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.