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JAWAJA

CRAFT

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Guided by

Shimul Mehta Vyas | Behraram Bhai Ji | Puramal Bhai Ji | Rajeshree Behen 

CONTENT

JAWAJA
CRAFT

01.

02.

MOCKUP 

VALUE

03.

FORM
BOARD

04.

FORM
EXPLORATIONS

05.

06.

LEATHER
MOCKUP

ACTUAL SIZE MOCKUP

07.

PROCESS

08.

FINAL PRODUCT

09.

DETAILINGS

10.

LEARNINGS

11.

JAWAJA CRAFT

01.

The beauty of Jawaja leather work is the evenly stitched leather strips instead of threads. Two layers of leather are first stuck together and then stitched by punching holes with awls, or large needle-like tools; leather strips are made to pass through the layers, binding them together.

The leather craft of Jawaja, which was practiced for more than three hundred years, was beautifully structured and meticulously stitched back to glory through a joint initiative taken by IIM and NID in the 1970s.

ATTRIBUTES OF JAWAJA BAG

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• The human touch with the natural process (vegetable tanning) • Enhancing the visual aesthetic • Can fit into any era • Stitching is the beauty of the bag • Uniformity of stitches • The same material used in stitching • Stability / structural/sturdy • Durability /long-lasting • Minimal or basic and bear silhouette • Stitching is the identity of the product  • No side of stitching (both side of stitching is similar) • Edge finish • The puller of the bag • The color of the leather gives an earthy touch • Utility driven • Functional

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MOCK UP

02.

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PROCESS

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VALUE

03.

CONVERTIBILITY

Form enhancement by creating rich stitches. Also, I need to include functionality in the form so that bags can be used for multiple purposes, so the beginning inspiration was taken from the art of origami and my previous modules in the form.

FORM BOARD

04.

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FORM EXPLORATIONS

05.

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For more explorations: 

LEATHER MOCKUP

06.

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I embarked on a creative exploration of one of the final two forms, meticulously translating its intricate design onto leather. The primary objective was to assess the feasibility of incorporating the folds into the leather medium and to observe how the material responded to my intended design. This hands-on experiment allowed me to gain valuable insights into the unique characteristics of leather, informing my design decisions and refining the final form to achieve the desired aesthetic and functionality. Through this process, I not only tested the limits of the material but also honed my skills in adapting and manipulating it to bring my artistic vision to life.

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ACTUAL SIZE MOCKUP

07.

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As part of my design process, I employed an EVA sheet with cartage paper to create a mockup that closely mimicked the texture of leather. The use of EVA allowed me to assess the feasibility of the design in its actual size while avoiding the cost constraints associated with genuine leather. This strategic choice in materials not only facilitated a cost-effective mockup but also demonstrated the versatility of alternative mediums in the initial stages of the design process.

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FINAL PRODUCT PROCESS

08.

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FINAL PRODUCT

09.

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DETAILINGS
 

10.

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My experience with the Jawaja project was a profound journey in learning and collaboration. Working closely with artisans for the first time, particularly those with extensive expertise in leatherwork, provided invaluable insights. One of the key lessons I gleaned was the art of ideation within a framework of shared values. While tasked with creating mood boards, I initially faced challenges in sourcing appropriate photos. However, through perseverance and creativity, I overcame these obstacles, earning recognition from the Jawaja artisans themselves. Their acknowledgment of my work, especially in achieving finer stitches than conventionally practiced, was gratifying and reinforced the importance of attention to detail in their craft. Maintaining the essence of their traditional techniques while incorporating new elements presented a significant challenge, underscoring the delicate balance required in innovation within a cultural context. This experience not only honed my skills but also deepened my appreciation for the rich heritage and meticulous craftsmanship of the Jawaja community.

LEARNINGS

12.

National Institute of Design,

Gandhinagar, Gujarat- 781 007

Ashmita Gupta Design

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