Inside the Creative Mind: Textile Research Boards

I will be sharing the research boards I created as part of the task assigned by my supervisor to observe current trends.

Week 1: Reimagining Materials: Fabric Reuse in Design

Week 2: Heritage and Contemporary Motif Study

Week 3: Textile Embellishments: The Art of Tassels

Week 4 Reflection: Slow Fashion, Craft, and Career Clarity

My experience at SHEWORKs was a wholesome and enjoyable learning journey from the beginning through to the later weeks. Initially, I was curious to understand what slow fashion truly meant and what purpose it served. However, after experiencing the studio environment and workflow firsthand, I realised that the brand’s work goes much deeper. Their process is not just design-based but deeply connected to art, heritage, and the artisans involved. At first, I viewed design mainly as a creative activity, but this placement helped me understand how much planning, organisation, research, and patience are required to create a refined and meaningful product. Working closely with supervisors, artisans, and fellow interns allowed me to see how professional studios function and how ideas are carefully transformed into well-crafted outcomes. This placement shaped me by making me more thoughtful and research-driven in my design approach, as well as more aware of the cultural and ethical responsibilities involved in fashion and textiles.

I also observed clear differences between the product development department at SHEWORKs and my previous internship at Kohinoor Textile Mills, which operates within a large-scale, industrial system. At Kohinoor, I focused heavily on CAD skills, structured research, and working within an organised production framework. In contrast, SHEWORKs follows a slow fashion model rooted in handcraft and heritage-based processes. Here, I learned about motif development, product research, tracing techniques, fabric organisation, sample development, paperwork, and most importantly, communication between departments. This comparison helped me understand that product development functions differently depending on a brand’s values and scale, and it shaped my appreciation for both efficiency-driven systems and craftsmanship-led design.

One of the biggest surprises during my placement was the level of care and time required when working with heritage textiles, especially pieces that were over 100 years old. I learned that even small actions, such as removing stitches or tracing motifs, demand exceptional patience, skill, and respect for the material. I was also surprised by how essential documentation, measurements, and repetition are in a professional setting. This experience also helped me grow in confidence within a professional studio environment. Over time, I became more comfortable asking questions, receiving feedback, and adapting my work based on guidance, which strengthened my ability to learn effectively within a real industry setting. Unlike student projects, where solutions can sometimes be rushed, SHEWORKs follows a slow and thoughtful process to preserve quality, cultural value, and sustainability. This experience transformed my understanding of fashion by revealing the unseen effort and craftsmanship behind handmade and heritage-based products.

This placement has significantly influenced my educational approach as a Fashion Textile Design student. I now recognise the importance of in-depth research before beginning the design process, especially when working with cultural and heritage themes. Creating research boards, studying traditional motifs, and observing product development discussions helped me bridge the gap between theory and real-world practice. I also strengthened my practical textile skills, improved my digital presentation abilities using Photoshop, and developed stronger organisational skills through continuous studio tasks. These experiences will strongly support my future coursework, portfolio development, and final-year projects.

In terms of my future career goals, this placement has helped clarify my interests within the fashion and textile industry. Initially, I aimed to work as a creative or styling intern; however, this experience opened me up to other departments such as product development, materials and supply chain, production, and manufacturing. During my internship, my understanding of textile-focused roles and slow fashion practices grew stronger. I learned that fashion is not about speed, but about how thoughtfully and carefully a product is made. Observing how SHEWORKs balances tradition with contemporary design inspired me to consider working with craft-based brands or pursuing roles that value sustainability and cultural storytelling. This placement encouraged me to deepen my knowledge of fashion and textiles while remaining closely connected to industry practices.

In conclusion, this experience taught me that every company operates according to its own workflow and values. The more I learned about different departments, the more I began to understand fashion as a form of art deeply connected to heritage, culture, and modern influences. This placement helped me become more thoughtful and cautious in shaping my future career path while motivating me to continuously improve my skills and understanding of the industry.

Week 3 at SHEWORKs: Behind-the-Scenes Studio Practice (Image Post)

Observing product development stages, embroidery processes, teamwork, and coordination between departments during ongoing studio projects.

Inside the SHEWORKs Store: Brand Identity and Product Display

Today, I visited the SHEWORKS store, which also serves as a display space. I observed how they presented cushions made from 100-year-old fabrics, along with shalwar kameez in various fabric materials, traditional handloom weaves, and traditional jewellery. The overall setting creates a vintage atmosphere, evoking a nostalgic feeling—much like visiting an old historical place.

Week 3 – Understanding the Structure and Workflow of SHEWORKs

SHEWORKs operates with a small but well-organised studio structure in which each department plays a distinct role while remaining closely connected. The brand head leads the organization, while the textile designer and manager oversee departments such as the pattern cutting studio, embroidery studio, and product development studio to ensure smooth workflow and timely completion of tasks. Interns support the organization by assisting the designer and brand head with various tasks, including motif tracing, product sample collection, fabric material handling, and documentation. This structure reflects a professional working environment within the fashion and textile industry.



My role in the development of the company’s products is primarily supportive and research-based. I researched recycling leftover fabric into sustainable products such as tote bags and bandana-style patchwork pieces made from square fabric. I also researched heritage-based motifs, including Mughal-inspired floral designs, to support artisans in developing embroidery concepts. Creating research boards helped me understand the design concepts and detailed line work of each motif. Along with my fellow intern, I assisted in documentation tasks, traced motif repetitions onto tracing paper, and provided these to the embroidery team after double-checking with the supervisor and brand head. I also supported refurbishment processes. Overall, this experience helped me understand the workflow of a workshop-based company and highlighted the importance of handmade textiles, where a great deal of silent, detailed labor is carried out by artisans through hand embroidery.



The supervisors manage workflow, guide design decisions, and coordinate communication between departments. Embroidery artisans are responsible for executing detailed hand embroidery using traditional techniques. Pattern cutters translate designs into accurate garment shapes, while sewing staff assemble and finish products. Interns assist across departments by supporting research, sampling, and documentation. This collaborative approach ensures that each product reflects both craftsmanship and design intent.



SHEWORKs operates as a closely connected and collaborative team, where communication and mutual respect form the foundation of daily work. Rather than functioning as isolated departments, the studio works as an interconnected space in which each role supports the other. Designers, supervisors, artisans, pattern cutters, and sewing staff regularly exchange ideas and feedback to ensure that every product maintains its quality and cultural integrity.



The slow fashion approach allows the team to work at a thoughtful pace, prioritizing craftsmanship over speed. Decisions are discussed collectively, whether related to design adjustments, motif placement, or material selection. Supervisors and the brand head play a key role in coordinating tasks, guiding artisans, and encouraging teamwork and problem-solving.



Interns are included as part of the workflow and are given opportunities to observe, assist, and learn from experienced staff. This cooperative environment creates a sense of shared responsibility, where each handcrafted piece reflects the combined effort, skill, and dedication of the entire team.



SHEWORKs positions itself as a slow fashion and heritage-based brand that values craftsmanship, sustainability, and cultural preservation. Rather than competing with mass-produced fashion, the company operates within a niche market that prioritizes quality over quantity. Its focus on handmade techniques, heritage embroidery, and thoughtful design places the brand within the ethical and artisanal fashion sector. By transforming traditional Pakistani textile practices into contemporary products, SHEWORKs makes heritage relevant to modern lifestyles. Its limited production approach enhances exclusivity and authenticity, appealing to customers who seek meaningful, long-lasting pieces rather than fast fashion trends. Through ethical labor practices, sustainability, and cultural storytelling, the brand represents responsible and conscious design.



SHEWORKs’ customers are individuals who appreciate handcrafted products, cultural heritage, and ethical fashion practices. The brand primarily appeals to women who value unique, thoughtfully designed clothing and home décor items that reflect tradition and craftsmanship. Customers often seek products with cultural meaning, such as heritage-inspired garments, embroidered cushions, footwear, and accessories. Many are environmentally conscious and prefer slow fashion brands that support sustainability and artisan communities. Overall, SHEWORKS caters to a niche audience that values authenticity, quality, and cultural identity over mass-market fashion trends.



Overall, my experience at SHEWORKs has provided valuable insight into how a slow fashion brand operates through teamwork, structure, and shared values. Observing the company’s workflow helped me understand how each department from design and pattern cutting to embroidery and sewing makes meaningful contributions to the final product. The supportive role of interns within this structure highlighted the importance of research, documentation, and careful preparation in product development. I also gained a deeper appreciation for heritage-based craftsmanship and the effort required to preserve traditional textile techniques in a contemporary market. SHEWORKs’ commitment to sustainability, ethical practices, and cultural storytelling reflects a thoughtful approach to fashion that prioritizes quality, authenticity, and collaboration. This experience has strengthened my understanding of the fashion and textile industry and encouraged me to value slow, responsible, and meaningful design practices in my future work.

Week 2 at SHEWORKs: Developing Skills Through Heritage Textiles

During this week, I completed a research board focusing on recycling leftover fabric into potential products. I began by cutting tracing paper to size and carefully tracing the sleeve motif design provided by my supervisor. I created multiple tracings of the same design to understand repetition, which is essential for embroidery placement and continuity in product samples. I was also guided on how to apply continuous repeats along the neckline. The neckline length was measured from the shoulder down to 18 inches, maintaining a 1 cm gap between each motif to ensure balance and clarity in the embroidery layout. Later, I assisted in undoing parts of a 100-year-old heritage textile using a seam ripper. This process required patience and precision, as the fabric was delicate. Once undone, the textile was handed over to the embroidery artisans to complete the remaining work.

Another task involved researching heritage motifs connected to artisanal culture. My supervisor shared an example of an oval motif combining Mughal-inspired floral elements with geometric heritage patterns. Based on this, I researched motifs that aligned with SHEWORKs’ slow fashion identity and cultural aesthetic, such as floral, butterfly, rose, and symbolic motifs.

Through this research, I learned that heritage motifs often draw inspiration from nature, geometry, tradition, and symbolism. Floral motifs include Buti or Boota, Paisley or Boteh (Kairi), Gul-e-Nargis, Gul-e-Lala, Genda Phool, and Champa or jasmine motifs. Geometric motifs include jali patterns, chevron designs, mandalas, tessellations, stars, and spirals. Cultural motifs such as Ajrak patterns, Sindhi Soof embroidery, Balochi motifs, Kashmiri chinar leaf designs, Phulkari embroidery, Ralli patchwork, and Sufiana patterns reflect regional identity. Symbolic motifs such as the Tree of Life, sunburst, peacock, fish, and lotus represent heritage values, prosperity, purity, and continuity.

Additionally, I was assigned to measure five cushion samples made from 100-year-old heritage textiles. The measurements were recorded as follows: 30.6 × 15.5 inches, 32.7 × 14.5 inches, 30.2 × 15 inches, 30 × 15.4 inches, and 30.6 × 15.3 inches. I also observed the embroidery artisans, who explained how traced motifs are transferred onto plastic or bubble sheets using pinning techniques to replicate designs accurately on fabric.

I continued editing and refining my heritage motif research and collage using Photoshop, focusing on traditional and culturally inspired visuals. During this time, I observed discussions between the supervisor and the brand head regarding upcoming shalwar kameez designs in different variations, along with decisions related to color palettes and design direction. This gave me insight into the planning process behind product development in a slow-fashion brand.

I presented my motif research board to the supervisor and other employees, who approved two selected motifs. After receiving approval, I printed both motifs and traced them carefully onto tracing paper, ensuring neatness and accuracy.

Later, I worked on undoing the outer stitched edges of a 100-year-old heritage cushion using a seam ripper and fabric scissors. At one point, I faced difficulty where different colored threads were interconnected. I then visited the pattern cutting studio, where Ma’am Aqsa guided me on which areas required adjustment. A pattern-cutting employee further explained the correct traditional method, which I applied successfully, allowing the process to continue smoothly.

After completing the traced motifs, I showed them to the supervisor for review. She suggested improving the neatness of one motif while approving the fish motif. However, I was asked to trace the fish motif again in a smaller size (4 × 4 inches) to demonstrate how the motif could be displayed on various products or fabric surfaces. Another product-sample task required teamwork, so my intern fellow and I divided responsibilities. I used a wide-toothed brush to loosen and straighten the outer-edge weave threads, while Fatima used fabric scissors to trim excess threads to prevent damage carefully. We later swapped roles to manage fatigue and ensure precision in the task.

During my placement at SHEWORKs, I applied and developed a variety of skills through hands-on studio activities. I strengthened my organisational and documentation skills by sorting and cataloguing design paperwork, layouts, motifs, sleeves, necklines, and sample records, which showed me how information is systematically managed in a slow fashion brand. My research and analytical skills improved while studying heritage motifs, understanding their cultural and symbolic meanings, and selecting patterns suitable for contemporary designs. Working on research boards and digital collages using Photoshop enhanced my visual research and presentation skills. I also developed practical textile skills through tracing motifs, measuring heritage fabrics, and carefully undoing delicate 100-year-old embroidered textiles, which required patience and precision. Observational, communication, and teamwork skills were honed by collaborating with supervisors, artisans, and my internmate, learning traditional handcraft methods, and dividing tasks efficiently. Overall, these experiences helped me combine technical and soft skills within a slow fashion and handcraft-focused environment. Moving forward, I aim to further develop heritage research, handcraft techniques, digital presentation, organization, and teamwork, applying them to my own creative work while embracing a thoughtful, sustainable, and culturally sensitive approach to design.

Week 2 Internship: Research, Tracing, and Textile Handling (Image Post)

Motif tracing, heritage research, sample handling, documentation, and studio-based learning activities were undertaken during the second week.