income on the rise the retail sector
has experience a rapid growth in the past decade with entry of several international players like marks and Spencer, Zara, Vero Moda, Forever 21, Forever New, Only etc. into the Indian
market. The organized apparel segment is expected to grow at a compound annual growth rate (CAGR) of more than 13% over a period of next few years. (Textile Industry in India, 2016)
In view of above there will be continuously increasing demand in the area of not only textile but all FMCG products due to increasing consumerism and upcoming hundred smart cities for
the people having a lot of surplus disposable income, all manufactures need to keep prepared themselves to show case latest trends and design not only from India but all over the world.
(Danda, n.d.)

10.3 Information Technology

Growth of Information Technology is playing most vital role in todays scenario worldwide. In 2001 India had only 7 million internet users. By 2014, India had Internet user based of 190 million
against Chinas 620 million and of US 275 million. (Rao, 2015)

Under the digital India initiative of Prime Minister Mr. Narendra Modi our target is to cross internet user base to 550 million. India is the third country in the world to have five internet companies
valued at over US $ 1 billion. Today, India had been providing maximum number of engineers in IT industry directly or indirectly through service providers. (Indian Economy Overview, 2016)

10.4 Steps taken by the government

The government of India aims is to improve ease of doing business ranking which is presently had 130 in the world to bring it in top 50 by 2018. The government of also establishing four national
institute of design across country with an aim to empower Indias human capital towards world class design.
The government of India has launched a digital employment exchange so that industrial enterprises can find suitable workers easily and job seeker employment. The main purpose of this initiative
is to strengthen the communication between the employer and employee.
In the infrastructure sector government has launched an initiative to create 100 smart cities. Smart cities will be satellite towns of larger cities and will have all modern infrastructure with digital
connectivity with all the larger cities. This initiative will help in decongesting the larger city and providing development and employment opportunity to these satellite towns. (Indian Economy
Overview, 2016)

11. Spring Summer 2018 States of Mind

The questioning of borders is one of the leading issues of our times, and not just on a political or socioeconomic level. Concepts of age, season, gender and identity are increasingly fluid and are being reconsidered
as states of mind rather than limited definitions.
Against this backdrop, WGSNs four Vision Trends explore the unique perspectives that are emerging, allowing us to transcend borders, cherish individuality, and connect with others, as we reframe our outlooks
and move forward into the future.
Space
World is getting more cluttered both physically, with mass urbanization, and mentally, with more digital intrusions, so space will take on a greater premium and the awareness of the people will be
heightened. Furthermore, inspired by the first commercial space flights, innovative forms emerge with lightness, durability and enhanced performance as key design properties.
Youth
In 2018, individual identities will increasingly be something that can be constructed from the inside, rather than defined from the outside. Youth will be embraced as a state of mind, not a number. The
workplace is transforming where all are working side by side than ever before.
Connection
For many industries, global connectivity means progress: trade route expansions are fueling new business opportunities; technology is creating social and commerce networks; modern transport (super
trains, space travel, and sonic jets) is closing the time gap between physical connections.
Memory
Sometimes the best strategy for moving forward is looking back. Brands need to resurrect the archives and rediscover what collections drove success or not. We have to think about the concepts and designs
that were the right ideas but at the wrong time. In 2018, looking back will be your secret way to get ahead.
Waste
Tangibly, world cannot sustain the amounts of physical waste, which is being produced. Some brands are transforming waste into new product and moving towards a future with an endless loop supply
chain. Waste is an ugly business however it is societys responsibility to turn it into a useful business activity. (WGSN, 2016)

37 | P a g e
 Privacy
Privacy will increasingly be a double-edged sword something to be cherished in an increasingly public world, but also something that will require greater safeguarding. In 2018, the future of privacy needs
to be a public discussion; transparent privacy policies and clearly defined uses of personal information will be a need, not a want.
Reality
In society physical and digital lives will continue to blur and with that, concepts of reality will take new forms. Virtual offices will likely impact the traditional 9-to-5 work schedule, further driving the rise
of the Creative Class.
Seasons
Traditionally, fashion is designed for seasons with four clear markers establishing the transitions. However, seasons are changing due to erratic weather from global warming, the rise of fast fashion, and a
demand for multi- season key items that can be mixed and matched. The global travel boom is also fueling season less buyers as more people visit a wider variety of destinations with vastly different
climates.
Fashion
Lately it seems the fashion industry is taking on more disruptions than creating them. Runway seasons are shifting, fast fashion is going increasingly faster and customer to customer marketplaces are
competing with big box retailers.
However, innovation still thrives: 3D printed materials are increasingly lightweight and durable; wearables are blending into and not deterring from garments; craftsmanship still matters. Like fashion itself,
the industry isnt in disrepair, it just needs some alterations. (WGSN, 2016)

The states of mind compass spring summer 2018

Slow Futures: Earthy brown, rusty red and mossy green set the tone for the Slow Futures palette,
which takes inspiration from the interplay between the industrial and the natural, offering a smooth
transition from winter to spring.

Kinship: Global influences inform the Kinship palette, which features reds and yellows that herald the
beginning of summer. These have an inherent intensity that embodies the optimism of the season,
balanced by calming blues.

Psychotropical: High summer kicks in the Psychotropical palette, which features blazing, almost
synthetic Brights with an exaggerated quality, which are offset by lush, deep jungle tones for a striking
contrast.

Youth Tonic: Youth Tonic embraces the exuberance and energy of youth with an eclectic range of
colors, ranging from dark plum tones to luminous pastels, providing plenty of opportunity to mix and
mismatch as summer comes to a close. (WGSN, 2016)

Figure 33
States of Mind Spring Summer 2018
Source: Mint

38 | P a g e
12. Theme Board
Kinship
Kinship is about cultures and collectives, both real and virtual that forge an increased sense of
community. Colors are vibrant and reminiscent of a spice box, with an inherent intensity that is perfect
for summer.
As humans, long to belong and seek constant, multiple connections with others.
These connections are global and local, analogue and digital, on social media and in real life, and it will
be increasingly layered them to create diverse and multiple Relationships.
In 2018, it will look at the Physical and national identities with new Eyes, and increasingly seek to blend
Borders and break boundaries. Developing fresh perspectives on traditional Cultures and materials, and
combine data and design to tell new stories in new ways.
Indo Weston is one that fits into this concept of spring summer 2018.
Indo - Weston Clothing is a label which encompasses and explores street culture diversifying it for its
range of apparel. For the women who is western in look, but Indian in essence.

Consumer Face of Nations

Miyamoto is a Japanese native but her multi-ethnic background (her father is
African-American, her mother is Japanese), sparked multiple debates on what it means to be
Japanese.
Diversity is challenging our traditional ideas of national representation, driven by the rise of
globalization, as well as multiracial and multi-cultural unions.
As the cultural and racial landscapes of countries shift, representation is the key to acceptance for
future generations.

Creative Art across borders

In an era of borders, art and design will seek to become borderless, propagating ideas to different
parts of the world, and creating stronger ties across the globe.
Also creating art that spans borders is Gunjan Aylawadi, a Sydney-based artist from India, whose
Hakk project which means 'to weave' in Arabic is inspired by the patterns in Islamic art. Her
work builds on the collective history of craftsmanship and explores the blurring of boundaries.

Style Modern Mariner

The adventurous, explorative spirit of the ancient spice and textiles trading routes along the Silk
Road inspires a fusion of Eastern and Western styling.
Diverse references from design, culture and styling converge for a pioneering direction. Billowing,
sail-like volumes translate into relaxed shapes, and nautical colors and textures become richer, and
more dramatic.

Style Disrupted Craft

A new take on beauty is defined by a free-spirited, rebellious craft direction, with bold decoration,
artisanal deconstructions, and unexpectedly delicate details. Tactile materials are disrupted by
components with a tougher edge, and textile craft is emboldened with unconventional scales and
imperfect finishes for a hand-made approach. Textiles with cultural or symbolic significance, such
as carpets, tapestries and even flags, are important references. (WGSN, 2016)

39 | P a g e
13. Inspiration Board

Inspiration board is not just collections of images and things, they are curated with a specific
purpose in mind and they come in every imaginable shape, size, and medium.

The above picture talks about the mixture of what is Indo Weston, and what will be state of mind
for spring summer 2018.

The top left picture shows how an Indian craftsmen work with looms to make Traditional Indian
Textile, this picture describes their skills and experience with the handloom industry the craftsman
has.

The top right picture is of Miyamoto a Japanese native but her multi- ethnic background, sparked
multiple debates on what it means to be Japanese.
Diversity is challenging our traditional ideas of national representation, driven by the rise of
globalization, as well as multiracial and multi-cultural unions.

The bottom left picture outlines the colors of spring summer 2018.

The picture beside to the color shades portrays an early proponent of eco-friendly, minimal design
aesthetic, Rodricks started working with organic fabrics in early 1990s.The Eco Goa Room in his
design space showcases clothes made with all-organic elements and natural dyes sourced from the
Western Ghats. The models walked barefoot on the ramp, with coconut shell and rice straw
accessories designed by Goan artisans.

The bottom right picture sketches the traditional Indian textile of India from various parts of the
country. (WGSN, 2016)

40 | P a g e
14. Mood Board

Mood board is a broader tool used to determine the most conceptual ideas about a specific purpose in
mind.
The pictures on the left gives a glimpse of the textiles which Indo Weston will work with.

The picture above a denim jeans and a top are some of the designs of the brand.
The picture below with them is of Miyamoto a Japanese native but her multi- ethnic background,
sparked multiple debates on what it means to be Japanese.
Diversity is challenging our traditional ideas of national representation, driven by the rise of
globalization, as well as multiracial and multi-cultural unions.

The right bottom picture shows how an Indian craftsmen work with looms to make Traditional Indian
Textile, this picture describes their skills and experience with the handloom industry the craftsman has
and the other picture sketches the traditional Indian textile of India from various parts of the country.

The extreme right outlines the colors of spring summer 2018. (WGSN, 2016)

41 | P a g e
15. Color Board

Kinship is a trend with a global outlook, inspired by a new wave of trade routes expanding across the
world and the resulting mlange of cultural influences. Both the vibrant spice-box colors of this trend,
as well as the indigos, radiate with depth and intensity, as though brewed, distilled, or slow cooked.
These are multicultural colors that embody the anticipation of summer, and feed perfectly into this
trends craft-infused, boho spirit.
Magenta adds global flavor, Indigo blues unify the palette, spice tones add warmth and rich colors
works as balancing tones.
Pantone 1635 C- Melon
Pantone 7565 C Dark Ginger
Pantone 143 C Sunshine
Pantone 7418 C Baked Coral
Pantone 710 C Carmine
Pantone 682 C Dark Orchid
Pantone 195 C Persian Red
Pantone 422 C Blue Saga
Pantone 7545 C Washed Indigo
Pantone 646 C Horizon Blue (WGSN, 2016)

42 | P a g e
16. Fabric Board

EMBRIODERY AND PLAIN RANGE

43 | P a g e
 Embroidery from Gujrat
The embroidery is done with multi colored threads, usually cotton or silk embroidery threads. Different stitches are used depending on the style of embroidery, namely chain stitch, herringbone stitch, satin
stitch, interlace stitch, button hole stitch and darning stitch. There is also use of mirrors that are fixed on the fabric with an embroidery stitch.
Another technique used in Gujarat is applique where scraps of fabric are cut into a form and stitched on the base fabric.

Cost of a 6 x 6 swatch = Rs. 60 (Joshi et al., 2014, P10)

44 | P a g e
 Chikankari
The embroidery is done on fine white cotton fabric with untwisted white cotton or silk thread. There are three types of stitches used in chikankari: flat stitches like stem stitch and herringbone stitch, raised
stitches like bullion and French knots and pulled thread work or jail.

Cost of swatch Rs.25 (Joshi et al., 2014, P23)

45 | P a g e
 Phulkari
The base material to execute Phulkari is handspun and handwoven Khaddar that is dyed in red, rust, brown, blue and darker shade. Soft untwisted silk thread Pat is used for embroidery. The colors of the
thread are red, green, golden, yellow, orange, blue etc. The basic stitch employed for phulkari is darning stitch, which is done from the reverse side of the fabric. The stitches follow the weave and a beautiful
effect is created on the fabric by changing the direction of the stitches. For outlining of motifs and borders, stem, chain and herringbone stitches are sometimes used.

Cost of a 3 x 3 swatch = Rs. 25 (Joshi et al., 2014, P5)

46 | P a g e
 Kantha
The embroidery is executed on the layers of old white cotton saris that are stitched together with simple running stitch in white thread. The motifs are traced and embroidered using different colored threads. The
motifs are traced and embroidered using different colored threads. The embroidered threads used are drawn from the old sari borders. The basic stitch used is running stitch along with satin stitch and chain
stitch.

Cost of a 6 x 6 swatch = Rs. 150 (Joshi et al., 2014, P23)

47 | P a g e
 Phool Patti ka Kaam
The embroidery is done on fine white cotton fabric or organdy. Traditionally applique is done in two ways. In one form Badi Patti ka Kaam small pieces of white fabric cut into floral forms are stitched onto
the white fabric, creating the light and dark shade effect. The detailing of the motifs is done with stem stitch. In the other, Choti Patti ka kaam, small pieces of cloth folded into diamond shapes and used as
petals or leaves in the motifs, along with stem stitch work.

Cost of 1 Meter Fabric Rs.560 (Joshi et al., 2014, P15)

48 | P a g e
 Technical Details Commercial Details
Fabric Name Dobby Mill Name HP Singh

Construction/Count 144D*80D Width 48

GSM 75.8 GSM Price Rs. 200/meter

Weave/ Knit type Plain Weave Lead Time Immediate

Composition 100% Cotton MOQs 1 Meter

Technical Details Commercial Details

Fabric Name Matty Mill Name HP Singh

Construction/Count 76*43 Width 44

GSM 320 GSM Price Rs. 120/ meter

Weave/ Knit type Plain Weave Lead Time Immediate

Composition 100% Cotton MOQs 1 Meter

Technical Details Commercial Details

Fabric Name Mangalgiri Mill Name RK Enterprises

Construction/Count 56*45 Width 44

GSM 150 GSM Price Rs.180/meter

Weave/ Knit type Plain Weave Lead Time 10 Days

Composition 100% Cotton MOQs 10 Meter

49 | P a g e
 Technical Details Commercial Details
Fabric Name Cotton Slub Mill Name HP Singh

Construction/Count 110*76 Width 44

GSM 100 GSM Price Rs. 90/meter

Weave/ Knit type Plain Weave Lead Time Immediate

Composition Cotton MOQs 1 Meter

Technical Details Commercial Details

Fabric Name Canvas Mill Name HP Singh

Construction/Count 70*42 Width 44

GSM 260 GSM Price Rs. 100/meter

Weave/ Knit type Plain Weave Lead Time Immediate

Composition Cotton MOQs 1 Meter

Technical Details Commercial Details

Fabric Name Cotton Silk Mill Name HP Singh

Construction/Count 22D*22D Width 36

GSM 121 GSM Price Rs. 200/ meter

Weave/ Knit type Plain Weave Lead Time Immediate

Composition 100% Cotton MOQs 1 Meter

50 | P a g e
 Technical Details Commercial Details
Fabric Name Cambric Mill Name HP Singh

Construction/Count 40D*40D Width 44

GSM 72.6 GSM Price Rs. 100/meter

Weave/ Knit type Plain Weave Lead Time Immediate

Composition 100% Cotton MOQs 1 Meter

Technical Details Commercial Details

Fabric Name Narali Border from Maharashtra Mill Name RK Enterprise

Construction/Count 58*36 Width 2.5

GSM 220 GSM Price Rs. 80/ meter

Weave/ Knit type Plain Weave Lead Time 10 Days

Composition 100% Cotton, MOQs 10 Meter

Technical Details Commercial Details

Fabric Name Khan Mill Name Fabrics of India

Construction/Count 60*40 Width 30

GSM 210 GSM Price Rs. 280/meter

Weave/ Knit type Plain Weave Lead Time 10 Days

Composition Silk MOQs 10 Meter

51 | P a g e
 Technical Details Commercial Details
Fabric Name Voile Mill Name HP Singh

Construction/Count 60D*60D Width 44

GSM 71.2 GSM Price Rs. 100/ meter

Weave/ Knit type Plain Weave Lead Time Immediate

Composition 100% Cotton MOQs 1 Meter

Technical Details Commercial Details

Fabric Name Poplin Mill Name HP Singh

Construction/Count 45D*45D Width 44

GSM 109 GSM Price Rs. 120/ meter

Weave/ Knit type Plain Weave Lead Time Immediate

Composition 100% Cotton MOQs 1 Meter

52 | P a g e
KNITS AND JACQUARD

53 | P a g e
 Technical Details Commercial Details

Fabric Name Terry Mill Name HP Singh

Construction/Count - Width 44

GSM 60 GSM Price Rs. 480/ meter

Weave/ Knit type Jersey Lead Time Immediate

Composition 100% Cotton MOQs 1 meter

54 | P a g e
 Technical Details Commercial Details

Fabric Name Jacquard Mill Name HP Singh

Construction/Count - Width 44

GSM 40 GSM Price Rs. 400/ meter

Weave/ Knit type Jacquard Lead Time Immediate

Composition 100% Cotton MOQs 1 Meter

55 | P a g e
 Technical Details Commercial Details

Fabric Name Single Jersey Mill Name HP Singh

Construction/Count - Width 44

GSM 55 GSM Price RS. 430 /meter

Weave/ Knit type Single Jersey Knit Lead Time Immediate

Composition 100% Cotton MOQs 1 meter

56 | P a g e
 Technical Details Commercial Details

Fabric Name Jacquard Mill Name HP Singh

Construction/Count - Width 44

GSM 100 GSM Price Rs.600/ meter

Weave/ Knit type Jacquard Lead Time Immediate

Composition 100% Cotton MOQs 1 meter

57 | P a g e
 Technical Details Commercial Details

Fabric Name Jacquard Mill Name HP Singh

Construction/Count - Width 44

GSM 125GSM Price Rs. 650 /meter

Weave/ Knit type Jacquard Lead Time Immediate

Composition 100% Cotton MOQs 1 meter

58 | P a g e
INDIGO RANGE

59 | P a g e
/

Technical Details Commercial Details

Fabric Name Light Weight Denim Mill Name HP Singh

Construction/Count - Width 44

GSM - Price Rs. 250/ meter

Weave/ Knit type Twill Lead Time Immediate

100% Cotton
Composition MOQs 1 meter
Marble Effect
60 | P a g e
 Technical Details Commercial Details
Fabric Name Yarn Dyed Cotton Fabric Mill Name HP Singh

Construction/Count - Width 44

GSM - Price Rs. 110 / meter

Weave/ Knit type Plain Weave Lead Time Immediate

Composition 100% Cotton MOQs 1 meter

61 | P a g e
 Technical Details Commercial Details
Fabric Name Tencel Mill Name HP Singh

Construction/Count - Width 44

GSM - Price Rs. 210/ meter

Weave/ Knit type Twill Lead Time Immediate

Composition 100% Cotton MOQs 1 meter

62 | P a g e
 Technical Details Commercial Details

Fabric Name Tencel Mill Name HP Singh

Construction/Count - Width 44

GSM - Price RS. 180/ meter

Weave/ Knit type Twill Lead Time Immediate

Composition 100% Cotton MOQs 1 meter

63 | P a g e
 Technical Details Commercial Details
Fabric Name Tencel Mill Name HP Singh

Construction/Count - Width 44

GSM - Price Rs. 220/ meter

Weave/ Knit type Twill Lead Time Immediate

Composition 100% Cotton MOQs 1 meter

64 | P a g e
PRINT STORY

65 | P a g e
 Technical Details Commercial Details
Fabric Name Cotton Cambric Mill Name HP Singh

Construction/Count - Width 44

GSM - Price Rs. 110/meter

Weave/ Knit type Plain Weave Lead Time Immediate

Composition 100% Cotton MOQs 1 Meter

Technical Details Commercial Details

Fabric Name Moss Crepe Mill Name HP Singh

Construction/Count - Width 44

GSM - Price Rs. 200/ meter

Weave/ Knit type Plain Weave Lead Time Immediate

Composition Cotton MOQs 1 Meter

Technical Details Commercial Details

Fabric Name Dobby Viscose Mill Name HP Singh

Construction/Count - Width 44

GSM - Price Rs. 150/ meter

Weave/ Knit type Plain Weave Lead Time Immediate

Composition Viscose MOQs 1 Meter

66 | P a g e
 Technical Details Commercial Details
Fabric Name Cotton Modal Slub Jersey Mill Name HP Singh

Construction/Count - Width 44

GSM - Price Rs. 160/ meter

Weave/ Knit type Plain Weave Lead Time Immediate

Composition Cotton MOQs 1 Meter

Technical Details Commercial Details

Fabric Name Bagru Print Mill Name Asha Enterprises

Construction/Count - Width 44

GSM Price Rs. 250/ meter

Weave/ Knit type Plain Weave Lead Time 10 Days

Composition Cotton MOQs 10 Meter

Technical Details Commercial Details

Fabric Name Rayon Crepe Mill Name HP Singh

Construction/Count - Width 44

GSM - Price Rs. 140/meter

Weave/ Knit type Plain Weave Lead Time Immediate

Composition Rayon MOQs 1/ Meter

67 | P a g e
 Technical Details Commercial Details
Fabric Name Rayon Mill Name HP Singh

Construction/Count - Width 44

GSM - Price Rs. 140/ Meter

Weave/ Knit type Plain Weave Lead Time Immediate

Composition Rayon MOQs 1 Meter

Technical Details Commercial Details

Fabric Name Ikat Mill Name R.K. Enterprises

Construction/Count - Width 44

GSM - Price Rs. 800/ meter

Weave/ Knit type Plain Weave Lead Time 10 Days

Composition 100% Silk MOQs 10 Meter

Technical Details Commercial Details

Fabric Name Cotton Dobby Mill Name HP Singh

Construction/Count - Width 44

GSM - Price Rs. 125/ Meter

Weave/ Knit type Plain Weave Lead Time Immediate

Composition 100% Cotton MOQs 1 Meters

68 | P a g e
 Technical Details Commercial Details
Fabric Name Kalamkari Mill Name RK Enterprises

Construction/Count - Width 44

GSM - Price Rs. 250/ Meter

Weave/ Knit type Plain Weave Lead Time 10 Days

Composition 100% Cotton MOQs 10 Meters

69 | P a g e
SHIFFLI AND LACE

70 | P a g e
 Technical Details Commercial Details
Fabric Name Schiffli Mill Name HP Singh

Construction/Count - Width 36

GSM - Price Rs. 450/ meter

Weave/ Knit type Plain Weave Lead Time Immediate

Composition 60s Cambric MOQs 1 meter

71 | P a g e
 Technical Details Commercial Details
Fabric Name Schiffli Mill Name HP Singh

Construction/Count - Width 36

GSM - Price Rs. 430/ meter

Weave/ Knit type Plain Lead Time Immediate

Composition 60s Cambric MOQs 1 meter

72 | P a g e
 Technical Details Commercial Details
Fabric Name Schiffli Mill Name HP Singh

Construction/Count - Width 36

GSM - Price Rs 490/meter

Weave/ Knit type Plain Lead Time Immediate

Composition Yarn dyed MOQs 1 meter

73 | P a g e
 Technical Details Commercial Details
Fabric Name Crochet Lace Fabric Mill Name HP Singh

Construction/Count - Width 36

GSM - Price Rs 980/ meter

Weave/ Knit type Raschel Knits Lead Time Immediate

Composition 100% Cotton MOQs 1 meter

74 | P a g e
 Technical Details Commercial Details
Fabric Name Crochet Lace Fabric Mill Name HP Singh

Construction/Count - Width 36

GSM - Price Rs 980/ meter

Weave/ Knit type Raschel Knits Lead Time Immediate

Composition 100% Cotton MOQs 1 meter

75 | P a g e
BLINK DENIM

76 | P a g e
 Technical Details Commercial Details/
Fabric Name Lycra and Cotton in weft Mill Name Century Denim

Construction/Count 160 * 1500 Width 61

GSM 359.6 GSM Price Rs.450 / Meter

Weave/ Knit type Twill Weave Lead Time 10 Days

Composition Cotton Lycra MOQs 10,000 Meter

Technical Details Commercial Details

Fabric Name Overdyed Mill Name Century Denim

Construction/Count 1600* 80D Width 58.8

GSM 357.6 GSM Price Rs. 420 / Meter

Weave/ Knit type Twill Weave Lead Time 10 Days

Composition Cotton Lycra MOQs 10,000 Meter

Technical Details Commercial Details

Fabric Name 1/1 Chambray Mill Name Century Denim

Construction/Count 32D * 32D Width 56

GSM 359.6 GSM Price Rs. 480 / Meter

Weave/ Knit type Twill Weave Lead Time 10 Days

Composition 100% Cotton MOQs 10,000 Meter

77 | P a g e
 Technical Details Commercial Details
Fabric Name Poly Denim Mill Name Century Denim

Construction/Count 80 D * 46 D Width 54

GSM 325.8 GSM Price Rs.420 / Meter

Weave/ Knit type Twill Lead Time 10 Days

Composition Cotton /Polyester MOQs 10,000 Meter

Technical Details Commercial Details

Fabric Name Ring Denim Mill Name Century Denim

Construction/Count 74D * 52D Width 60

GSM 336.9 GSM Price Rs. 400 / Meter

Weave/ Knit type Twill Lead Time 10 Days

Composition 100% Cotton MOQs 10,000 Meter

Technical Details Commercial Details

Fabric Name Polyester in Weft Mill Name Century Denim

Construction/Count 88D * 48D Width 58

GSM 325.8 GSM Price Rs. 480 / Meter

Weave/ Knit type Twill Lead Time 10 Days

Composition Polyester / Cotton MOQs 10,000 Meter

78 | P a g e
 Technical Details Commercial Details
Fabric Name Thik Denim Mill Name Century Denim

Construction/Count Single Polyester Width 60

GSM 364.9 GSM Price Rs. 520 / Meter

Weave/ Knit type Twill Lead Time 10 Days

Composition Cotton MOQs 10,000 Meter

Technical Details Commercial Details

Fabric Name Bull Denim Mill Name Century Denim

Construction/Count 21D * 21D Width 56

GSM 331.4 GSM Price Rs. 450/ Meter

Weave/ Knit type Twill Lead Time 10 Days

Composition 100% Cotton MOQs 10,000/ Meter

79 | P a g e
17. Product Development
Indo Westons this season will be all about cultures and collectives, both real and virtual that forge an increased sense of community. Colors are vibrant and reminiscent of a spice box, with an inherent
intensity that is perfect for summer. Fabrics give a contrast to the colours giving a new Indian western combination look.
This spring summer 2018, that this will never fail to the look best for any occasion be it a festive celebration at work or a day out with your loved ones.

Merchandise Mix
Merchandise mix is the total set of all the set of products offered for sale by a retailer including all the product lines sold to all consumer groups.
The merchandise mix of any retail company consists of the following three important elements:
1. Length: Total number of items in a product line.
2. Breadth: Number of product lines in the store.
3. Depth: Variety offered by each product line.

Merchandise Mix of Indo Weston

1. Length
(a) Fashion Womens Wear - 5,000 pieces
(b) Bags 1000 pieces

2. Breadth
(a) Fashion
Womens Wear
(b) Accessories
Bags

3. Depth
Womens Wear

Shirts and
Tops

Dresses

Jumpsuits
Woman's
Wear Jeans and
Trousers

Shorts

Skirts

80 | P a g e
18. Product Range

SHIRTS AND TOPS

81 | P a g e
 Off Shoulder Top Slim Cami One Shoulder Top

Embroidery from Gujrat

Shiffly Patola

82 | P a g e
 Collar Neck Crop Top
Ruffle Top Cross Over Body

Patola Lace Fabric

Embroidery from Rajasthan

83 | P a g e
 Peasant Top Layered Top
Long Sleeve Shirt

Phulkari Tencel Bandhas of Orissa

84 | P a g e
Bohemian Shirt Cross Body Top Peplum Top

Kantha Shiffly Viscose Dobby

85 | P a g e
DRESSES

86 | P a g e
Sheath Dress Halter Dress One shoulder Dress

Jacquard Cotton Silk Abc

87 | P a g e
 Jumper Dress Slip Dress

Phool Patti Sequin Cotton Modal

88 | P a g e
 Maxi
Ball Gown Maxi

Narali Border Phulkari Tencel

89 | P a g e
JUMPSUITS

90 | P a g e
Loose Fitting Jumpsuit
Dungaree Jumpsuit

Crochet
Tencel

91 | P a g e
SHORTS

92 | P a g e
Hot Pants Classic Shorts
Fray Shorts

Bagru Print Cotton

Shiffly

93 | P a g e
Festival Shorts Fray Shorts Classic Shorts

Shiffly Viscose Dobby Ikat

94 | P a g e
SKIRTS

95 | P a g e
 Sarong Flared Skirt
Wrap Around Skirt

Bagru Print Bandhani

Kantha

96 | P a g e
A Line Mini Skirt Wrap Around Skirt Midi Circle Skirt

Khan
Dobby
Moss Crepe

97 | P a g e
TROUSERS AND DENIMS

98 | P a g e
Rugged Denim Jeans Pant with a flap bow

Viscose Rayon
Sequin Fabric

99 | P a g e
 Pant Pant with a bow

Kasauti
Moss Crepe

100 | P a g e
BAGS

101 | P a g e
 Satchel Sling Bag
Rucksack

Wristlet Tote
Shoulder Bag

102 | P a g e
 Clutch
Rucksack Drawstring

Formal Leather Bag

Bag Pack Satchels

103 | P a g e
LABELS AND TAGS

104 | P a g e
 Textile Detail Tag Carry Bag
Hang Tag

Size Label Main Label

Wash Care

105 | P a g e
19. Look Book

106 | P a g e
107 | P a g e
108 | P a g e
109 | P a g e
110 | P a g e
20. Techpack

Low Range Middle Range High Range

Top - Rs. 1494

Top - Rs.2374
Pant - Rs.1415
Jeans - Rs.2263
Total - Rs. 2909
Total - Rs.4637
Dress - Rs.3895
Total - Rs. 3895

111 | P a g e
Low Range

112 | P a g e
 Construction Sheet

Season Spring Summer 2018 Date 6th November, 2016

Client Name Indo Weston Style Crop Top

Size classification XS,S,M,L Technical Designer Himali Lalwani

Style Description Shirt/ Top Product Category Womenswear

Shirt/ Blouse - Black

113 | P a g e
 Front View Flat Sketch

Stand Collar
Single Needle Lock Stitch

Armhole - DNL

Zipper

Dart - SNL Inseam 3 thread Overlock

Hem - SNL

Back View Flat Sketch

Stand Collar - SNL

Dart - SNL

114 | P a g e
 Measurement Sheet

Season Spring Summer 2018 Date 6th November, 2016

Client Name Indo Weston Style Crop Top

Size classification XS,S,M,L Technical Designer Himali Lalwani

Style Description Shirt/ Top Product Category Womenswear

Shirt/ Blouse Black

Front View

4
5 S. no. Measurements (in cm) M

1 HPS to bust 25
6
2 Bust girth 90

3 Waist girth 86
7
1, 2 4 Neck girth 36

5 Across shoulder 36

6 Front neck opening from nape 14

7 Armhole depth 44

8 Nape to Waist 42
3, 8

115 | P a g e
 Bills of Material

Season Spring Summer 2018 Date 6th November, 2016

Client Name Indo Weston Style Crop Top

Size classification XS,S,M,L Technical Designer Himali Lalwani

Style Description Shirt/ Top Product Category Womenswear

Image Item Composition Color Size/ Weight Vendor Unit price Lead Time MOQ

Fabrics

44
Poplin 100% Cotton Pink HP Singh Rs. 120/Meter Immediate 1 Meter
100 GSM

44
Cambric 100% Cotton Pink HP Singh Rs. 100/ Meter Immediate 1 Meter
72 GSM

Trims

Dyed to
Thread 100% Polyester, Twisted 1000m /cone Coats Rs. 0.025/meter 10 Days 2000 Meter
Match

116 | P a g e
 Zipper Invisible zipper DTM 6 YKK Rs.10 10 Days 10 Pieces

Hang tag 700g with lamination punch White 1.8*3.8 RD Enterprises Rs. 6/piece 3 Days 100 pcs
With circle black string

500g with lamination punch

Textile Detail Tag White 1.8*3.5 RD Enterprises Rs. 6/piece 3 Days 100 pcs
With circle black string

White and 4cm*2.5cm

Main Label Poly taffeta Transgrafix Rs. 2/piece 3 Days 500 pcs
Black 100 GSM

White and
Wash Care Poly taffeta 80 GSM Transgrafix Rs.2/piece 3 Days 500 pcs
Black

White and
Size Label Poly taffeta 80 GSM Transgrafix Rs.2/ piece 3 Days 500 pcs
Black

117 | P a g e
 Packing Items

Poly bag Plastic and Biodegradable White 50-150mic thick The bag Factory Rs. 2/ piece 2 Days 5000 pcs

Carry Bag Paper White 50-150mic thick The bag Factory Rs. 12/ piece 6 Days 5000 pcs

118 | P a g e
 Cost Sheet
Label Indo Weston Date 6th November, 2016

Season Spring Summer 2018

Style# Crop Top

Style Description Shirt/ Top

Fabric Type Poplin - Pink

Fabric
Item Description GSM Consumption Price (INR)

Poplin 100 GSM 0.75 Meter (44) Rs. 90

Cambric 72 GSM 0.75 Meter (44) Rs. 75

Total Rs. 165

Stitching/Packing Trim
Item Item Description Consumption Price (INR)

Thread 100% Polyester, Twisted 200 Meter Rs. 5

Zipper Invisible Zip 1 Rs.10

Hang Tag 700g with lamination punch, With circle black string 1 Rs. 6

Textile Detail Tag 800g with lamination punch 1 Rs. 6

119 | P a g e
Main Label Poly taffeta 1 Rs. 2

Wash Care Poly taffeta 1 Rs.2

Size Label Poly taffeta 1 Rs.2

Polybag Plastic 1 Rs.2

Carrybag Plastic and Biodegradable 1 Rs. 12

Total Rs.47

Value Addition Cost

Operations Price (INR)

Embroidery Rs. 300

Costing Summary
Miscellaneous Charges Price (INR)

Courier Charges Rs. 150 Garment SAM 15 Min SAM Cost Rs.4/min Rs. 60

Total Input Cost Rs. 572

Total Rs. 150 Total Cost Price Rs.722

Profit Margin % (15%) Rs.108

Selling Price Rs. 830

MRP (80%) Rs.1494

120 | P a g e
 Construction Sheet

Season Spring Summer 2018 Date 6th November, 2016

Client Name Indo Weston Style Pant with a flap bow

Size classification 26,28,32,34,36 Technical Designer Himali Lalwani

Style Description Jeans/ Trouser Product Category Womenswear

Jeans/ Trouser - Black

121 | P a g e
 Front View Flat Sketch

Flap
Bow

Inseam 3 thread Overlock

Slit

Single Needle stitch

Back View Flat Sketch

Single Needle stitch

Back Rise

Single Needle stitch

122 | P a g e
 Measurement Sheet

Season Spring Summer 2018 Date 6th November, 2016

Client Name Indo Weston Style Pant with a flap bow

Size classification 26,28,32,34,36 Technical Designer Himali Lalwani

Style Description Jeans/ Trouser Product Category Womenswear

Shirt/ Blouse Black

Front View
9 1
S. no. Measurements (in cm) M
8
1 Waist Band 76

10 2 Crotch 30
4 Front panel 98
3
(waist band height) (2.5)
2
4 Thigh 35

5 Knee 31
5
6 Bottom hem 29

7 Cut Opening - Height 49

7
8 Flap - Length 44(17)
3
9 Flap - Width 17
6
10 Bow length 40

123 | P a g e
 Shirt/ Blouse Black
Back View
2 S. no. Measurements (in cm) M

1 Back rise 30

2 Waist Band (Height) 2

1

124 | P a g e
 Bills of Material

Season Spring Summer 2018 Date 6th November, 2016

Client Name Indo Weston Style Pant with a flap bow

Size classification 26,28,32,34,36 Technical Designer Himali Lalwani

Style Description Jeans/ Trouser Product Category Womenswear

Image Item Composition Color Size/ Weight Vendor Unit price Lead Time MOQ

Fabrics

44
Viscose Rayon 100% Viscose Off White HP Singh Rs.125/Meter Immediate 1 Meter
100 GSM

44
Voile 100% Cotton Off White HP Singh Rs.60/Meter Immediate 1 Meter
60 GSM

Trims

Dyed to
Thread 100% Polyester, Twisted 1000m /cone Coats Rs. 0.025/meter 10 Days 2000 Meter
Match

125 | P a g e
 Hang tag 700g with lamination punch White 1.8*3.8 RD Enterprises Rs. 6/piece 3 Days 100 pcs
With circle black string

500g with lamination punch

Textile Detail Tag White 1.8*3.5 RD Enterprises Rs. 6/piece 3 Days 100 pcs
With circle black string

White and 4cm*2.5cm

Main Label Poly taffeta Transgrafix Rs. 2/piece 3 Days 500 pcs
Black 100 GSM

White and
Wash Care Poly taffeta 80 GSM Transgrafix Rs.2/piece 3 Days 500 pcs
Black

White and
Size Label Poly taffeta 80 GSM Transgrafix Rs.2/ piece 3 Days 500 pcs
Black

Packing Items

Poly bag Plastic and Biodegradable White 50-150mic thick The bag Factory Rs. 2/ piece 2 Days 5000 pcs

126 | P a g e
Carry Bag Paper White 50-150mic thick The bag Factory Rs. 12/ piece 6 Days 5000 pcs

127 | P a g e
 Cost Sheet
Label Indo Weston Date 6th November, 2016

Season Spring Summer 2018

Style#
Pant with a flap bow

Style Description Jeans/ Trouser

Fabric Type Viscose Rayon - Off white

Fabric
Item Description GSM Consumption Price (INR)

Viscose Rayon 100 GSM 2.25 Meter (44) Rs. 281

Voile 72 GSM 2.25 Meter (44) Rs. 135

Total Rs. 416

Stitching/Packing Trim
Item Item Description Consumption Price (INR)

Thread 100% Polyester, Twisted 300 Meter Rs. 6

Hang Tag 700g with lamination punch, With circle black string 1 Rs. 6

128 | P a g e
Textile Detail Tag 800g with lamination punch 1 Rs. 6

Main Label Poly taffeta 1 Rs. 2

Wash Care Poly taffeta 1 Rs.2

Size Label Poly taffeta 1 Rs.2

Polybag Plastic 1 Rs.2

Carry bag Plastic and Biodegradable 1 Rs. 12

Total Rs.38

Value Addition Cost

Operations Price (INR)

- -

Costing Summary
Miscellaneous Charges Price (INR)

Courier Charges Rs. 150 Garment SAM 20 Min SAM Cost Rs.4/min Rs. 80

Total Input Cost Rs.534

Total Rs. 150 Total Cost Price Rs.684

Profit Margin % (15%) Rs.102

Selling Price Rs.786

MRP (80%) Rs.1415

129 | P a g e
Middle Range

130 | P a g e
 Construction Sheet

Season Spring Summer 2018 Date 6th November, 2016

Client Name Indo Weston Style Ball Gown

Size classification S,M,L Technical Designer Himali Lalwani

Style Description Dress Product Category Womenswear

Dress

131 | P a g e
 Front View Flat Sketch

Single Needle Stitch

Dart - SNL

Zip

Inseam - Overlock

Pocket
Single Needle Stitch
Single Needle Stitch

Hem - Single Needle Stitch

Back View Flat Sketch

Single Needle Stitch

Dart - SNL

132 | P a g e
 Measurement Sheet

Season Spring Summer 2018 Date 6th November, 2016

Client Name Indo Weston Style Ball Gown

Size classification S,M,L Technical Designer Himali Lalwani

Style Description Dress Product Category Womenswear

Dress
Front View
8 S. no. Measurements (in cm) M
6, 9
10 1 HPS to bust 25

1, 2 2 Bust girth 90

3 HPS to hem 140

5
4 Nape to hip 60

4, 7 5 Waist girth 86

6 Neck girth 36
11
7 Hip girth 100

8 Across shoulder 36

9 Neck Depth 17

10 Armhole depth 44

3 11 Patch Pocket length and width 12,10

133 | P a g e
 Dress
Back View
1, 2 S. no. Measurements (in cm) M

1 Nape to Waist 4

2 Neck Depth 15

134 | P a g e
 Bills of Material

Season Spring Summer 2018 Date 6th November, 2016

Client Name Indo Weston Style Ball Gown

Size classification S,M,L Technical Designer Himali Lalwani

Style Description Dress Product Category Womenswear

Image Item Composition Color Size/ Weight Vendor Unit price Lead Time MOQ

Fabrics

44
Poplin 100% Cotton Pink HP Singh Rs. 120/Meter Immediate 1 Meter
100 GSM

44
Cambric 100% Cotton Pink HP Singh Rs. 100/ Meter Immediate 1 Meter
72 GSM

44
Dobby 100% Cotton Off-white HP Singh Rs. 250/Meter Immediate 1 Meter
120 GSM

Trims

Dyed to
Thread 100% Polyester, Twisted 1000m /cone Coats Rs. 0.025/meter 10 Days 2000 Meter
Match

135 | P a g e
 Zipper Metal Zipper DTM 20 YKK Rs. 50 10 Days 10 Pieces

Hang tag 700g with lamination punch White 1.8*3.8 RD Enterprises Rs. 6/piece 3 Days 100 pcs
With circle black string

500g with lamination punch

Textile Detail Tag White 1.8*3.5 RD Enterprises Rs. 6/piece 3 Days 100 pcs
With circle black string

White and 4cm*2.5cm

Main Label Poly taffeta Transgrafix Rs. 2/piece 3 Days 500 pcs
Black 100 GSM

White and
Wash Care Poly taffeta 80 GSM Transgrafix Rs.2/piece 3 Days 500 pcs
Black

White and
Size Label Poly taffeta 80 GSM Transgrafix Rs.2/ piece 3 Days 500 pcs
Black

136 | P a g e
 Packing Items

Poly bag Plastic and Biodegradable White 50-150mic thick The bag Factory Rs. 2/ piece 2 Days 5000 pcs

Carry Bag Paper White 50-150mic thick The bag Factory Rs. 12/ piece 6 Days 5000 pcs

137 | P a g e
 Cost Sheet

Label Indo Weston Date

6th November, 2016

Season Spring Summer 2018

Style# Ball Gown

Style Description Dress

Fabric Type Poplin (Pink) and Dobby(Off White)

Fabric
Item Description GSM Consumption Price (INR)

Poplin 100 GSM 0.5 Meter (44) Rs. 60

Cambric 72 GSM 3 Meter (44) Rs. 300

Dobby 120 GSM 2.25 Meter (44) Rs.563

Total Rs. 923

Stitching/Packing Trim
Item Item Description Consumption Price (INR)

138 | P a g e
 Thread 100% Polyester, Twisted 300 Meter Rs. 7

Zipper Metal Zipper 1 Rs.50

Hang Tag 700g with lamination punch, with circle black string 1 Rs. 6

Textile Detail Tag 800g with lamination punch 1 Rs. 6

Main Label Poly taffeta 1 Rs. 2

Wash Care Poly taffeta 1 Rs.2

Size Label Poly taffeta 1 Rs.2

Polybag Plastic 1 Rs.2

Carry bag Plastic and Biodegradable 1 Rs. 12

Total Rs. 89

Value Addition Cost

Operations Price (INR)

Phulkari - Hand Work Rs. 600

Costing Summary
Miscellaneous Charges Price (INR)

Courier Charges Rs. 150 Garment SAM 30 Min SAM Cost Rs.4/min Rs. 120

Total Input Cost Rs.1732

Total Rs. 150 Total Cost Price Rs.1882

Profit Margin % (15%) Rs.282

Selling Price Rs. 2164

MRP (80%) Rs.3895

139 | P a g e
High Range

140 | P a g e
 Construction Sheet

Season Spring Summer 2018 Date 6th November, 2016

Client Name Indo Weston Style One Shoulder Top

Size classification XS,S,M,L Technical Designer Himali Lalwani

Style Description Shirt/ Top - Black Product Category Womenswear

Shirt/ Blouse Black

141 | P a g e
 Front View Flat Sketch

Strap - Tie
Frills
Neckline - SNL
Armhole - DNL

Picot stitch

Side Seam 3 Thread overlock

Hem - SNL

Back View Flat Sketch

Frills
Strap - Tie
Armhole - DNL
Neckline - SNL

142 | P a g e
 Measurement Sheet

Season Spring Summer 2018 Date 6th November, 2016

Client Name Indo Weston Style One Shoulder Top

Size classification XS,S,M,L Technical Designer Himali Lalwani

Style Description Shirt/ Top - Black Product Category Womenswear

Shirt/ Blouse Black

S. no. Measurements (in cm) M

6 1 HPS to bust 25

2 Bust girth 90

1 3 Nape to hip 55
2
4 Waist girth 86

5 Across shoulder 36

6 Armhole depth 44

3, 4

143 | P a g e
 Bills of Material

Season Spring Summer 2018 Date 6th November, 2016

Client Name Indo Weston Style One Shoulder Top

Size classification XS,S,M,L Technical Designer Himali Lalwani

Style Description Shirt/ Top - Black Product Category Womenswear

Image Item Composition Color Size/ Weight Vendor Unit price Lead Time MOQ

Fabrics

44
Raw Silk 100% Silk Black Khadi Gramodyog Rs. 700/meter Immediate 1 Meter
140 GSM

Black and 60
Ikat Cotton and Silk RK Enterprise Rs. 800/meter 10 Days 1 Meter
printed 130 GSM

Trims

Dyed to
Thread 100% Polyester, Twisted 1000m /cone Coats Rs. 0.025/meter 10 Days 2000 Meter
Match

144 | P a g e
 Hang tag 700g with lamination punch White 1.8*3.8 RD Enterprises Rs. 6/piece 3 Days 100 pcs
With circle black string

500g with lamination punch

Textile Detail Tag White 1.8*3.5 RD Enterprises Rs. 6/piece 3 Days 100 pcs
With circle black string

White and 4cm*2.5cm

Main Label Poly taffeta Transgrafix Rs. 2/piece 3 Days 500 pcs
Black 100 GSM

White and
Wash Care Poly taffeta 80 GSM Transgrafix Rs.2/piece 3 Days 500 pcs
Black

White and
Size Label Poly taffeta 80 GSM Transgrafix Rs.2/ piece 3 Days 500 pcs
Black

Packing Items

Poly bag Plastic and Biodegradable White 50-150mic thick The bag Factory Rs. 2/ piece 2 Days 5000 pcs

Carry Bag Paper White 50-150mic thick The bag Factory Rs. 12/ piece 6 Days 5000 pcs

145 | P a g e
 Cost Sheet

Label Indo Weston Date 6th November, 2016

Season Spring Summer 2018

Style# One Shoulder Top

Style Description Shirt/ Top - Black

Fabric Type Raw Silk and Ikat Fabric

Fabric
Item Description GSM Consumption Price (INR)

Raw Silk 140 GSM 1 Meter (44) Rs. 700

Ikat 130 GSM 0.25 Meter (44) Rs. 200

Total Rs. 900

Stitching/Packing Trim
Item Item Description Consumption Price (INR)

Thread 100% Polyester, Twisted 200 Meter Rs. 5

Hang Tag 700g with lamination punch, With circle black string 1 Rs. 6

Textile Detail Tag 800g with lamination punch 1 Rs. 6

Main Label Poly taffeta 1 Rs. 2

Wash Care Poly taffeta 1 Rs.2

Size Label Poly taffeta 1 Rs.2

146 | P a g e
Polybag Plastic 1 Rs.2

Carrybag Plastic and Biodegradable 1 Rs. 12

Total Rs.37

Value Addition Cost

Operations Price (INR)

- -

Costing Summary
Miscellaneous Charges Price (INR)

Courier Charges Rs. 150 Garment SAM 15 Min SAM Cost Rs.4/min Rs. 60

Total Input Cost Rs.997

Total Rs. 150 Total Cost Price Rs.1147

Profit Margin % (15%) Rs.172

Selling Price Rs. 1319

MRP (80%) Rs.2374

147 | P a g e
 Construction Sheet

Season Spring Summer 2018 Date 6th November, 2016

Client Name Indo Weston Style Straight Fit Jeans

Size classification 26,28,32,34,36 Technical Designer Himali Lalwani

Style Description Trouser/Jeans - Black Product Category Womenswear

Jeans/ Trouser Black

148 | P a g e
 Front View Flat Sketch
Waist Band - SNL
Loops Button
Functional Pocket
Coin Pocket
DNL

Thigh Crotch

Inseam
Side Seam - SNL

Knee

Front Panel
Bottom
hem

Back View Flat Sketch

Double Needle Stitch Yoke

Back Rise Patch Pocket

Bar tack Double Needle Stitch

Patch Pocket
149 | P a g e
 Spec Sheet

Distance from: Distance from:

Waist band: 38cm Waist band: 36

Inseam: 5 cm Inseam: 4cm
Side seam: 5 cm Side seam: 4cm

Length of ribbed portion: 7 cm Length of ribbed portion: 9 cm

150 | P a g e
 Measurement Sheet

Season Spring Summer 2018 Date 6th November, 2016

Client Name Indo Weston Style Straight Fit Jeans

Size classification XS,S,M,L Technical Designer Himali Lalwani

Style Description Trouser/Jeans - Black Product Category Womenswear

Trouser/Jeans - Black
Front View
2, 3 1 S. no. Measurements (in cm) M

6.7 4.5 1 Waist Band 76

10 8 2 Loop Length 5.2

3 Loop Width 1
4 Functional Pocket Length 13
5 Functional Pocket Width 12
6 Coin pocket Length 9.5
11
7 Coin Pocket Width 5
8 Crotch 19
Front panel 83
9
9 (waist band height) (3.5)
10 Thigh 22.5
12
11 Knee 15.5
12 Bottom hem 11.7

151 | P a g e
 Shirt/ Blouse Black
Back View
S. no. Measurements (in cm) M
1, 2
1 Yoke (Centre) 4

2 Yoke (side) 2
3
3 Back rise 32

S. no. Measurements (in cm) M

1 Length 14.7
2
2 Width 12.5
1

152 | P a g e
 Bills of Material

Season Spring Summer 2018 Date 6th November, 2016

Client Name Indo Weston Style Straight Fit Jeans

Size classification XS,S,M,L Technical Designer Himali Lalwani

Style Description Trouser/Jeans - Black Product Category Womenswear

Image Item Composition Color Size/ Weight Vendor Unit price Lead Time MOQ

Fabrics

100% Cotton 61
Denim Black Century Denim Rs.550/Meter 10 days 10,000 Meter
60D*44D 325 GSM

Twill Polyester 150D*150D Cream 80 GSM HP Singh Rs.120/Meter Immediate 1 Meter

Sequin Fabric - Black - HP Singh Rs. 300/ Meter Immediate 1 Meter

Trims

Dyed to
Thread 100% Polyester, Twisted 1000m /cone Coats Rs. 0.025/meter 10 Days 2000 Meter
Match

153 | P a g e
 Metal Zipper with golden
Zipper DTM 3 YKK Rs. 20 10 Days 10 Pieces
brass teeth color

Hang tag 700g with lamination punch White 1.8*3.8 RD Enterprises Rs. 6/piece 3 Days 100 pcs
With circle black string

500g with lamination punch

Textile Detail Tag White 1.8*3.5 RD Enterprises Rs. 6/piece 3 Days 100 pcs
With circle black string

White and 4cm*2.5cm

Main Label Poly taffeta Transgrafix Rs. 2/piece 3 Days 500 pcs
Black 100 GSM

White and
Wash Care Poly taffeta 80 GSM Transgrafix Rs.2/piece 3 Days 500 pcs
Black

White and
Size Label Poly taffeta 80 GSM Transgrafix Rs.2/ piece 3 Days 500 pcs
Black

154 | P a g e
 Packing Items

Poly bag Plastic and Biodegradable White 50-150mic thick The bag Factory Rs. 2/ piece 2 Days 5000 pcs

Carry Bag Paper White 50-150mic thick The bag Factory Rs. 12/ piece 6 Days 5000 pcs

155 | P a g e
 Cost Sheet

Label Indo Weston Date

6th November, 2016

Season Spring Summer 2018

Style# Straight Fit Jeans

Style Description Jeans/ Trouser - Black

Fabric Type Denim - Black

Fabric
Item Description GSM Consumption Price (INR)

Denim Black 325 GSM 1.20 Meter (44) Rs. 660

Twill Polyester 80 GSM 0.25 Meter (44) Rs. 30

Sequin Fabric - 0.20 Meter (36) Rs.60

Total Rs. 750

Stitching/Packing Trim
Item Item Description Consumption Price (INR)

Thread 100% Polyester, Twisted 300 Meter Rs.6

156 | P a g e
 Zipper Metal Zipper 1 Rs.20

Hang Tag 700g with lamination punch, With circle black string 1 Rs. 6

Textile Detail Tag 800g with lamination punch 1 Rs. 6

Main Label Poly taffeta 1 Rs. 2

Wash Care Poly taffeta 1 Rs.2

Size Label Poly taffeta 1 Rs.2

Polybag Plastic 1 Rs.2

Carry bag Plastic and Biodegradable 1 Rs. 12

Total Rs.58

Value Addition Cost

Operations Price (INR)

Milling and Nicking Rs. 15

Costing Summary
Miscellaneous Charges Price (INR)

Courier Charges Rs. 150 Garment SAM 30 Min SAM Cost Rs.4/min Rs. 120

Total Input Cost Rs.943

Total Rs. 150 Total Cost Price Rs.1093

Profit Margin % (15%) Rs.164

Selling Price Rs. 1257

MRP (80%) Rs.2263

157 | P a g e
21. Shoot

158 | P a g e
22. CSR
Aim of Indo Weston Corporate Social Responsibility will be all round development of employees and their families.
This will be planned in a participative manner in consultation with the employees.
The major area in which company will work is -

I. Health care and family welfare.

To ensure supply of safe drinking water at all work places to ensure occurrence of any water bound diseases.
Employees to be encouraged for regular medical checkups.
Company to provide them and their family full support financially as well as mentally till recovery of the employee concern.

II. Education formal and non-formal with specific scholarships for girls
Scholarship for girl child to ensure their education is not hampered for want of tuition fee and providing them necessary books for studies.
Upgradation of skills for workers by organizing training courses for them with the latest development to improve their productivity.

III. Infrastructure development by adopting a nearby village and trying to develop basic needs.

23. Marketing and Advertising Strategy

Digital Marketing is an online marketing effort done with digital channels such as Google search, social media, email, and their websites to connect with their current and prospective customers. It have a clear
picture of how tactic supports their goals.

Digital Marketing Tactics

Your website

Blog posts

E-books and whitepapers

Infographics

Interactive tools

Social media channels (Facebook, LinkedIn, Twitter, Instagram, etc.)

Earned online coverage (PR, social media, and reviews)

Online brochures and look books

Branding assets (logos, fonts, etc.)

159 | P a g e
Stages in Digital Marketing

Awareness Stage

Blog posts
Great for increasing your organic traffic when paired with a strong Search Engine Optimization.

Infographics Awareness
Very shareable, meaning that increase the chances of being found via social media when others share your content.

Short videos.
These, these are very shareable and can help the brand get found by new audiences by hosting them on

Consideration Stage

E-books
Great for lead generation as theyre generally more comprehensive than a blog post or infographic, meaning someone is more likely to exchange their Consideration
contact information to receive it.
Stage
Research reports
This is a high value content piece which is great for lead generation. It can also work for the awareness stage though, as theyre often picked-up by the
media or industry press.

Webinars
Theyre a more detailed, interactive form of video content, webinars are an effective consideration stage content format as they offer more
comprehensive content than a blog post or short video.

Decision Stage Decision Stage

Case studies
Having detailed case studies on the website can be an effective form of content for those who are ready to make a purchasing decision, as it helps you
positively influence their decision.

Testimonials
Short Testimonials around a website is a good way to present in front of the customers.

Indo Weston Steps to Digital Marketing

Search Engine Optimization (SEO)

The process of optimizing the website to rank higher in search engine results pages, therefore increasing the amount of organic (or free) traffic that your website receives.

Content Marketing
The creation and promotion of all marketing strategy in the purpose of generating brand awareness, traffic growth, or gaining customers.

Inbound Marketing
It refers to full funnel marketing approach to attract, convert, close and delight customers using online content.

160 | P a g e
Implementation in Indo Weston

Direction
To have clear strategic goals to achieve online in terms of gaining new customers or building deeper relationships with existing ones.

Online Market Share

The online market place has different types of customer profile and behavior competitors, propositions and options for marketing communications.

Value Proposition
A clearly defined online customer value proposition will help to differentiate the online service, in turn will help in encouraging and new customers to engage initially and stay loyal.

161 | P a g e
24. Reflection
Fashion product development module, helped in understanding and analyzing trends, market and consumer to ideate and propose merchandise suitable for a brand taking into consideration the seasonal trend,
costing and grading techniques.

It made us learn the significance of product development, keeping in mind the market, customer and various factors.

This module helped in comprehending the concept of fashion forecasting, sources of trend information, colors, fabrics and prevailing fashion trends, product development and analysis, apparel pricing and
merchandise cost and tools in Photoshop

162 | P a g e
25. Referencing
AND INDIA ANITA DONGRE. AND [Online]. Available from: http://andindia.anitadongre.com/ [Accessed: 5th August, 2016]

BUSINESS WORLD (2015) The Marketing White book, 11th Edition. London: Businessworld. [Accessed: 1 st November, 2016]

CHAMIKUTTY, P. (2013) Problems facing the Indian artifacts sector.[Online] Available from: https://yourstory.com/2013/06/crafting-a-livelihood-a-snapshot-of-the-indian-artifacts-sector-2/ [Accessed:
13th August, 2016]

Danda K. Indian Textile Industry: Trend and Future direction [Online] Available from:
https://www.google.co.in/url?sa=t&rct=j&q=&esrc=s&source=web&cd=4&cad=rja&uact=8&ved=0ahUKEwi7_pqx7NDQAhUMK48KHdVoBFIQFggrMAM&url=http%3A%2F%2Findustrialgreenche
m.com%2Fpdf-
docs%2FAmbernath%2520Conference%2FDay%25201%2520Combine%2520Keynote%2520Presentation%2FINDIAN%2520TEXTILE%2520INDUSTRY%2520by%2520Mr.%2520Kartikey%2520D
anda.pdf&usg=AFQjCNGxHgkBdAg4Uqkkf5O12eD8gS5JTw&sig2=BoC6HM5Hg59Clzppht7gGw [Accessed: 21st August, 2016]

FABINDIA. Fabels [Online]. Available from: http://www.fabindia.com/pages/fabels/pgid-1148274.aspx [Accessed: 5th August, 2016]

IBEF. (2016) Indian Economy Overview [Online]. Available from: http://www.ibef.org/economy/indian-economy-overview [ Accessed: 13th August, 2016]

IGOVERNEMENT (2013) India to be a major economy by 2018: EIU [Online] Available from: http://www.igovernment.in/articles/30526/india-to-be-a-major-economy-by-2018-eiu [Accessed: 15th
August, 2016]

JOSHI, V. et al. (2014) Traditional Indian Textiles. Delhi: Central Board of Secondary Education. [Accessed: 10th August, 2016]

KIRON M. (2013) Roles of Industrial Engineering in Apparel Industry [Online]. Available from: http://textilelearner.blogspot.in/2013/09/roles-of-industrial-engineer-in-apparel.html [Accessed: 12th
November, 2016]

KUMAR, N. (2016) The Global Market: Then and Now [Online] Mint Lounge. 27th August. L3.Available from: http://epaper.livemint.com/epaper/viewer.aspx [Accessed: 27th August, 2016]

Prasad R. (2015) GDP acceleration may make India $3t economy by 2018 [Online] Available from: http://www.mydigitalfc.com/news/gdp-acceleration-may-make-india-3t-economy-2018-212 [Accessed:
28th August, 2016]

Rao M. (2015) Internet growth, impacts and success: what will India be like with 550 million users in 2018? [Online] Available from: https://yourstory.com/2015/02/internet-india-2018/ [Accessed: 21th
August, 2016]

SETHI, R. (2016) Protecting the Weavers Signature. [Online] Mint Lounge. 27th August. L5.Available from: http://epaper.livemint.com/epaper/viewer.aspx [Accessed: 27th August, 2016]

WGSN (2016) The vision Spring Summer 2018 [Online] Available from: https://www.wgsn.com/en/ [Accessed: 1st September, 2016]

WORLDOMETERS. India Population (Live). [Online]. Available from: http://www.worldometers.info/world-population/india-population/ [Accessed: 11th August, 2016]

163 | P a g e
26. Annexure

164 | P a g e