Browse
Recent Submissions
Item The study of 30 single combed yarns with special reference to different noil percentage effect on the properties of the yarn(UMT, Lhr, 2025-01-29) Ashfaq Ahmad; Ahmad RazaItem Garment defects & its remedies(UMT, Lhr, 2025-01-29) Syed Hussnain Ali GardeziThis project is ail about the skills and knowledge I have ieanred while working in Combined Fabrics Ltd. This project is all about the defects that reveal in the Garment and contribute in its lack of guality and garment presentation. This project describes and highlights the masons of all the faults mentioned. It also includes the methodologies and procedures to remove these faults.Item Amjad weaving(UMT, Lhr, 2025-02-27) MUHAMMAD YASIRItem Comfort knitwears(UMT, Lhr, 2025-01-17) Nauman ShakoorI am very much pleased to enclose my words about Comfort Knitwears Pvt. Ltd. I spent such good time over there for which I have to say a lot but in brief summary. My stay in CKL was very much interesting and surprising. However 1 worked mostly in every department to learn entire knowledge about Garments Manufacturing. I have spent more than 8 months to overview my whole studies practically to make my view broader and optimistic. In this internship final report there are few things about CKL, where 1 had splendid opportunity to enhance my knowledge about Merchandising, Planning Production & Control, Quality, Knitting, Dyeing, Stitching during my internship. CKL is a major contributor to the garments export of the country. There are many famous and legitimate buyers who are working with them. My first platform was under GAP (Old Navy). It's the only buyer who always gives very enthusiastic P.Os to CKL. It is a vertical integrated unit equipped with the top of the range machines engaged in knitting, dyeing, cutting, stitching, finishing and packing. In all departments I met very cooperative people who helped me a lot and encouraged me alot. Firstly, I setup my mind to adjust my self in office criteria and I started from merchandising department. I learn all there procedures and way of working under they are levitated to work. Before stepping into merchandising department I had many of questions in my mind, one of them is a student among the professionals! In vary first day I started my tasks, which my senior gave to me. Knitting department of CKL is located on 22 K.M on Ferozpur Road. It is called on the name of GOFFORT. There I seen different types of the fabrics produced on the different machines like as Fleece, Defender Fleece. Single Jersey, Terry, Interlock, Track Interlock, Mesh, and Rib etc. In this department, I observed the flow of knitting department and learn the knitting procedure and I have also discussed the faults and problem of the knitting department.Item Suzani Art(UMT Lahore, 2025-08-13) Khushpara RaufTextile design is deeply rooted in culture, tradition, and artistic expression. My thesis, titled “Timeless beauty of Suzani embroidery,” is an in-depth exploration of the rich legacy of Central Asian embroidery known as Suzani, and how it can be reinterpreted through contemporary apparel design. Suzani is a word that comes from Persian language and its meaning is needle. This art form refers to the intricate needlework. In ancient times, women were very famous in making Suzani piece. The main objective of my research and design development is to preserve and celebrate this traditional art while transforming it into wearable fashion that resonates with modern aesthetics. My final product is an apparel line that combines traditional hand embroidery and beadwork to reflect the timeless charm of Suzani motifs. Suzani art is very famous for its floral and circular motifs, for its colour palette as they mostly use vivid colours. They also used pomegranates as their common motifs. Silk or cotton threads are used for embroidery on different fabrics such as linen, silk, or cotton because these fabrics are good in creating vibrant and textured surface. My design philosophy is to honour the Suzani tradition and want to create something new for today’s fashion. I aim to bring a collection in which every piece tells a story, by reflecting the Suzani’s historical richness of embroidery. In my thesis, I preferred to use vibrant colours such as red, maroon, blue, mustard and many other that will look suitable for elegantly wearable clothing. I have decided to use techniques like hand embroidery, machine embroidery and beak work in my designs which will create a good texture. The main stitches include satin stitch, chain, couching and buttonhole stitch and many other. These stitches considered as rich traditional stitches in Suzani embroidery. Along with embroidery, I’ve used so many different techniques to enhance the look of my work. Beadwork ensures the to create an eye-catching look and ensures the motifs remain the main focus of the design. Fabrics that I’ve selected are raw silk, fleece, cotton, jute, shamoz, organza, velvet. These fabrics are very suitable base for embroidery and they allow the craftsmanship to shine beautifully. I choose apparel as my final product which is a blend of modern styling and ethnic craft. I’ve carefully used embroidery and beadwork techniques to create visual balance and sophistication in my garments. My thesis research approach is so vast. I studied so many books, articles of Suzani art and observed the practices of their patricians, embroidery techniques and storytelling method. Sampling and testing of different materials and fabrics played a very important role in the development of my final products. I created so many different samples, explored different embroidery techniques, experimental beadwork. This hand-on process helped me to refine designs by maintaining the integrity of Suzani style. “Timeless beauty of Suzani embroidery” is not just a design project it’s a celebration of cultural heritage, craftsmanship, and creative reinterpretation. Through this work, I have explored how age-old traditions like Suzani can remain relevant and inspiring in the world of modern apparel design. This thesis has allowed me to understand the emotional and artistic value of handmade crafts. In contrast to mass-produced fashion, each piece in my collection represents time, skill, and a deep connection to cultural roots. Suzani embroidery holds stories within its threads of family, love, spirituality, and beauty and by wearing these garments, one carries those stories forward.Item Unveiling Nature's Treasures through textile(UMT Lahore, 2025-03-10) Laiba RazaFireflies and butterflies symbolically represent beauty in nature. These two species create emotions of hope, modification, and the beauty of brief movement. These two species create emotions of hope, modification, and the beauty of brief movements. These both grasp deep importance in nature and human content. It symbolizes light in darkness and the current cycle of change. My thesis purpose is to blend their beauty and represent it in textile designs that indicate my concepts. The fleeting nature of both fireflies and butterflies serves as a reminder to cherish the present. Just as fireflies light up the night for a short time, we should appreciate the moments that bring us happiness and joy. At the darkest of night, the firefly glows, which represents hope and determination. In the ups and downs of life, both professionally and personally, the firefly always reminds us to stay positive and seek light. Its glow is a symbol of strength and hope. In textile design, this can be translated into different motifs which inspire the observer and weaver in hardship. The butterfly is a symbol of transformation, evolution, and challenges of life. The life cycle of a butterfly from caterpillar to chrysalis to a winged creature thus symbolizes personal and emotional evolution, making it fit into my designs which represent change and renewal to grip hope in hardships. Through this thesis, I intend to capture this temporary beauty in textile form, reminding people to appreciate nature while also embracing the cycles of change that are a part of life. The color palette chosen for the compositions in my designs shows the balance of light, change, and nature. The soft greens, pinks, gentle blues, and vivid yellows are seen. These colors were selected to create a balanced yet vibrant mood, one that creates a sense of calm and positivism while representing the symbolic meanings of the creatures. Blending natural motifs into textile design creates a visual language that reflects sustainability and cultural heritage. I have chosen to work with a different set of textile techniques that will allow me to capture the depth of my designs. In my work, I will use digital printing in order to ensure that my works provide details and color correctly. I will also use embroidery to provide a 3D look to my work with all details of wings. I will use surface design techniques by making it 3D with movements and light. My thesis aim is to give every detail of work through textile in such a way that it exhibits a textile collection that combines the aesthetic beauty of butterflies and fireflies while giving the actual meaning of nature. My work aims to provide and show hope, transformation, and short movements. My work expresses emotional and philosophical ideas with human experience. My final product will provide nature and appreciation for the moments of joy in life.Item Comparison of multi-layer fabrics(UMT Lahore, 2025-09-16) Abdul Raheem; Bilal HassanThis study investigates the influence of fabric layer number on the physical and mechanical properties of woven cotton fabrics with controlled architecture. The experimental framework centered on the precise and consistent production of single-, double-, and quadruple-layer fabric samples on a Dobby-operated sample loom at Nizam Sons Pvt. Ltd., with all variables standardized except for layer number. The yarns used were 100% cotton, carded, 5s Ne count, and uniform in properties to eliminate material variability. Each sample maintained a plain weave per layer and was interlocked using orthogonal binder yarns, ensuring structural integrity without altering two-dimensional density. The produced samples were subjected to standardized tests, including air permeability (ASTM D737), tensile strength via strip and grab methods (ASTM D5035, D5034), and tear resistance through Elmendorf and tongue tear tests (ASTM D1424, D2261). Additional testing on denim provided a comparative benchmark due to its established strength and durability. Results revealed that air permeability remained remarkably stable across single, double, and quadruple layers, suggesting structural uniformity and predictable breathability under layering. Tensile and tear strength tests showed a significant increase with additional layers, though the trend exhibited diminishing returns; the double-layer fabric achieved notable gains, while the quadruple layer provided smaller incremental benefits due to inter-layer friction and yarn slippage. Comparative analysis with denim confirmed the reliability of the methods and contextualized the results within practical textile applications. Overall, the findings demonstrate that multi-layered fabrics can significantly enhance mechanical properties without compromising breathability, offering valuable insights for the design of protective clothing, sportswear, and industrial textiles. The research contributes to understanding the trade-offs between structural layering, durability, and comfort, emphasizing that two-layer fabrics often provide the optimal balance between strength, weight, and air permeability.Item Development of self cleaning fabrics using cotton polyester blend(UMT Lahore, 2025-08-22) Asim Anwar; Abu HurairaThis research presents the development and characterization of multifunctional self-cleaning and antibacterial fabrics using a 60/40 cotton–polyester blend coated with bulk zinc oxide (ZnO), titanium dioxide (TiO₂), and their hybrid (50:50) formulations. The study aims to provide a cost-effective and scalable alternative to nanoparticle-based coatings by optimizing coating composition, concentration, and binder application. The fabric, with GSM 260, 2/1 twill weave, 110 ends per inch, 60 picks per inch, and 20 twists per inch, was pre-treated through scouring and bleaching to enhance surface reactivity. Coatings were applied with and without Helizarin et binder to evaluate the influence of binder on performance. Functional assessments included air permeability, tear strength, absorbency, hydrophobicity (contact angle measurement), and antibacterial efficacy against Escherichia coli following AATCC Test Method 100. Results indicated that TiO₂ coatings preserved breathability, ZnO coatings showed minimal impact, and the hybrid coating improved permeability by 2.37% at 20 g/L. Tear strength reductions were lowest for hybrid coatings (4.1% at 40 g/L). Binder-coated samples exhibited higher hydrophobicity, while binder-free samples had improved wettability. Antibacterial reductions were 84.0% (ZnO), 84.6% (TiO₂), 86.0% (hybrid), and 87.6% (binder-assisted hybrid), highlighting synergistic effects between ZnO and TiO₂ and the role of binder in particle retention. These results confirm that bulk oxide coatings, particularly hybrid formulations, can effectively impart durable multifunctional properties without compromising comfort, making them suitable for healthcare, defense, sportswear, and outdoor applications. Future work should focus on wash durability, photocatalytic self-cleaning efficiency, and scaling for industrial production.Item Comparative study on the effect of washing cycle on dimensional stability of cotton and hemp-cotton denim fabric and their mechanical properties(UMT Lahore, 2025-08-24) Ahmad Hasan; Hamza FaizThe study concentrates on the comparative nature of the denim cloth manufactured using 100% cotton as well as hemp cotton blends concerning the dimensional stability, washing performance and mechanical properties. It is a fiber, which is found naturally and hence it has been used widely since it is potent and it softens on the skin. Hemp fibers are tree-like in length. This means, as a result, they possess many eco-friendly features, including reduced water requirements, omitting pesticides as a result of improved soil health. The hemp fibers are also mixed with cotton so as to provide strength in the fabric as well as environmental friendliness. The studies take into consideration the density characteristics of each kind of cloth (i.e. what they are made of, what and how they are woven and what chemicals are used to make them and what is its impact on dimensional stability). The mechanical strength of the fabric after a variety of different denim washing procedures are tested and evaluated to give an idea of how these processes interfere with shrinkage, tensile strength, flexibility, weight and the appearance. Though the studies exist on properties of denims, not much research work has been conducted in relation to physical qualities in general with regard to cotton and hemp/cotton blend denim materials. The gap is bridged by a well-assigned implementation of the present study itself and, consequently, it adds to the broader scope of the field of textile science. The findings would offer some information that would assist the manufacturers of fabric, garment and accessories and designers to improve on the use of hemp-cotton mixes in manufacturing of sustainable denim products of better quality. This research would offer information on dimensional stability of denim with different blend ratios and their mechanical properties. The results indicate how much further research is required to determine most appropriate ways of balancing between environmental consequences and technical performance, to enable adaptation in an evolving textiles environment and market.Item Comparative study of color uniformity of polyester and nylon knitted fabric in IR dyeing machine and conventional method(UMT Lahore, 2025-08-22) Asad Ali Nasir; Ahsen Aftab AnsariThis research is focused on the comparative analysis of dying machines, to analyze their dyeing efficiency, heating efficiency and energy consumption. The comparison was analyzed between infrared (IR) dying machine and the normal exhaust machine high temperature (HT) dying machine. To determine which machine can produce more unifying and efficient dyeing, we used two types of fabric, polyester and nylon. Polyester and nylon were used because they are synthetic and require high temperature for dyeing, so it is difficult to dye in the normal exhaust process. We dyed samples of nylon and polyester with the same dye liquor composition, in IR dyeing machine and HT dyeing machine at sample parameters, 90 degrees Celsius, for 60 minutes. Then all the samples were hot washed and dried. Then we analyzed these samples by visual assessment of uniformity of dyeing and shade, by using results from spectrophotometer, by using K/S values, washing fastness rating and rubbing fastness rating. All these results helped us to determine which dyeing machine dyed samples with more dye concentration and high fixation rate with low surface dyeing. By analyzing the uniformity of dyeing we also determined which machine’s heating system was more homogenized than the other. This all helped in determining the most efficient dyeing machine between HT dyeing machine and IR dyeing machine.Item Analysis of laser and ozone treatment on cotton and cotton/hemp blend denim garments(UMT Lahore, 2025-08-04) Zain ul Abaydin; Shazaib TahirThe study focuses on laser and ozone treatment processes on the physical and mechanical performances of two varieties of denim fabric: pure cotton and cotton/hemp fabric mixtures (50:50). The research takes a look at the possibility of such green finishing techniques that may minimize water consumption and environmental burden without compromising or improving the fabric quality. The denim samples were subjected to laser fading and ozone bleaching as two major treatment methods and in different concentrations and happy durations. This test determines the tensile strength, tear strength, color fastness (washing, light fastness and crocking) and general visual appearance of the fabric treated. The outcomes indicate that laser and ozone therapies both lead to successful fading, and the laser treatment offers high precision, whereas ozone treatment is gentle and does not cause large damage to fibers. As compared to 100 percent cotton denim, where the fading effect was uniform, the 50/50 blend (cotton/hemp) material showed greater strength retention and more durable finishing when treated with ozone. The study will help to design and perfect greener methods of making denims and imply that hemp fibers can complement the durability of denim fabrics and make them more sustainable when subjected to innovative solutions. The results also assist in understanding how to improve conditions of treatment both aesthetically and practically, and this works in the favor of textile industry towards the ‘greening’ of its activities.Item A comparative study of flame retardancy on polyester fabric.(UMT Lahore, 2025-08-27) M.Muneeb; Abu HurairaThis thesis investigates the effectiveness of different concentrations of flame-retardant finishes on polyester fabrics, as well as the impact of padder rpm speed on the application process. According to the study, increasing the concentration of flame-retardant finishes can substantially increase the flame resistance of both fabrics. For polyester, burning time increased from 10 seconds to 28 seconds. The rpm speed of the padder had no effect on the results, indicating that flame resistance is solely dependent on the concentration of the finish. These findings highlight the potential for using higher concentrations of flame-retardant finishes to enhance fabric safety, with implications for the textile industry in developing more effective and durable fire-resistant materials. Further research is recommended to explore the long-term durability, environmental impact, and commercial application of these finishes.Item Nature in the urban chaos(UMT Lahore, 2025-07-28) MahnoorThe urban jungle concept blends the beauty of nature with the structure of urban life decay, inspired by how nature adapts and thrives in unexpected spaces. While the jungle represents untouched nature, featuring trees, animals, and waterfalls, urban life is characterized by worn-out buildings, destroyed vehicles, and rusty pipes. This concept emphasizes that whether we add nature in our space harmoniously or nature uniquely finds its way like flowers bloom through cracks of wall, plants grow in humid area, or about nature flourishing in harsh environment in both condition nature and urbanity coexist, this project discover how both nature and city life have strong connection with each other by showcasing their calmness, importance and beauty. The aim of this project is to discover the proportional equation between wildlife and urbanization, and bring out the combination of nature into cityscapes. Its objective is to encourage the production of eco-conscious projects by demonstrating how organic elements can boost the beauty of urban environments, nurturing sustainability and latest aesthetics. The goal of this project is to raise awareness about the importance of nature in an urban environment and its optimistic effects on both communities and individuals. The plan for this project involves drawing inspiration from both jungle and urban life to create unique and meaningful compositions. Jungle elements such as forest plants, trees, bushes, waterfalls, and animals like tigers and leopards will be combined with urban elements like rusty cars, tyres, street lamps, flowers blooming in cracks, plants growing in gutters, wells, water pipes, tall buildings, tyres, and birds. These elements will be used creatively to showcase the harmony between wildlife and city life, which will represent painted compositions that reflect the beauty of the green heaven in urban chaos and the synchronicity of natural and synthetic beauty. The procedure will consist of extracting elements from comprehensive research and mood boards, creating open compositions, and developing fabric samples by using different techniques like tufting, fabric manipulation, felting, patchwork, embroidery, including hand and machine, with embellishment. These will form the foundation for my main thesis display. This thesis explores the beautiful and everlasting connection between nature and man-made life, to raise awareness about the significance of greenery in cities and their positive impact on the surrounding environment and living things, by focusing on 3D panels of tapestry, fabric manipulation, and installation showcasing a realistic artwork through textile material. Through a blend of analysis and visual exploration, this study highlights the evolving relationship between nature and city life, showcasing the coexistence of organic landscapes with urban remnants and structures.Item Reviving heritage of Iranian era motifs and its applications in contemporary textile techniques(UMT Lahore, 2025-07-28) Malaika AftabIranian culture stands as one of the most ancient and wealthiest cultures globally, with centuries of historical influences evident in its textiles, art, and architecture. It has been a common ground for ancient civilizations, Islamic influences and regional traditions. This thesis explores the architectural designs of Iranian era, highlighting their cultures and importance of aesthetics. Iranian architecture is renowned for its stunning beauty, intricate designs that were carved on their walls or painted very beautifully. The aim of my research is to highlight the importance of Iran which was very famous ages ago but with the passage of time; it disappeared and has a view from their intricate motifs mostly carved on their architectures and elements of their culture. The motifs of Iranian art are the inspiration for modern home textiles and can also be used in apparel for more aesthetics look. Jharokas, geometric patterns and buildings of Iran can be used from clothing to home decor. I have used their architectural styles, tiles and floral motifs into contemporary textiles to display the importance of history of Iran to millennial and genZ. This culture offers endless inspiration for textile design. In my case study, I have a deep research on floral motifs, geometric patterns, architectural designs, and Persian elements and their vibrant colors. Persian colors include Persian green, blue, brown, turquoise, mustard, rust orange, and red colour combinations. For floral motifs I explored their Persian gardens and the famous flowers of that era. Geometric patterns reflect their Islamic principles of infinity and divine unity. I have explored their famous architectures and their art which include Imam Mosque, Shah Mosque and Jameh Mosque that shows their intricate designs, tile work and calligraphy. In their traditions, I have discovered about their New Year (nouruz), Persian poetry and literature, traditional instruments like the tar, setar, and ney are still played today. These elements provide a unique blend of symmetry and detail that align perfectly with the creativity required in textile designing. Through textile, I displayed my designs by the mix old designs and turn them into modern ones. I made a connection between past and present by using the motifs and elements of Iranian culture into modern outfits as eastern as well as western which include shrugs, co-ord sets, scarfs and bags with different techniques such as patchwork, quilting, embroidery and embellishment. Besides these outfits and apparel these motifs can be used in wall hangings, lamp and aesthetic mirrors. It’s all about bringing history into our lives in a fresh and creative way.Item Cultural fusion(UMT Lahore, 2025-08-13) Nidba NadeemThis thesis looks into the active intersection of how Turkish art can be brought into today's world through contemporary textile. The idea is to take inspiration from the rich and beautiful visuals found in Turkish culture and reimagine them in a fresh and wearable form. This project is the blend of the past and present creating a connection between tradition and mordern expression. Turkish art holds a strong visual identity that gives a new life to the context of fashion. In the end we combine traditions with trends and culture with innovation to create cultural and modern fashion trends. The colours I have used in the artwork and textile samples such as deep red, maroon, navy blue, light blue, sea green, pink, white and more were selected because of their cultural meaning and aesthetic values as well. Each and every colour in this artwork has its meaning. The compositions reflect the harmony and rhythm often seen in Turkish design. Techniques like adda work and fabric manipulation like appliqué work etc were explored to add richness and tactile interest to the garments. The idea is to create clothes with fashion and meaning in them. The goal is to make pieces that people want to wear bridging the gap between art and everyday life. Traditional crafts and motifs are at risk of fading out in today's world so through this thesis, there is an aim to preserve and promote cultural identity by making it relevant and wearable again. This project has emotions and creative energy behind it as it is a personal journey as a designer. From researching the patterns to selecting colours, from painting motifs to stitching 3D embellishments, shows a deep respect for the tradition and a desire to express it in a modern way. This thesis shows how fashion can be a powerful tool for cultural dialogue. The challenge is to avoid cultural dilution and the opportunity is to bring unique, rooted traditions around the world. This cohesive apparel line blends aesthetics, history and craftsmanship as it is designed for a modern wearer but carries within it the traces of ancient culture. This collection inspires everyone to look back into their own heritage and reinterpret it in ways that feel exciting, personal and relevant. In conclusion, cultural fusion: a contemporary journey through Turkish art in textiles is a design thesis that celebrates the beauty of Turkish culture. It shows how traditional art forms can evolve, live on and inspire fresh creativity. The focus is that these designs not only reflect skills and research but also contribute to keeping cultural expressions alive through threads, colours and garments.Item Landscapes beyond earth space and astronaut(UMT Lahore, 2025-07-28) Syeda Shahtaj AliLandscapes beyond Earth is about visual exploration of space through art, human’s curiosity, and how we imagine outer space to be. It is inspired by dreamlike and out of this world illustrations of a Korean illustrator “Bang Sangho” specifically his Pink Planet project. This thesis investigates the possibilities of existence of life beyond Earth, through combining art, storytelling to imagine other worlds in space, and what life could be in the universe. The main idea behind this topic is humanity’s everlasting question: “What lies beyond the Earth?”. With the new advancements in science, and as we continue to explore space, the possibility of life on other planets seems more real than ever. My topic will explore how humans can live in space, whether they can coexist with aliens, how they interact with aliens, and create new ways of life in an alien environment. Using imagination, it explores not only the appearance and look of these imagined worlds but also how living in space makes us feel about ourselves and the new environment. The palette includes bold and bright colors such as electric pink, space blue, deep purple, warm yellow and fiery orange. The illustrations involve astronauts roaming through beautiful yet new, eye-catching worlds. These scenes are brought to life with the help of sci-fi elements like strange alien flora, roaming astronauts, strange and distant planets, spaceships, strange looking aliens and the moon. Instead of using bold and vibrant colors, I have painted the astronaut in black and white only which symbolizes the calm presence of humans in the vast beauty of space. The compositions are not centralized which allows the viewer to look all around the whole scene, as if they are exploring new and different worlds. These imaginations extend beyond mere illustration and into textile productions. The results will be a series of embroidered jackets, rugs made through different techniques, cross-stitched frames, fabric manipulation, a range of embellishments, glow in the dark sweatshirts, embellished frames, bringing the imagined worlds to life through textile applications, making it wearable and stylish. These items act like a portal for people to carry a piece of space with them every day. Landscapes beyond Earth is a fusion of curiosity and imagination, a blend of bold colors and contrast, art and design. It celebrates space as a place to explore new ideas.Item The hidden symphony of nature(UMT Lahore, 2025-07-29) Nimrah ZahirThe historical book Kunstformen der Natur (Art forms of nature) by Ernst Haeckel was the base for my design concept. This project was inspired by the life of Ernest Haeckel, a stylish scientist who studied natural shapes and structures. The wonder of marine fauna and microorganisms was illustrated by biologist, artist, and scientist Haeckel. The details begin to enter concerning radiolaria, jellyfish, and sea anemones, other small organisms with great complexity for which the explanations of their development are quite explicit in this book. Although they are often hard to spot, these shapes are about order and beauty that exists in nature. The work of Haeckel inspired me deeply because it contains a symbiosis of scientific observation and artistic imagination. My project aims to understand how one might employ these minute organisms towards contemporary textile design. Haeckel’s drawings are more than a document and a study of biology; they are a visual poem that asks the reader to see nature in an alternative way. His work is a reminder that the smallest life forms may be as beautiful, orderly, and momentous as anything else we can look at. With their radial symmetry, flowy lines, and interesting texture, they’re very versatile design-wise and there’s a lot of potential for using them as motifs and patterns in textile art. I decided to start my design class with this topic after consulting with my instructor. After receiving approval, I created a mood board and a research board featuring various species from Haeckel's book to establish the project's visual direction. The hand-drawn compositions were primarily concerned with specific organisms' overall movement and structural characteristics. After that, these were examined and improved. I decided on a colour scheme that reflected the ethereal and aquatic nature of the subject by employing muted blues, pale greens, and neutral tones. I carefully painted each composition and transferred the designs to open fabric after receiving approval. I've used suede, canvas, textured satin, crushed satin, jute, and viscose for this project. Due to their distinctive texture and appealing appearance, I was drawn to each one. I also used slashing, burning, laser cutting, addition work, machine embroidery, 3D hand embroidery, and other techniques. To imitate the lightness and transparency of aquatic life, open fabric was chosen. A collection of panels that are hung together to form an installation is the final textile product. The viewer is given a visual tour of Haeckel's microscopic universe as each panel focuses on a different form from Kunstformen der Natur. Like the weightless, floating organisms themselves, the fabric's translucent quality adds depth and layering. It is anticipated that this project will result in the creation of a multi-panel textile installation that combines artistic textile practice with scientific illustration. The idea that even the tiniest natural creations can inspire meaningful, large-scale design is emphasized in this work.Item A tapestry of tradition & innovation(UMT Lahore, 2025-08-08) Paras NadeemThis thesis is a venture into the vibrant culture of Chitral, a beautiful and culturally rich part of north Pakistan, and specifically on their traditional clothing, and crafts along with their cultural aesthetics. As a native of Khyber Pakhtunkhwa (KPK), I have had a profound interest in the lifestyle of the Chitral people and their specific claims to identities. It has been a childhood dream to acquire in detail the colorful, unique dressing styles, and exquisite craftsmanship of Chitrali garments. This study will inform us about the traditional beauty and meaning of Chitrali dressing while addressing how this cultural aspect can be insightfully informed into contemporary fashioning. This way, the study will help preserve the culture of Chitrali by not letting it become stale and out of touch and largely rendering it wearable and congruous with the modern reality that is constantly changing. This endeavor is an attempt to take the craft techniques displayed by the textile art of the Chitrali into the realm of modern apparel making so that the rich heritage of the region is retained, as well as the novel approach to designing and handcrafting clothing items such as embroidered and adda-worked and beaded jeans. Chitral, located in the north of Pakistan, is famous due to the huge variety of ethnic groups living in the area, peculiar language, and a high level of cultural traditions. One of them is the traditional clothing, a bright sense of identity and belonging. Such attires do not only serve a functional purpose; they are symbolic to connotate narratives, social positions, and creative expression. But as the region rapidly modernizes and globalizes, their traditional Chitrali attire has fallen out of common usage, reserved only to be used on special occasions or festivals. The study acknowledges the imminent necessity to catalogue these cultural manifestations, binding them into modern fashion, thereby giving the traditions with Chitrali clothing a new breath and relevance. The designs of traditional Chitrali clothes are characterized by attention to hand-crafted detail, colorful palettes, and functionality, which harkens to the climate of the area. Among the most important elements, there are woolen cloaks, woolen caps (pakol), and elaborately embroidered clothing. The embroidery itself can be complicated with geometrical patterns, floral designs, and symbolical designs which hold cultural significance. This paper explores the different weaving techniques that are indigenous to Chitral, like traditional embroidery, block printing, applique, rug weaving, and adda work — a local method of surface decoration by fine needlework and stitch combining. The technique is individually rooted in history and culture in terms of the skills that generations of craftspeople, primarily women, have developed and continue to maintain. This close examination of the techniques not only enabled me to recognize their aesthetic worth, but also to create effective guidelines of how these arts may be adapted to the fabric and designs of the present day. What was central in this thesis was the practical working with a variety of materials, especially the use of kora, a traditional cotton sheet, which is utilised extensively in Chitral. The texture, weight, and endurance of the fabric played a critical role in the choice of the surface decoration effects. To illustrate, lighter fabrics could not pick the pattern of some block patterns too well, and embroidery and beadwork need materials firmer to support the weight and parts of the stitching. I played around extensively with block printing, applique, embroidery, and adda work in order to see how they responded to the various weight and textures of fabric. This process of trial and error was essential in coming up with combinations that were culturally as close as possible but could be comfortable and functional to wear every day. The use of the tactile qualities of these textiles coupled with crafting skills produced innovative samples of textiles that reflected not only past aesthetics but also contemporaneous design. Being able to find ways that traditional Chitrali crafts could be adapted to contemporary clothing, jeans in particular — one of the most popular and feasible worldwide garments — was one of the highlights of the study. Typically, jeans are considered informal and hard-wearing garments; however, with a combination of traditional embroidery, adda work, and use of beads, I aimed to transform the ordinary product into something of cultural wearable art in the form of a garment. This was done through a thought-attentive process on where to place the embellishments so as to suit the build of the jeans but not at the expense of comfort or strength. The beadwork provided texture and glamour, and embroidery and adda work emphasised geometric and flower motifs based on Chitrali motifs. The interventions which were done to create designs were aimed at making the cultural crafts seen and relatable by urban and global fashion. Jeans combined with Chitrali skills do not simply create a new and fashionable appearance; it is a kind of declaration of cultural pride and identity. It shows that heritage crafts may flourish even in new contexts, and this fact will attract younger generations, who are more likely to wear modern clothes, yet still desire to remember their heritage. The innovative process that I took during the thesis writing process gave me a firm conviction that culture can only be preserved through innovation. Reproduction, plain and simple, of traditional garments may simply leave them behind in history, but intelligent application of these items to the present-day context may go far towards keeping them alive. In this way, it does not overwrite or ignore the roots of the craft, instead embracing the artisans and their cultural living, opening new potential in terms of expression and economic viability. The messages that I am sharing through my work are that cultural identity is dynamic and can still be updated and touched by modern sensibility whilst still maintaining its core. Using the traditional embroidery, adda work, and beadwork in contemporary clothing, I am contributing to a living tradition, through preserving an air of respect to history and an interest built toward the future. The project was a rather emotional and learning experience. It widened my perception of Chitrali culture and gave me a sense of obligation to promote cultural continuity by innovating design. In the future, I will continue to develop these methods further and will start collaborating with local craftspeople in Chitral and give them the strength to take on emerging markets and design concepts. It could also be extended into a more comprehensive sustainable fashion project by integrating ethical factory manufacturing with stories about cultures. Sharing Chitrali craft traditions in international forums would help generate awareness and interest in this heritage form and create pride and economic benefits in people who live in such areas. This thesis shows that tradition and innovation are not mutually exclusive but rather could exist in a mutually enriching relationship. Chitral has a rich history of textile traditions which should be mined to access design inspiration that can be incorporated carefully into modern fashion without losing cultural identity, and find an audience in modern life. This fusion is seen in my work on jeans, and other garments that have been decorated using embroidery, adda work, and beadwork, showing how cultural crafts may be renewed and rendered relevant in the contemporary world of fashion. In final analysis, this generational interplay of tradition and modernity promises much of the future of Chitrali culture and its development within and against the international cultural context.Item Mandala art(UMT Lahore, 2025-08-13) Muhammad BilalBeyond cultural and geographic limits, mandala art has become an international symbol of inner balance and peace because of its powerful symbolism of unity and integrity. Carl Jung’s psychiatric discoveries restored mandala art, which originated from ancient spiritual traditions, by seeing it as an acute representation of the individual and a mirror of the shared thought. In Jung’s view, the mandala’s round form represents the process of specification and the amalgamation of opposites, highlighting the human mind’s fraught attempt to create inner order amid chaos. He emphasized that mandalas have been used as universal representations of unity and connection throughout human history, not only in a single culture. This study and artistic exploration, which draws inspiration from Jung's philosophy, uses mandala art as both an aesthetically beautiful design and a way to convey a message of cultural harmony and global union. The useful allocation of the project involves making textile-based mandala representations using a variety of methods, such as machine embroidery, crocheting, and rug making. Each composition reflects harmony, rhythm, and symmetry and is a diligent development of the traditional mandala form. The color scheme used was deeply affected by traditional Indian mandala art, which is known for its lively and rich tones such as saffron, deep reds, greens, royal blues, and golden tones. These colors were selected for their artistic traits as well as their symbolism in Indian philosophy: green growth, blue restfulness, yellow insight, and red energy. By using these colors, both an emotional fusion and cultural accuracy is what the project hopes to signify. The merge of mandala designs into a variation of fabric techniques exemplifies the adaptability and absoluteness of this ancient art form. In addition to honouring the classic beauty of mandala art, this collection highlights its applicability as a modern representation of harmony, peace, and awareness in a divided world.Item Balochi Embroideries(UMT Lahore, 2025-08-04) Maheen FatimaMy thesis focuses on traditional Balochi embroideries which I have reimagined and modernized using contemporary textile techniques. The core objective of this project is to highlight the aesthetic and cultural of Balochi embroidery by transforming heritage embroidery into trend driven expressions. I aim to show that even the mostly deeply rooted cultures must evolve with time. Using current textile trends and embroidery methods, I have created a fusion that both preserves and revives cultural identity in a modern context. This thesis project adds to the continuing discussion on cultural identity, sustainable fashion, and the decolonization of craft narratives in textile design by sensitively and innovatively modernizing Balochi embroidery. By fusing traditional components with contemporary design sensibilities, materials, and surface techniques, this project seeks to reimagine Balochi embroidery and present it in a way that speaks to contemporary visual culture and fashion. The research lays the groundwork for modern reinterpretation by thoroughly examining Balochi motifs, stitches like Kharek, Zanjira, and Gul, and their historical background. The creative process includes production of motif sketches, digital manipulation of traditional patterns, explorations of color, material samplings, and a combination of hand embroidered and printed surface designs. The creative process is a blend of the motif sketches, manipulation of digital traditional patterns, experimentation with color, sampling of materials, and the pattern mix of hand embroidered patterns with printed surface patterns. One of the most innovative aspects is the hybrid use of patterns with needles and digital print with minimalist compositions and unusual colour schemes (such as pastels and neutrals), giving the visual identity of the craft a more current look and feel. This thesis contributes to the debate of craft revival, culture survivorship, and decolonizing designing cognition to intentionally irreverent modernizing Balochi embroidery. To guarantee that this historical art keeps evolving, changing, and inspiring, it encourages the combination of tradition and innovation in a manner that values the knowledge of the ancestors but creates space that allows innovative advancements.
- «
- 1 (current)
- 2
- 3
- »