Graduation research document(1)

Research and design project
for
“ The culture and jewelry trends of Tamil Nadu, India and
using design as a competitive advantage in the face of
competition from established local jewelers. ”
on
Asmita Kulshreshtha
NIFT Gandhinagar

The four year degree course of fashion and lifestyle accessories designed to develop a
comprehensive ability of macro level understanding of international markets changing
trends within fashion scenario and micro level hands on learning about materials,
technology, production, construction, finishes, design principles methodologies, design
management and design communication in young professionals. The amalgamation of
the theatrical knowledge with the practical understanding forms the last key step to
ending the degree courses successfully.
The final phase of this exhaustive learning period is 18 weeks graduation project with
a firm which aims at testing a student of their knowledge gained in four years at NIFT. It
also entitles a student to gain on personality traits such as patience, sincerity ,time
management ,work efficiency and the willingness to learn constantly in a corporate
environment.
The project being realistic , the sponsoring industry jointly develops specific design
briefs with the students on which he /she works on during the project period. Based on
this brief the student develops a collection which is commercially
viable by the end of the project.
Each student hence develops a capability towards taking the industry , studying the
brand image , identifying consumer needs, analyzing market trends and developing
products that are market oriented but integrated in a way to provide a wholesome
experience to the consumer.
The project given to me empowered me at every step tp understand my weakness and
hone my design to the ultimate level of sale ability and aesthetics for a given consumer.
It gave me an insight on how a product should be designed understanding the consumer,
what material is feasible depending on the usage, and how the product will be developed
Introduction

TAMIL NADUTAMIL NADU
A highly consumer and price-driven collection in 22K Gold and diamond, the Tamil Nadu or
‘South’ collection targets at taking Tanishq as a brand to the masses of the challenging South
Indian market of Tamil Nadu.

Design process
Industry Brief
Client Board
About Tamil Nadu
Tamil Nadu Jewelry
Creating a virtual collection
Brainstorming on possible
themes/stories
Shortlisted stories
Consumer survey
Design direction
Final story: Kolam
Restatement of brief
Concepts and designs
Industry Brief
To design a collection for the womenfolk of Tamil Nadu, 25-35
years of age, belonging to the upper-middle income group.
Design process
Industry Brief
Client Board
About Tamil Nadu
Tamil Nadu Jewelry
Creating a virtual collection
Brainstorming on possible
themes/stories
Shortlisted stories
Consumer survey
Design direction
Final story: Kolam
Restatement of brief
Concepts and designs
Industry Brief
To design a collection for the womenfolk of Tamil Nadu, 25-35
years of age, belonging to the upper-middle income group.

Client board
Keywords:
Conservative
Traditional
Simple
Religious
Client board
Keywords:
Conservative
Traditional
Simple
Religious

bout Tamil Nadu
ATamil Nadu is one of the 28statesofIndia. Its capital
and largest city is Chennai. Tamil Nadu lies in the
southernmost part of theIndian Peninsula and is bordered
by theunion territory ofPondicherry, and the states of
Kerala,Karnataka, andAndhra Pradesh. It is bound by
theEastern Ghatsin the north, theNilgiri, theAnamalai
Hills, andPalakkadon the west, by the Bay of Bengalin
the east, theGulf of Mannar, thePalk Straitin the south
east and by theIndian Oceanin the south.
Tamil Nadu, the cradle of Dravidian culture, has a very
rich history dating back to thousands of years. The timeline
of Tamil Nadu can be divided into three major time frames:
Early, Medieval and Modern:
• EARLY PERIOD: Prehistory
• MEDIEVAL PERIOD: Sangam era and the rise of
empires
o Sangam period - (Before 300 BC)
o The Cholas - (Around 250 CE-350 CE)
o The Pallavas - (350 CE-848 CE)
o The Cholas - (848 CE-1279 CE)
o The Pandyas - (1279 CE-1345 CE)
o Muslim invasion by the Delhi Sultanate/The Cheras -
(Around 1331 CE)
o Vijayanagar and Nayak period – (1300 CE-1650 CE)
o Nizams and Nawabs – (1650 CE-1750 CE)
• MODERN PERIOD:
o European Colonization – (1750 CE-1850 CE)
o British Raj – (1850 CE-1947 CE)
o Post independence period.
? Total Area: 130,058 km2 (11th largest
in India)
? Language: Tamil
? Literacy: 80.3%
? Population: 72,139,958 (2011)
? Population density: 554.7/km2
? Ranks 7th population-wise in India.
bout Tamil Nadu
ATamil Nadu is one of the 28statesofIndia. Its capital
and largest city is Chennai. Tamil Nadu lies in the
southernmost part of theIndian Peninsula and is bordered
by theunion territory ofPondicherry, and the states of
Kerala,Karnataka, andAndhra Pradesh. It is bound by
theEastern Ghatsin the north, theNilgiri, theAnamalai
Hills, andPalakkadon the west, by the Bay of Bengalin
the east, theGulf of Mannar, thePalk Straitin the south
east and by theIndian Oceanin the south.
Tamil Nadu, the cradle of Dravidian culture, has a very
rich history dating back to thousands of years. The timeline
of Tamil Nadu can be divided into three major time frames:
Early, Medieval and Modern:
• EARLY PERIOD: Prehistory
• MEDIEVAL PERIOD: Sangam era and the rise of
empires
o Sangam period - (Before 300 BC)
o The Cholas - (Around 250 CE-350 CE)
o The Pallavas - (350 CE-848 CE)
o The Cholas - (848 CE-1279 CE)
o The Pandyas - (1279 CE-1345 CE)
o Muslim invasion by the Delhi Sultanate/The Cheras -
(Around 1331 CE)
o Vijayanagar and Nayak period – (1300 CE-1650 CE)
o Nizams and Nawabs – (1650 CE-1750 CE)
• MODERN PERIOD:
o European Colonization – (1750 CE-1850 CE)
o British Raj – (1850 CE-1947 CE)
o Post independence period.
? Total Area: 130,058 km2 (11th largest
in India)
? Language: Tamil
? Literacy: 80.3%
? Population: 72,139,958 (2011)
? Population density: 554.7/km2
? Ranks 7th population-wise in India.

EARLY PERIOD: PREHISTORY
It is suggested that the first Dravidians were part of the
early Indus Valley Civilization and had to migrate
southwards to escape aggressive Aryan advancements
around 1500 BC.
MEDIEVAL PERIOD: SANGAM ERAAND THE
RISE OF EMPIRES
?
classical period in the history ofTamil Nadu, Keralaand
other parts ofSouth India, it is named after theTamil
Sangams, which were assemblies of Tamil scholars and
poets.
? The Cholas - (Around 250 CE-350 CE, 848 CE-1279
CE): One of the longest-ruling dynasties in some parts
ofsouthern India, the Cholas were great lovers and patrons
of art, literature and architecture in Tamil Nadu.
? The Pallavas - (350 CE-848 CE): During Pallavas, the
Dravidian architecture reached its epitome. Popularly
referred as "the temple builders," the Pallavas constructed
a large number of temples including amazing temples of
Mahabalipuram, Kailasanathar Temple at Kanchipuram.
? The Pandyas - (1279 CE-1345 CE): The Pandyas are
considered to found the city of Madurai.
MODERN PERIOD: EUROPEAN COLONIZATION
AND POST-INDEPENDENCE
The Pandyas were defeated by the Muslims from the
Delhi Sultanate, giving way to the Nizams and Nawabs,
subsequently being taken over by the Europeans. The state
of Madras was renamed as Tamil Nadu in the year 1968.
Sangam period (Before 300 BC-300 CE): The
Timeline
Maps of the Dravidian region of India
during different time periods in the
medieval period which was an
important era in Tamil history. The
maps highlight the comparative
political situation of the region at
different times.
EARLY PERIOD: PREHISTORY
It is suggested that the first Dravidians were part of the
early Indus Valley Civilization and had to migrate
southwards to escape aggressive Aryan advancements
around 1500 BC.
MEDIEVAL PERIOD: SANGAM ERAAND THE
RISE OF EMPIRES
?
classical period in the history ofTamil Nadu, Keralaand
other parts ofSouth India, it is named after theTamil
Sangams, which were assemblies of Tamil scholars and
poets.
? The Cholas - (Around 250 CE-350 CE, 848 CE-1279
CE): One of the longest-ruling dynasties in some parts
ofsouthern India, the Cholas were great lovers and patrons
of art, literature and architecture in Tamil Nadu.
? The Pallavas - (350 CE-848 CE): During Pallavas, the
Dravidian architecture reached its epitome. Popularly
referred as "the temple builders," the Pallavas constructed
a large number of temples including amazing temples of
Mahabalipuram, Kailasanathar Temple at Kanchipuram.
? The Pandyas - (1279 CE-1345 CE): The Pandyas are
considered to found the city of Madurai.
MODERN PERIOD: EUROPEAN COLONIZATION
AND POST-INDEPENDENCE
The Pandyas were defeated by the Muslims from the
Delhi Sultanate, giving way to the Nizams and Nawabs,
subsequently being taken over by the Europeans. The state
of Madras was renamed as Tamil Nadu in the year 1968.
Sangam period (Before 300 BC-300 CE): The
Timeline
Maps of the Dravidian region of India
during different time periods in the
medieval period which was an
important era in Tamil history. The
maps highlight the comparative
political situation of the region at
different times.

ulture
C
RELIGION
LIFESTYLE
FESTIVALS
MUSIC
ART AND CRAFTS
DANCE
CUISINE
COSTUMES
The main religions in Tamilnadu are Hinduism, Islam, Christianity and Jainism. Most Tamilians
Hindus. The Brahminical castes of Iyer and Iyengar families continue to practice age-old
traditions like not marrying outside the community and strict observance of religious rituals.
The natives of Tamil Nadu are very particular about their value system and their beliefs. People
are very religious and visit the temples daily, but a major chunk of the population pays a visit on
Friday. People are content, mainly owing to the fulfillment of their relatively simple needs.
Tamil nadu celebrates the maximum number of festivals each year. Temple festivals are held in
September-October and in the post-harvest months of March-June. Pongal, a festival of Thanks
giving to the Sun, the Earth and the cow, is their main festival.
The ancient Tamil music is the historical predecessor of the music of Tamil Nadu during the
Sangam period, which evolved into classical Carnatic music by the 16th century. It is one of two
main sub-genres of Indian classical music that evolved from ancient Hindu traditions.
Tamil Nadu is known for its traditional ornate paintings, known as Tanjore paintings. This unique
art form has its origin from Tanjore in South India. Kolam is the decorative artwork drawn on the
floor in front of houses and in front of deities in Puja rooms. Its a symbol of good fortune.
Bharatanatyam is the most famous classical dance of India originated in Tamil Nadu which was
initially practiced in Shiva temples. Bharatanatyam skillfully embodies the three primary
ingredients of dancing. They are bhava or mood, raga or music and melody and tala or timing.
The region has a rich cuisine involving both traditional vegetarian, as well as non-vegetarian
dishes. It is characterized by the use of rice, legumes and lentils. The Chettinad region comprising
Karaikudi and adjoining areas is known for traditional vegetarian and non-vegetarian dishes.
Kanchipuram nine -yard silk sarees of Tamil Nadu are very famous, and are worn by women on
important formal occasions or occasions of celebrations, like weddings. Men are usually seen
dressed in Lungi along with a shirt and Angavastra.
ulture
C
RELIGION
LIFESTYLE
FESTIVALS
MUSIC
ART AND CRAFTS
DANCE
CUISINE
COSTUMES
The main religions in Tamilnadu are Hinduism, Islam, Christianity and Jainism. Most Tamilians
Hindus. The Brahminical castes of Iyer and Iyengar families continue to practice age-old
traditions like not marrying outside the community and strict observance of religious rituals.
The natives of Tamil Nadu are very particular about their value system and their beliefs. People
are very religious and visit the temples daily, but a major chunk of the population pays a visit on
Friday. People are content, mainly owing to the fulfillment of their relatively simple needs.
Tamil nadu celebrates the maximum number of festivals each year. Temple festivals are held in
September-October and in the post-harvest months of March-June. Pongal, a festival of Thanks
giving to the Sun, the Earth and the cow, is their main festival.
The ancient Tamil music is the historical predecessor of the music of Tamil Nadu during the
Sangam period, which evolved into classical Carnatic music by the 16th century. It is one of two
main sub-genres of Indian classical music that evolved from ancient Hindu traditions.
Tamil Nadu is known for its traditional ornate paintings, known as Tanjore paintings. This unique
art form has its origin from Tanjore in South India. Kolam is the decorative artwork drawn on the
floor in front of houses and in front of deities in Puja rooms. Its a symbol of good fortune.
Bharatanatyam is the most famous classical dance of India originated in Tamil Nadu which was
initially practiced in Shiva temples. Bharatanatyam skillfully embodies the three primary
ingredients of dancing. They are bhava or mood, raga or music and melody and tala or timing.
The region has a rich cuisine involving both traditional vegetarian, as well as non-vegetarian
dishes. It is characterized by the use of rice, legumes and lentils. The Chettinad region comprising
Karaikudi and adjoining areas is known for traditional vegetarian and non-vegetarian dishes.
Kanchipuram nine -yard silk sarees of Tamil Nadu are very famous, and are worn by women on
important formal occasions or occasions of celebrations, like weddings. Men are usually seen
dressed in Lungi along with a shirt and Angavastra.

Jewelry
In Tamil Nadu, jewellery is worn as a
tradition and everyone is seen wearing some
ornament or the other. The ancient jewellery
making tradition of this region speaks of a
high degree of excellence and
worksmanship. Gold is considered
auspicious and good for health. It is made
into ornaments for every part of the body
except the feet, where it is worn only by gods
and kings.
Ornaments shaped like the sun and moon
are set with rubies interspersed with
emeralds and uncut diamond and are worn
on the parting of the hair along the forehead.
Earrings of a wide variety are worn in the
state of Tamil Nadu. Ear studs can be
Kadukkan (single-stone), Kammal (lotus-
shaped with rubies or diamonds), Jimikki
(bell-shaped ear-drops), Lolaakku ( ear-drops
of any design) or Maattal which is made of
gold or pearls and is hooked to the earring
and then attached to the hair above the ear.
Ornaments for the nose include the single
stoned Mookkupottu or the Besari and Muthu
studded with eight diamonds or the swan
shaped Hamsa besari, all of which are worn
suspended from the central part of the nose.
Mangalsutra is the main neck ornament that
is worn on an auspicious thread or on a gold
chain. The pendant on the Mangalsutra
indicates the community of the wearer";" it
could be shaped like a tulsi (holy basil plant),
the conch and discus of Vishnu or it could be
heavily stone-studded as worn by Chettinad
women. The other varieties of neckwear
include necklaces and chains made of rubies
and emeralds.
Vanki, an upper arm ornament, is usually
intertwined in shape with a stone-inlaid piece
set in gold.
Oddiyaanam is a gold or silver belt worn
tightly around the waist with stone-encrusted
centres. Anklets of various types like the
Ganja golusu (heavy variety with bells that
tinkle), Thandai (stiff anklets with bells that
tinkle) and Kaal kaappu (worn mainly by
children and believed to protect their ankles)
are worn on each leg above the feet.
Jimiki
Thaali
Jewelry
In Tamil Nadu, jewellery is worn as a
tradition and everyone is seen wearing some
ornament or the other. The ancient jewellery
making tradition of this region speaks of a
high degree of excellence and
worksmanship. Gold is considered
auspicious and good for health. It is made
into ornaments for every part of the body
except the feet, where it is worn only by gods
and kings.
Ornaments shaped like the sun and moon
are set with rubies interspersed with
emeralds and uncut diamond and are worn
on the parting of the hair along the forehead.
Earrings of a wide variety are worn in the
state of Tamil Nadu. Ear studs can be
Kadukkan (single-stone), Kammal (lotus-
shaped with rubies or diamonds), Jimikki
(bell-shaped ear-drops), Lolaakku ( ear-drops
of any design) or Maattal which is made of
gold or pearls and is hooked to the earring
and then attached to the hair above the ear.
Mangalsutra is the main neck ornament that
is worn on an auspicious thread or on a gold
chain. The pendant on the Mangalsutra
indicates the community of the wearer";" it
could be shaped like a tulsi (holy basil plant),
the conch and discus of Vishnu or it could be
heavily stone-studded as worn by Chettinad
women. The other varieties of neckwear
include necklaces and chains made of rubies
and emeralds.
Vanki, an upper arm ornament, is usually
intertwined in shape with a stone-inlaid piece
set in gold.
Oddiyaanam is a gold or silver belt worn
tightly around the waist with stone-encrusted
centres. Anklets of various types like the
Ganja golusu (heavy variety with bells that
tinkle), Thandai (stiff anklets with bells that
tinkle) and Kaal kaappu (worn mainly by
children and believed to protect their ankles)
are worn on each leg above the feet.
Jimiki
Thaali

Kasumalai
Oodiyanam
Vanki Mangamalai
Kasumalai
Oodiyanam
Vanki Mangamalai

Jewelry techniques
Thaali
Traditional Tamil Nadu jewelry comprises of three major kinds of traditional techniques that are put to use.
They are Temple setting, Nakashi and Karaikudi setting.
TEMPLE SETTING
The traditional bridal jewellery, set with precious stones, mainly rubies and emeralds in a cabochon cut, is worn
on the head and hair by devadaasis/temple dancers who were considered wedded to the deity and as such came to
be called temple jewellery. The jewelry is made in 22K gold.
NAKASHI
Nakashi is the ancient South Indian technique of embossing intricate motifs on a 22K gold metal sheet and
using it in jewelry pieces. Tamil Nadu jewelry commonly comprises of figurines of gods and goddesses or nature-
inspired objects done in Nakashi technique.
KARAIKUDI SETTING
Karaikudi is a city in Sivaganga District in the Indian state of Tamil Nadu. The place is known for a special
kind of stone setting named after the city. Karaikudi setting is a closed setting of diamonds in which the back of
the stone is not exposed. Each diamond is set inside a closed gold collet, underlined with silver foil to add to the
radiance of the stone. Karaikudi setting is done in 22K gold and is very popular in the South Indian market.
Temple setting
Nakashi
Shown alongside are the pictures of a Karaikudi collet being
made at A-star, Hosur. The outer shape of the collet and
cavity for diamond setting is cut and fixed on wax, after
which ‘Chillai’ or engraving is done by hand on the collets to
set the diamonds.
Karaikudi / Closed setting
Jewelry techniques
Thaali
Traditional Tamil Nadu jewelry comprises of three major kinds of traditional techniques that are put to use.
They are Temple setting, Nakashi and Karaikudi setting.
TEMPLE SETTING
The traditional bridal jewellery, set with precious stones, mainly rubies and emeralds in a cabochon cut, is worn
on the head and hair by devadaasis/temple dancers who were considered wedded to the deity and as such came to
be called temple jewellery. The jewelry is made in 22K gold.
NAKASHI
Nakashi is the ancient South Indian technique of embossing intricate motifs on a 22K gold metal sheet and
using it in jewelry pieces. Tamil Nadu jewelry commonly comprises of figurines of gods and goddesses or nature-
inspired objects done in Nakashi technique.
KARAIKUDI SETTING
Karaikudi is a city in Sivaganga District in the Indian state of Tamil Nadu. The place is known for a special
kind of stone setting named after the city. Karaikudi setting is a closed setting of diamonds in which the back of
the stone is not exposed. Each diamond is set inside a closed gold collet, underlined with silver foil to add to the
radiance of the stone. Karaikudi setting is done in 22K gold and is very popular in the South Indian market.
Temple setting
Nakashi
Shown alongside are the pictures of a Karaikudi collet being
made at A-star, Hosur. The outer shape of the collet and
cavity for diamond setting is cut and fixed on wax, after
which ‘Chillai’ or engraving is done by hand on the collets to
set the diamonds.
Karaikudi / Closed setting

reating a virtual collection
CThe idea of the Tamil Nadu collection was
to create jewelry that would capture the
whole essesence of Tamil jewelry in a way
that is traditional, yet introduces something
new to the mostly non-experimental market.
In order to achieve this, the concept of
amalgamating two or more jewelry styles
relevant in the given market was
implemented to create a ‘virtual’ collection.
A detailed study was done on the kind of
jewelry that is accepted in the Tamil market,
with the help of image references. These
images were used to create boards of the
different jewelry styles. Consequently, the
images were treated in Adobe Photoshop to
create a collection of jewelry pieces in
which one piece had two or more traditional
techniques used in it. The original and
treated boards have been shown in the
consecutive pages.
CS-FU(Colored Stone-Fusion) DI-FU (Diamond-Fusion)
reating a virtual collection
CThe idea of the Tamil Nadu collection was
to create jewelry that would capture the
whole essesence of Tamil jewelry in a way
that is traditional, yet introduces something
new to the mostly non-experimental market.
In order to achieve this, the concept of
amalgamating two or more jewelry styles
relevant in the given market was
implemented to create a ‘virtual’ collection.
A detailed study was done on the kind of
jewelry that is accepted in the Tamil market,
with the help of image references. These
images were used to create boards of the
different jewelry styles. Consequently, the
images were treated in Adobe Photoshop to
create a collection of jewelry pieces in
which one piece had two or more traditional
techniques used in it. The original and
treated boards have been shown in the
consecutive pages.
CS-FU(Colored Stone-Fusion) DI-FU (Diamond-Fusion)

CS-T (Colored Stone-Traditional) DI-FA (Diamond- Fashion)
DI-T (Diamond- Traditional) KUN- Kundan
CS-T (Colored Stone-Traditional) DI-FA (Diamond- Fashion)
DI-T (Diamond- Traditional) KUN- Kundan

NA-FU (Nakashi-Fashion) NA-T (Nakashi-Traditional)
NAVR (Navratan) OP (Open Polki)
NA-FU (Nakashi-Fashion) NA-T (Nakashi-Traditional)
NAVR (Navratan) OP (Open Polki)

PG- FU(Plain Gold- Fusion) PG- T (Plain Gold- Traditional)
TJ-FU(Temple jewelry-Fusion) TJ-T (Temple Jewelry- Traditional)
PG- FU(Plain Gold- Fusion) PG- T (Plain Gold- Traditional)
TJ-FU(Temple jewelry-Fusion) TJ-T (Temple Jewelry- Traditional)

VIRTUAL BOARD 1: 2-TONEVIRTUAL BOARD 1: 2-TONE

VIRTUAL BOARD 2: 3 TONEVIRTUAL BOARD 2: 3 TONE

VIRTUAL BOARD 3: 3-TONEVIRTUAL BOARD 3: 3-TONE

VIRTUAL BOARD 4: DIA-CON (DIAMOND-CONTEMPORARY)VIRTUAL BOARD 4: DIA-CON (DIAMOND-CONTEMPORARY)

VIRTUAL BOARD 5: NK-S (NAKASHI-STONES)VIRTUAL BOARD 5: NK-S (NAKASHI-STONES)

VIRTUAL BOARD 6: NK-TEM (NAKASHI- TEMPLE JEWELRY)VIRTUAL BOARD 6: NK-TEM (NAKASHI- TEMPLE JEWELRY)

VIRTUAL BOARD 7: NK-TRA (NAKASHI-TRADITIONAL)VIRTUAL BOARD 7: NK-TRA (NAKASHI-TRADITIONAL)

VIRTUAL BOARD 8: TEM-CS (TEMPLE JEWELRY- COLORED STONES)VIRTUAL BOARD 8: TEM-CS (TEMPLE JEWELRY- COLORED STONES)

rainstorming for theme/story
BAfter all the probable looks and techniques for the collection had been explored, it was necessary to give a definite direction to the
collection by finalizing one theme or story that the collection would be inspired by. The initial study of Tamil Nadu and its culture was put to
use for this purpose and a brainstorming was done on various subjects that could possibly form the basis for inspiring the collection. The
stories suggested have been explained hereby.
THE CHOLAS
TEMPLES
KANJEEVARAM
SAREES
TheChola dynasty was aTamildynasty which was one of the longest-ruling in some parts
ofsouthern India, being in existence from roughly around 300 BC upto 1279 CE. During the
Chola dynasty, life revolved around the temple. In general, they were the adherents
ofHinduism. The Chola period is also remarkable for its sculptures and bronzes. Most of the
sculptures and bronze idols depict fine figures of Siva in various forms, Vishnuand his
consortLakshmi, Siva saints and many more mostly religious and mythical characters.
Nataraja, perhaps the most important and famous of all bronze statues of the period, the
symbolism presentsSivaas lord of thecosmic dance ofcreationanddestruction.
Tamil Nadu is also known as the "Land of Temples" as there are more than 30,000 temples in
the state, some of them more than thousand years old and are architectural marvels. It is the land
where Dravidian style of temple architecture manifested itself in a grand and magnificent way.
Vimanas (storeys) and Gopurams (towering gateways to the temple complex) best characterize
the temples of Tamilnadu. The architecture of these temples is a living testimony to the glorious
past of enchanting Tamil Nadu. Majority of these awe inspiring temples were construed during
the reign of Cholas, Pandyas, Pallavas, Nayaks and other Vijaynagar rulers. It is interesting to
note that the temples of South India were not merely a place of worship but a large part of social
and cultural life of the people revolved around them.
The Kanjeevaram sari gets its name from the town it originated in - Kanchipuram, a little
temple town in Tamil Nadu. Heavy silk background is dotted with embroidery made with real
gold or silver. Silken thread may also be used. The pallav, or the end thrown over the shoulder,
and the borders are typically more elaborate and colorful than the rest of the sari. A hallmark of
Kanjeevaram silk is the bold and bright color, favored by almost every Indian woman. A
Kanjeevaram saree will always find a place in every South Indian bride's trousseau.
The saree is deeply rooted in the south Indian culture, giving a sense of belonging towards
their mother land.

BHARATANATYAM
NATARAJA
KOLAM
TANJORE
PAINTINGS
Bharatanatyam is a classical dance form that originated in southern India in the state of
Tamilnadu. It started as a temple dance tradition called Dasiyattam (the dance of the maid-
servants) 2000 years ago and is perhaps the most advanced and evolved dance form of all the
classical Indian dance forms. Bharata Natyam is considered to be a 'fire dance' - the mystic
manifestation of the metaphysical element of fire in the human body.
Bharata Natyam proper is asolo dance, with two aspects —lasya, the graceful feminine
lines and movements, andtandava Ananda Thandavam (Tamil) (the dance ofShiva),
masculine aspect which is identical to theYin and Yangin the Chinese culture.
N‚?araja is derived from the Sanskrit words ‘Narta R‚jan’ (Lord of dance). Nataraja's
dance is the symbolic representation of human life, which depicts that ultimately, the good
and the evil are neutralized. It represents five activities: 'Srishti' (creation, evolution); 'Sthiti'
(preservation, support); 'Samhara' (destruction, evolution); 'Tirobhava' (illusion); and
'Anugraha' (release, emancipation, grace).
A Tamil concept, Shiva was first depicted as Nataraja in the famous Chola bronzes and
sculptures of Chidambaram. The form is present in most Shiva temples in South India, and is
the main deity in the famous temple at Chidambaram.
Kolamis a form of painting that is drawn usingricepowder. A Kolam is a curvilinear
geometrical line drawing composed of curved loops, drawn around a grid pattern of dots.
InSouth India, it is widely practiced by femaleHindufamily members in front of their
homes, as a ritual to welcome goddess Lakshmi and prosperity in the household. In olden
days, kolams used to be drawn in coarse rice flour, to invite birds, ants and other small
critters to eat it, thus inviting other beings into one's home and everyday life: a daily tribute
to harmonious co-existence. Folklorehas evolved to mandate that the lines must be
completed so as to symbolically prevent evil spirits from entering the inside of the shapes,
and thus are they prevented from entering the inside of the home.
Tanjore Painting is a kind of classic, miniature type of painting named after theplace
Thanjavur(called Tanjore) in Tamil Nadu. The art form dates back to about 1600 AD, a
period when the Nayakas of Tanjavur encouraged art—chiefly, classical dance and music—as
well as literature, both in Telugu and Tamil. Essentially serving as devotional icons, the
themes of most of these paintings areHindugods and goddesses.
Tanjore paintings were originally embellished with pure gold foil and precious stones like
rubies and emeralds, but these days artificial, non-precious elements are being put to use to
create them.

hortlisted stories
S
KANJEEVARAM SAREES
hortlisted stories
S
KANJEEVARAM SAREES

TEMPLE ARCHITECTURETEMPLE ARCHITECTURE

Consumer study
After the groundwork on all the possible
design directions that can be taken and
stories that can be used for inspiration was
over, it was necessary to take a feedback
from the target consumer group upon the
ideas, in order to understand what exactly is
liked by the consumer and to finalize the
design direction that the collection would
take.
For this purpose, an agency called ‘Multi
Dimensions’ was commissioned to conduct a
research and gather feedback from a focus
group in the Tamil Nadu market, in the first
week of 2012. The agency conducted
extensive ethnographic interviews and
studied current practices/ behaviour patterns
relevant to jewelry buying.
The focus group comprised of women of
the 28-35 years age group. The women have
a traditional mindset and generally wear
sarees. They attend social gatherings
frequently and are particular about changing
their attire and jewelry according to the
occasion. The focus group consisted of both
homemakers as well as self-employed/
working women. All women in the focus
group had bought jewelry worth Rs. 1-5 lakh
in the past 6 months from Tanishq/ other
brands. All were open to buying from
Tanishq in future.
The important findings that were derived
from the study have been summarized as
follows:
? There has been a shift from the strictly
south Indian style of dressing, i.e.,
Kanjeevaram sarees at social gatherings,
towards more ‘designer’ sarees and lehengas,
Embellishments of Kundan and crystals in
the attire are appreciated.
? The women feel that there is not the right
kind of precious jewelry available in the
market to go with their ‘designer’ attire,
hence, artificial jewelry with stones, kundan
and polki are often chosen to go with these
ensembles. This has led to Kundan and Polki
being seen as ‘Non-genuine’ jewelry. Hence
there is a potential for lightweight jewelry in
gold and enamel to match with the attires.
? For everyday use, along with the Thaali,
consumers use a choker chain with a
pendant. The regular gold bangles and ear
studs are changed when the consumers go
out.
? For small functions, a longer Mala or a
dressy pendant set (in gemstones or white
zircons) maybe used. For more important
functions ruby/ emerald pendant sets are
? Family weddings are big occasions where
announcement of image through jewelry is
done. Many people especially go saree and
jewelry shopping when there’s a wedding in
the family. All the heavy traditional items,
comprising of the whole range, i.e, Long
Haram, short chain or close necklace,
Oodiyanam or waistbelt, Vanki, Eardrops or
Jimiki, Bangles and diamond sets are taken
out for the wedding.
? Purchase of jewelry is seen as a careful
investment, with the item planned carefully,
for most consumers. Although, with the
number of buying occasions having gone up,
more frequent low value purchases have
also started.
? Diwali, New Year, Akshaya Tritiya,
Birthdays, anniversaries are the major
buying occasions.
? The favorite buying items are the
moderately-prices ones that can be changed
regularly. (Ear drops/studs, rings, pendants,
bangles)
? 3 out of 4 purchases are of plain gold
jewelry. Among stones, most purchased
rubies and emeralds set in gold, zircons too.
Most of the people own a traditional
diamond set.

? Navrathna is not wanted at all, it is
thought of a category fit for only men’s
rings, as its ‘too dull’ for women.
? Since gold is often considered as an
investment, mostly traditional items are
purchased in gold. The lightweight designs
are experimented with in terms of stones and
enamel.
? Consumers value exclusivity and
uniqueness in design. But there are
boundaries to their preferences for designs-
the creativity enveloped cannot be pushed
into too unfamiliar areas.
? Design, rate of gold, wastage and making
charges were key determinants for purchase.
Other factors remaining constant, the most
competitive store would get the business.
?Usually a set of three stores are checked
out before the final selection. ( Nathella,
Prince, Khazana, Tanishq )
PERCEPTIONS ABOUT TANISHQ:
? Innovative and unique designs. People are
confident about its gold purity because its
certified.
? The consumers are of the opinion that
Tanishq is meant for very modern and stylish
people and not for people with common
tastes like themselves.
? The consumers feel that there are many
?
(like
mostly in stones. There is a lack of range in
light weight jewelry for everyday use. There
is aslo not much range in traditional south
Indian heavy pieces like gold Harams.
WAY FORWARD
? Consumers are excited and feel
privileged about uniqueness in design. They
like modern designs but with traditional
underpinnings. Designs which have more of
gold visible but with a balance of stones/
diamonds are appreciated. Abstract designs
with floral motifs which look large and
voluminous are liked.
? Consumers look forward to designs that
do not bring a drastic change to the existing
ones, but ‘Transform/ Renew’ the traditional
styles. Designs should make them look more
youthful as some consumers feel that
traditional designs make them look ‘older’.
? There is a predominance of gold preferred
in Gold based designs because solid gold has
a higher re-sale value.
? There is a hesitation about big god
pendants (Nakashi work).
?In combinations, consumers are keen about
the balance and blending of materials and
tones. Intricate yet delicate pieces are
appreciated. Also, they look for symmetry
in the mix.
?
designs in the heavier jewelry segment
wedding collections), and they are
? People are open to experiment with
innovations in design. Reversible patterns
found favour among consumers even if it
meant that they were more bulky. (10-15
grams more). Consumers felt that it was
better than buying two items.
DESIGN INSPIRATIONS/ STORY
? Consumers liked the concept of defining
the collection through a story as it created a
recall value for the pieces.
? Out of the three inspiration stories
shown, the Kolam and Kanjeevaram sari
based inspiration stories were considered
very typical of Chennai and its ethos.
? Temple architecture and Tanjore
paintings too were considered authentic.
However images of god except in small
enamel pendants was not among the routes
liked-hence this route was put last.
? Kolam reminded them of lightweight as
well as intricate patterns. Some respondents
saw a correlation between DI – FA, the
design direction liked the most and the
communication route, Kolam.
? Kanjivaram was also liked though
second in terms of preference. The pattens
drawn from kanjivaram sari motifs was
greatly credible. This could go well with the
Plain gold design direction.
? Navrathna is not wanted at all, it is
thought of a category fit for only men’s
rings, as its ‘too dull’ for women.
? Since gold is often considered as an
investment, mostly traditional items are
purchased in gold. The lightweight designs
are experimented with in terms of stones and
enamel.
? Consumers value exclusivity and
uniqueness in design. But there are
boundaries to their preferences for designs-
the creativity enveloped cannot be pushed
into too unfamiliar areas.
? Design, rate of gold, wastage and making
charges were key determinants for purchase.
Other factors remaining constant, the most
competitive store would get the business.
?Usually a set of three stores are checked
out before the final selection. ( Nathella,
Prince, Khazana, Tanishq )
PERCEPTIONS ABOUT TANISHQ:
? Innovative and unique designs. People are
confident about its gold purity because its
certified.
? The consumers are of the opinion that
Tanishq is meant for very modern and stylish
people and not for people with common
tastes like themselves.
? The consumers feel that there are many
?
(like
mostly in stones. There is a lack of range in
light weight jewelry for everyday use. There
is aslo not much range in traditional south
Indian heavy pieces like gold Harams.
WAY FORWARD
? Consumers are excited and feel
privileged about uniqueness in design. They
like modern designs but with traditional
underpinnings. Designs which have more of
gold visible but with a balance of stones/
diamonds are appreciated. Abstract designs
with floral motifs which look large and
voluminous are liked.
? Consumers look forward to designs that
do not bring a drastic change to the existing
ones, but ‘Transform/ Renew’ the traditional
styles. Designs should make them look more
youthful as some consumers feel that
traditional designs make them look ‘older’.
? There is a predominance of gold preferred
in Gold based designs because solid gold has
a higher re-sale value.
? There is a hesitation about big god
pendants (Nakashi work).
?In combinations, consumers are keen about
the balance and blending of materials and
tones. Intricate yet delicate pieces are
appreciated. Also, they look for symmetry
in the mix.
?
designs in the heavier jewelry segment
wedding collections), and they are
? People are open to experiment with
innovations in design. Reversible patterns
found favour among consumers even if it
meant that they were more bulky. (10-15
grams more). Consumers felt that it was
better than buying two items.
DESIGN INSPIRATIONS/ STORY
? Consumers liked the concept of defining
the collection through a story as it created a
recall value for the pieces.
? Out of the three inspiration stories
shown, the Kolam and Kanjeevaram sari
based inspiration stories were considered
very typical of Chennai and its ethos.
? Temple architecture and Tanjore
paintings too were considered authentic.
However images of god except in small
enamel pendants was not among the routes
liked-hence this route was put last.
? Kolam reminded them of lightweight as
well as intricate patterns. Some respondents
saw a correlation between DI – FA, the
design direction liked the most and the
communication route, Kolam.
? Kanjivaram was also liked though
second in terms of preference. The pattens
drawn from kanjivaram sari motifs was
greatly credible. This could go well with the
Plain gold design direction.

REACTION TO STIMULUS (VIRTUAL COLLECTION)
DESIGN ROUTE 3.5-5 LAKHS RECENT BUYERS (Relatively more
evolved, own more pieces of jewelry, more adventurous)
1.5-3 LAKHS RECENT BUYERS(More conservative,
are into collection of jewelry, follow the trodden path )
CS-FA(Colored Stones-Fashion) Not unique, common. Unique, different, nice.
CS-T(Colored Stones-Traditional) Nice but common. Traditional but nice, seen before.
DI-FA(Diamond-Fashion)*
Glittering, very nice, fashionable,
delicate, modern.
Superb, trendy, different, very
unique, best designs.
DI-FU(Diamond-Fushion)
Traditional and fashionable,
different.
Very good, old design in new
form.
DI-T(Diamond-Traditional) Old fashioned, common. Ordinary, common.
NA-FA (Nakashi-Fashion)
Antique, god pendants not attractive, like
Ramya Krishnan, not glamorous, heavy.
Not nice, fit for dancers only, not
attractive, not fit for all occasions.
NA-T (Nakashi-Traditional)
Too much God imagery, heavy, not bright
finish, will not add to look. Ordinary, common.
NAVR (Navrathna) Local, common designs, very congested. Not unusual, seen before.
OP (Open Polki)
Resembles artificial jewelry, not
status enhancing. All designs are attractive.
PG-FA (Plain Gold-Fashion)* Very nice, trendy, versatile. All are good, trendy for all occasions.
PG-T (Plain Gold-Traditional) Common, dull, nothing new. All are old designs, but nice.
TJ-FA (Temple Jewelry- Fashion)
Like Bharatanatyam set, looks like
silver, for very rich people.
Only for very stylish people, does
not suit all.
REACTION TO STIMULUS (VIRTUAL COLLECTION)
DESIGN ROUTE 3.5-5 LAKHS RECENT BUYERS (Relatively more
evolved, own more pieces of jewelry, more adventurous)
1.5-3 LAKHS RECENT BUYERS(More conservative,
are into collection of jewelry, follow the trodden path )
CS-FA(Colored Stones-Fashion) Not unique, common. Unique, different, nice.
CS-T(Colored Stones-Traditional) Nice but common. Traditional but nice, seen before.
DI-FA(Diamond-Fashion)*
Glittering, very nice, fashionable,
delicate, modern.
Superb, trendy, different, very
unique, best designs.
DI-FU(Diamond-Fushion)
Traditional and fashionable,
different.
Very good, old design in new
form.
DI-T(Diamond-Traditional) Old fashioned, common. Ordinary, common.
NA-FA (Nakashi-Fashion)
Antique, god pendants not attractive, like
Ramya Krishnan, not glamorous, heavy.
Not nice, fit for dancers only, not
attractive, not fit for all occasions.
NA-T (Nakashi-Traditional)
Too much God imagery, heavy, not bright
finish, will not add to look. Ordinary, common.
NAVR (Navrathna) Local, common designs, very congested. Not unusual, seen before.
OP (Open Polki)
Resembles artificial jewelry, not
status enhancing. All designs are attractive.
PG-FA (Plain Gold-Fashion)* Very nice, trendy, versatile. All are good, trendy for all occasions.
PG-T (Plain Gold-Traditional) Common, dull, nothing new. All are old designs, but nice.
TJ-FA (Temple Jewelry- Fashion)
Like Bharatanatyam set, looks like
silver, for very rich people.
Only for very stylish people, does
not suit all.

DESIGN ROUTE 3.5-5 LAKHS RECENT BUYERS 1.5-3 LAKHS RECENT BUYERS
TJ-T (Temple Jewelry-Traditional)
Heavy, looks like imitation but
could cost over Rs 10L.
Only for highly stylish people, will go only with
cotton saris, silk cotton, for older women.
NK-S (Nakashi-Stones)* Very unique and good.
For stylish people, good, god imagery
plus close set diamonds are nice.
TEM-CS(Temple-Colored Stones)
All look like imitation designs, not
at all appealing.
Gentle look, nice, not unique
though.
NK-TEM(Nakashi-Temple)
Not for common people, heavy, looks like
imitation, cannot wear with Thali.
Good, but a bit fancy, like for
temple dancers.
NK-TRA(Nakashi-Traditional)
All are not balanced, too many elements,
god’s imagery cannot be worn all the time.
Will look good only with sari.
2-TONE
Not suited to common people. Not
balanced, will give an oldish look.
Good but very heavy.
3-TONE Traditional, not versatile, not balanced. Only Jimikki is good.
KUN(Kundan)
Not suited to common people, looks
totally artificial.
Not for common people, looks
like imitation.
NK – Op1 (Nakashi-Open Polki)
Like temple jewelry, unique,
heavy, costly. Not so good look artificial.
Good for simple functions without god
pendant. The chains are nice.
Too much god imagery, not for daily wear.
DIA-CON (Diamond- Contemporary)
Very Unique, fashionable, versatile, goes with
party wear and designer saris too.
For very stylish people only, does not
look original, does not look pure.
*The text in bold are the design
directions that were most liked.
DESIGN ROUTE 3.5-5 LAKHS RECENT BUYERS 1.5-3 LAKHS RECENT BUYERS
TJ-T (Temple Jewelry-Traditional)
Heavy, looks like imitation but
could cost over Rs 10L.
Only for highly stylish people, will go only with
cotton saris, silk cotton, for older women.
NK-S (Nakashi-Stones)* Very unique and good.
For stylish people, good, god imagery
plus close set diamonds are nice.
TEM-CS(Temple-Colored Stones)
All look like imitation designs, not
at all appealing.
Gentle look, nice, not unique
though.
NK-TEM(Nakashi-Temple)
Not for common people, heavy, looks like
imitation, cannot wear with Thali.
Good, but a bit fancy, like for
temple dancers.
NK-TRA(Nakashi-Traditional)
All are not balanced, too many elements,
god’s imagery cannot be worn all the time.
Will look good only with sari.
2-TONE
Not suited to common people. Not
balanced, will give an oldish look.
Good but very heavy.
3-TONE Traditional, not versatile, not balanced. Only Jimikki is good.
KUN(Kundan)
Not suited to common people, looks
totally artificial.
Not for common people, looks
like imitation.
Like temple jewelry, unique,
heavy, costly. Not so good look artificial.
Good for simple functions without god
pendant. The chains are nice.
Too much god imagery, not for daily wear.
DIA-CON (Diamond- Contemporary)
Very Unique, fashionable, versatile, goes with
party wear and designer saris too.
For very stylish people only, does not
look original, does not look pure.
*The text in bold are the design
directions that were most liked.

Design direction
DESIGN INSPIRATION:
KOLAM
DESIGN DIRECTION:
DI-FA, PG-F, NK-S
DESIGN CHARACTERISTICS:
“ARTISTIC, VERSATILE, LAYERED, WITH EMBELLISHMENTS ALL DESIGNED FOR REGULAR
PEOPLE.”
WHAT THE DESIGN SHOULD AIM AT:
“TRANSFORM, RENEW, MAKE TRADITIONAL JEWELRY MORE YOUTHFUL.”
RESTATEMENT OF BRIEF:
“TO DESIGN A COLLECTION FOR THE WOMEN OF TAMIL NADU, 28-35 YEARS OF AGE, IN 22K GOLD
AND DIAMONDS, BELONGING TO THE UPPER-MIDDLE INCOME GROUP, INSPIRED BY KOLAM.”
Design direction
DESIGN INSPIRATION:
KOLAM
DESIGN DIRECTION:
DI-FA, PG-F, NK-S
DESIGN CHARACTERISTICS:
“ARTISTIC, VERSATILE, LAYERED, WITH EMBELLISHMENTS ALL DESIGNED FOR REGULAR
PEOPLE.”
WHAT THE DESIGN SHOULD AIM AT:
“TRANSFORM, RENEW, MAKE TRADITIONAL JEWELRY MORE YOUTHFUL.”
RESTATEMENT OF BRIEF:
“TO DESIGN A COLLECTION FOR THE WOMEN OF TAMIL NADU, 28-35 YEARS OF AGE, IN 22K GOLD
AND DIAMONDS, BELONGING TO THE UPPER-MIDDLE INCOME GROUP, INSPIRED BY KOLAM.”

KDesign inspiration: olam
In Tamil Nadu, it is an old tradition to
decorate the entrance to the home with a
geometric figure called "Kolam". Kolamis a
form of painting that is drawn using rice
powder. A Kolam is a geometrical line
drawing composed of curved loops, drawn
around a grid pattern of dots. It is drawn as a
ritual to welcome goddess Lakshmi and
prosperity in the household.
First the front and backyard is swept clean
to remove loose dust and litter. Next raw wet
cow-dung is spread on the floor in a thin
layer. After the floor dries it becomes stiff
and flat. Kolams are then drawn using white
rice flour on this dark green floor. Since
dried cow dung has anti-septic properties, it
also prevents germs and other insects from
infesting the house. Kolams were
traditionally drawn using dried rice flour or
ground rice paste. Lately different mediums
are being used to draw kolams.
There are quite a few types of Kolam
designs. The most important and prominent
type of Kolam is ‘Pulli’ Kolam. Dots (Pulli)
are arranged in a particular order and these
dots are either connected or surrounded by
strokes to create Kolams. There are two
major types of Pulli Kolams
which are explained further. A pattern,
in which a stroke (Kambi, in Tamil) runs
once around each dot (Pulli), and goes to
the beginning point, creating an endless
cyclic form. This is a mostly geometrical
figure, formed by twisted chains of
interconnected loops. The stroke used
around the Pulli is commonly called ‘Neli’,
which means a serpentine line. These lines
form simple as well as complex (Sikku)
Kolam structures around the dots. The
complexity of a Sikku Kolam is its
speciality. Neli, chikku, sikku, kambi or
chuzhi Kolam are the other names for these
types of Kolams. These are the traditional
Tamil Kolams.
The other kind of Pulli Kolam is where
the dots are joined by freehand straight lines
to create the Kolam. These are the more
contemporary Kolams which are mostly
very geometric and linear. These Kolams
are similar to the ‘Rangoli’ of north India,
except that they may not be as colorful.
Apart from geometrical shapes, stars,
flowers, birds, lotus are some common
motifs in Line Kolams. In modern times,
often brick powder is used to give a hint of
color to such Kolams, these are called
‘Kaavi’ Kolam.
Kolam-making is a tradition that has been
in practice for thousands of years. Old
historical resources like the Vedas and Divya
Prabandhams and other literatures have
mentioned kolams, making it an ageless
practice. Even today to welcome the gods
and goddesses, people sweep the front of
their houses, sprinkle water to pack the
loose dirt and then draw elaborate Kolams
as a daily early morning ritual.
KDesign inspiration: olam
In Tamil Nadu, it is an old tradition to
decorate the entrance to the home with a
geometric figure called "Kolam". Kolamis a
form of painting that is drawn using rice
powder. A Kolam is a geometrical line
drawing composed of curved loops, drawn
around a grid pattern of dots. It is drawn as a
ritual to welcome goddess Lakshmi and
prosperity in the household.
First the front and backyard is swept clean
to remove loose dust and litter. Next raw wet
cow-dung is spread on the floor in a thin
layer. After the floor dries it becomes stiff
and flat. Kolams are then drawn using white
rice flour on this dark green floor. Since
dried cow dung has anti-septic properties, it
also prevents germs and other insects from
infesting the house. Kolams were
traditionally drawn using dried rice flour or
ground rice paste. Lately different mediums
are being used to draw kolams.
There are quite a few types of Kolam
designs. The most important and prominent
type of Kolam is ‘Pulli’ Kolam. Dots (Pulli)
are arranged in a particular order and these
dots are either connected or surrounded by
strokes to create Kolams. There are two
major types of Pulli Kolams
which are explained further. A pattern,
in which a stroke (Kambi, in Tamil) runs
once around each dot (Pulli), and goes to
the beginning point, creating an endless
cyclic form. This is a mostly geometrical
figure, formed by twisted chains of
interconnected loops. The stroke used
around the Pulli is commonly called ‘Neli’,
which means a serpentine line. These lines
form simple as well as complex (Sikku)
Kolam structures around the dots. The
complexity of a Sikku Kolam is its
speciality. Neli, chikku, sikku, kambi or
chuzhi Kolam are the other names for these
types of Kolams. These are the traditional
Tamil Kolams.
The other kind of Pulli Kolam is where
the dots are joined by freehand straight lines
to create the Kolam. These are the more
contemporary Kolams which are mostly
very geometric and linear. These Kolams
are similar to the ‘Rangoli’ of north India,
except that they may not be as colorful.
Apart from geometrical shapes, stars,
flowers, birds, lotus are some common
motifs in Line Kolams. In modern times,
often brick powder is used to give a hint of
color to such Kolams, these are called
‘Kaavi’ Kolam.
Kolam-making is a tradition that has been
in practice for thousands of years. Old
historical resources like the Vedas and Divya
Prabandhams and other literatures have
mentioned kolams, making it an ageless
practice. Even today to welcome the gods
and goddesses, people sweep the front of
their houses, sprinkle water to pack the
loose dirt and then draw elaborate Kolams
as a daily early morning ritual.

S.no Qty
1 1.5 24
2 1.6 26
Product 1: Earring
Gold weight: 10 gms.
Price: Rs. 1,43,500.
Size
(mm)
Diamond chart
Inspiration
24.86 mm
24.35mm
1
Step 1: Taking inspiration
from the flow of curves
Step 2: Deriving a form and
repeating around a centre
into an ‘orange peel’.
2
3
Step 3: Exploring the form in
uniform size in an orange peel.
A 7-stone cluster was tried in
the center to make it look more
‘South’ style.
Final Design
Scaled down the form and
added more stones between
forms to give volume.
S.no Qty
1 1.5 24
2 1.6 26
Product 1: Earring
Price: Rs. 1,43,500.
Size
(mm)
Diamond chart
Inspiration
24.86 mm
24.35mm
1
Step 1: Taking inspiration
from the flow of curves
Step 2: Deriving a form and
repeating around a centre
into an ‘orange peel’.
2
3
Step 3: Exploring the form in
uniform size in an orange peel.
A 7-stone cluster was tried in
the center to make it look more
‘South’ style.
Final Design
Scaled down the form and
added more stones between
forms to give volume.

S.no Qty
1 1.7 9
Product 2: Finger ring
Gold weight: 6 gms.
Price: Rs. 48,000.
Size
(mm)
Diamond chart
Inspiration
18.85 mm
24.6mm
Step 1: Doodles inspired by
the continuity of the Kolam.
1
Step 2: The top element Is made
rotatable, adding to the concept
of continuity. The shank is
engraved with the Kolam motif.
2
Step 3: Modification of side view
of the shank and reducing number
of diamonds in the top element by
spacing out the elements.
Final Design
Reduced number of stones in the
top element to cut down the price.
3
S.no Qty
1 1.7 9
Gold weight: 6 gms.
Price: Rs. 48,000.
Size
(mm)
Diamond chart
Inspiration
18.85 mm
24.6mm
Step 1: Doodles inspired by
the continuity of the Kolam.
1
Step 2: The top element Is made
rotatable, adding to the concept
of continuity. The shank is
engraved with the Kolam motif.
2
Step 3: Modification of side view
of the shank and reducing number
of diamonds in the top element by
spacing out the elements.
Final Design
Reduced number of stones in the
top element to cut down the price.
3

Inspiration
1
Step 1: Doodle of a Jhumki,
taking inspiration from the
flow of curves on its top part,
and replicating the Kolam on
the dome of the Jhumki.
Step 2: Blowing up on the
top part of the Jhumki, the
mesh-like dome was found
interesting.
2
3
Step 3: The mesh replicated
for further explorations.
Step 4: Mirrored the form to
create a cage like structure
in which the two forms
intersects in the centre.
3
4
Step 5: Moved the two
forms further into each other
resulting into a criss-
crossing centre.
5
Step 6: The intersecting center part was focused on
and an over-lapping form was derived out of it. This
form was repeated to explore it in a round bangle.
6
Step 7: The form was elongated a bit to make it less
bulky in its look and repeated in a round bangle.
7
Step 8: The form was further elongated to include a negative space and give
more volume but less weight. The form was repeated in a decreasing order
of size from the center to sides, to create a look fit for an oval bangle.
8
Product 3: Oval Bangle
Inspiration
1
Step 1: Doodle of a Jhumki,
taking inspiration from the
flow of curves on its top part,
and replicating the Kolam on
the dome of the Jhumki.
Step 2: Blowing up on the
top part of the Jhumki, the
mesh-like dome was found
interesting.
2
3
Step 3: The mesh replicated
for further explorations.
Step 4: Mirrored the form to
create a cage like structure
in which the two forms
intersects in the centre.
3
4
Step 5: Moved the two
forms further into each other
resulting into a criss-
crossing centre.
5
Step 6: The intersecting center part was focused on
and an over-lapping form was derived out of it. This
form was repeated to explore it in a round bangle.
6
Step 7: The form was elongated a bit to make it less
bulky in its look and repeated in a round bangle.
7
Step 8: The form was further elongated to include a negative space and give
more volume but less weight. The form was repeated in a decreasing order
of size from the center to sides, to create a look fit for an oval bangle.
8

S.no Qty
1 1.9 2
2 2.1 2
3 2.2 4
4 2.3 1
Price: Rs. 94,000.
Size
(mm)
Diamond chart
Final Design
Number of elements were reduced to make the design
lighter and reduce the price.
60 mm
11mm
S.no Qty
1 1.9 2
2 2.1 2
3 2.2 4
4 2.3 1
Price: Rs. 94,000.
Size
(mm)
Diamond chart
Final Design
Number of elements were reduced to make the design
lighter and reduce the price.
60 mm
11mm

S.no Qty
1 1.5 8
2 1.6 20
3 1.9 10
Price: Rs. 1,42,000.
Size
(mm)
Diamond chart
Inspiration
1
Step 1: Taking inspiration from
the drop-shaped sides of the
Kolam, a very structured Jhumki.
Parrot motifs added on the top to
give the traditional ‘South’ feel.
Step 2: Made the design
more compact but less edgy
and structured by adding
curves to the silhouette.
2
3
Step 3: Removed the plain
metallic parts from the
bottom edges of the dome.
Modified the top earstud.
Developed two alternatives
for the earstud.
Final Design
Modified the earstud and parrot
motifs to make the design look
more delicate and feminine.
Inter- connected the separate
elements in the dome to give the
feel of a continuous Kolam.
27.12 mm
32.28mm
Product 4: Jhumki
S.no Qty
1 1.5 8
2 1.6 20
3 1.9 10
Price: Rs. 1,42,000.
Size
(mm)
Diamond chart
Inspiration
1
Step 2: Made the design
more compact but less edgy
and structured by adding
curves to the silhouette.
2
3
Step 3: Removed the plain
metallic parts from the
bottom edges of the dome.
Modified the top earstud.
Developed two alternatives
for the earstud.
Final Design
Modified the earstud and parrot
motifs to make the design look
more delicate and feminine.
Inter- connected the separate
elements in the dome to give the
feel of a continuous Kolam.
27.12 mm
32.28mm
Product 4: Jhumki

18.80 mm
27.62mm
Inspiration
Step 1: Derived a form from
the Kolam and took
inspiration from the silhouette
of the Kolam to create a
studded Jhumki dome.
S.no Qty
1 1.7 24
2 1.8 24
Price: Rs. 1,98,000.
Size
(mm)
Diamond chart
Step 2: Added an earstud and
tried the idea of a detachable
Jali dome to balance the fully
studded dome.
Step 3: Developed the Jali on
the detachable dome in such a
way that it does not hide the
diamonds on the studded
dome, even when worn over it.
Modified the earstud.
Final Design
Compressed the overall size of
the Jhumki and softened the edges
into smoother curves. Eliminated
the collets in the bottom to reduce
number of diamonds and make
the design more compact.
Product 5: Jhumki
1
2
3
18.80 mm
27.62mm
Inspiration
Step 1: Derived a form from
the Kolam and took
inspiration from the silhouette
of the Kolam to create a
studded Jhumki dome.
S.no Qty
1 1.7 24
2 1.8 24
Price: Rs. 1,98,000.
Size
(mm)
Diamond chart
Step 2: Added an earstud and
tried the idea of a detachable
Jali dome to balance the fully
studded dome.
Step 3: Developed the Jali on
the detachable dome in such a
way that it does not hide the
diamonds on the studded
dome, even when worn over it.
Modified the earstud.
Final Design
Compressed the overall size of
the Jhumki and softened the edges
into smoother curves. Eliminated
the collets in the bottom to reduce
number of diamonds and make
the design more compact.
Product 5: Jhumki
1
2
3

Inspiration
Step 2: Twisted and
developed the form so as to
make it more 3-Dimensional.
Step 1: Picked up a simple
form from the Kolam.
Step 3: An umbrella like
domed form was derived
which could possibly be
studded to create a Jhumki.
Step 4: A detachable Jali
element could be added to the
studded dome, as the form had
grooved spaces in between.
Step 5: The dome with the
detachable Jali element.
Step 6: Exploration of the
same concept.
Step 7: Modified the earstud
and re-scaled the dome and
Jali silhouette.
Step 8: Further modification
of the dome and Jali
silhouette.
1
2
3
4
5
6
7
8
Product 6: Jhumki
Inspiration
Step 2: Twisted and
developed the form so as to
make it more 3-Dimensional.
Step 1: Picked up a simple
form from the Kolam.
Step 3: An umbrella like
domed form was derived
which could possibly be
studded to create a Jhumki.
Step 4: A detachable Jali
element could be added to the
studded dome, as the form had
grooved spaces in between.
Step 5: The dome with the
detachable Jali element.
Step 6: Exploration of the
same concept.
Step 7: Modified the earstud
and re-scaled the dome and
Jali silhouette.
Step 8: Further modification
of the dome and Jali
silhouette.
1
2
3
4
5
6
7
8
Product 6: Jhumki

16.47 mm
24.79mm
Final Design
Number of diamonds decreased by
spacing them out in the studded dome
to decrease price. The piece can be
worn either as a studded dome only
(left) or along with the Jali dome.
S.no Qty
1 1.2 88
2 1.9 12
Product: Jhumki
Price: Rs. 1,80,000.
Size
(mm)
Diamond chart
16.47 mm
24.79mm
Final Design
Number of diamonds decreased by
spacing them out in the studded dome
to decrease price. The piece can be
worn either as a studded dome only
(left) or along with the Jali dome.
S.no Qty
1 1.2 88
2 1.9 12
Product: Jhumki
Price: Rs. 1,80,000.
Size
(mm)
Diamond chart

Product 7: Round Bangle
Inspiration
1
Step 1: Zooming in on one
part of the Kolam.
Step 2: Doodle generated.
2
3
Step 3: Developing 3-
Dimensional form out of
the 2-D form.
Step 4: Bead-like element
developed from the form.
Step 5: Doodle of a bangle made by repeating the bead-like element.
Step 6: Bead modified to create a two-sided domed element. One
side is studded and the other has Jali. Repeated into a round bangle.
4
5
Product 7: Round Bangle
Inspiration
1
part of the Kolam.
Step 2: Doodle generated.
2
3
Step 3: Developing 3-
Dimensional form out of
the 2-D form.
Step 4: Bead-like element
developed from the form.
Step 5: Doodle of a bangle made by repeating the bead-like element.
Step 6: Bead modified to create a two-sided domed element. One
side is studded and the other has Jali. Repeated into a round bangle.
4
5

71.96 mm
9.77mm
S.no Qty
1 1.5 48
2 1.7 32
Price: Rs. 2,66,000.
Size
(mm)
Diamond chart
Final Design
Modified the element by elongating and flattening it, to reduce the weight and
number of diamonds. Round bangle developed with lesser number of elements.
71.96 mm
9.77mm
S.no Qty
1 1.5 48
2 1.7 32
Price: Rs. 2,66,000.
Size
(mm)
Diamond chart
Final Design
Modified the element by elongating and flattening it, to reduce the weight and
number of diamonds. Round bangle developed with lesser number of elements.

Inspiration
1
S.no Qty
1 1.7 14
2 2.0 6
3 2.1 1
Price: Rs. 1,27,700.
Size
(mm)
Diamond chart
58.45 mm
13.10mm
Step 1: Modified and elongated the
element developed for the round bangle to
create a similar oval bangle.
Final Design
Inspiration
1
S.no Qty
1 1.7 14
2 2.0 6
3 2.1 1
Price: Rs. 1,27,700.
Size
(mm)
Diamond chart
58.45 mm
13.10mm
Step 1: Modified and elongated the
element developed for the round bangle to
create a similar oval bangle.
Final Design

Product 9: Jhumki
Inspiration
Step 1: Hollow form created
by folding the Kolam from its
three end tips unto the center.
Step 2: Jhumki developed from
the form by adding details and
diamonds to the faces of the
Jhumki and adding earstud.
1
2
31.72mm
Inspiration
18.2 mm
Final Design
S.no Qty
1 1.5 6
2 1.8 8
3 2.0 12
Price: Rs. 1,23,500.
Size
(mm)
Diamond chart
Product 9: Jhumki
Inspiration
Step 1: Hollow form created
by folding the Kolam from its
three end tips unto the center.
Step 2: Jhumki developed from
the form by adding details and
diamonds to the faces of the
Jhumki and adding earstud.
1
2
31.72mm
Inspiration
18.2 mm
Final Design
S.no Qty
1 1.5 6
2 1.8 8
3 2.0 12
Price: Rs. 1,23,500.
Size
(mm)
Diamond chart

Inspiration
1
part of the Kolam.
Step 2: Form generated
from the motif.
2
3
Step 3: Developing and
inverting the form.
Step 4: Vanki ring developed
out of the form.
4
S.no Qty
1 1.7 6
2 2.0 1
Gold weight: 6 gms.
Price: Rs. 44,700.
Size
(mm)
Diamond chart
Product 10: Finger Ring
18.30 mm
21.0mm
Final DesignStep 5 and 6: Variations of the existing form.
Side View option 1 Side View option 2: Vanki ring
Inspiration
1
part of the Kolam.
Step 2: Form generated
from the motif.
2
3
Step 3: Developing and
inverting the form.
Step 4: Vanki ring developed
out of the form.
4
S.no Qty
1 1.7 6
2 2.0 1
Gold weight: 6 gms.
Price: Rs. 44,700.
Size
(mm)
Diamond chart
Product 10: Finger Ring
18.30 mm
21.0mm
Final DesignStep 5 and 6: Variations of the existing form.
Side View option 1 Side View option 2: Vanki ring

Product 11: Jhumki
Inspiration
17.26 mm
22.56mm
Step 1: Doodle made taking
inspiration from the continuity
and flow of the Kolam.
Step 2: Refined it into a
Jhumki.
Step 3: Modification of the
form.
Step 4: Conversion of the form
into a Jhumki, tried various
combinations of an earstud.
Step 5: Making the form more
compact and delicate.
Final Design
Modified the silhouette of the
piece and the arrangement of
collets on the bottom.
S.no Qty
1 1.6 28
2 1.7 16
Price: Rs. 1,58,685.
Size
(mm)
Diamond chart
1
2
3
4
5
Product 11: Jhumki
Inspiration
17.26 mm
22.56mm
Step 1: Doodle made taking
inspiration from the continuity
and flow of the Kolam.
Step 2: Refined it into a
Jhumki.
Step 3: Modification of the
form.
into a Jhumki, tried various
combinations of an earstud.
Step 5: Making the form more
compact and delicate.
Final Design
piece and the arrangement of
collets on the bottom.
S.no Qty
1 1.6 28
2 1.7 16
Price: Rs. 1,58,685.
Size
(mm)
Diamond chart
1
2
3
4
5

Product 12: Neckwear
Inspiration
1
Step 1: Replicated the Kolam
motif in Jali and studded collets.
Step 2: Modified the diamond and Jali
arrangement. Added a studded drop.
2
Final Design
Modified the diamond and Jali
arrangement by spreading out the
diamonds throughout the design.
Modified the drop.
45.13 mm
47.22mm
S.no Qty
1 1.6 10
2 1.8 9
3 2.0 11
Price: Rs. 1,57,700.
Size
(mm)
Diamond chart
Inspiration
1
Step 1: Replicated the Kolam
motif in Jali and studded collets.
Step 2: Modified the diamond and Jali
arrangement. Added a studded drop.
2
Final Design
Modified the diamond and Jali
arrangement by spreading out the
diamonds throughout the design.
Modified the drop.
45.13 mm
47.22mm
S.no Qty
1 1.6 10
2 1.8 9
3 2.0 11
Price: Rs. 1,57,700.
Size
(mm)
Diamond chart

Product 13: Earring
Inspiration
Step 1: Focused on the studded
collet portion of the neckwear to
derive matching earrings.
Step 2: Doodle developed from
the center part of the element.
1
2
Inspiration
Final Design
piece to make it more compact
and bold. Replaced the drop
with a single stone collet.
10.0 mm
25.16mm
3
Step 3: Earring created after minor
modifications in the doodle.
S.no Qty
1 1.7 18
Gold weight: 7 gms.
Price: Rs. 70, 800.
Size
(mm)
Diamond chart
Product 13: Earring
Inspiration
collet portion of the neckwear to
derive matching earrings.
Step 2: Doodle developed from
the center part of the element.
1
2
Inspiration
Final Design
piece to make it more compact
and bold. Replaced the drop
with a single stone collet.
10.0 mm
25.16mm
3
Step 3: Earring created after minor
modifications in the doodle.
S.no Qty
1 1.7 18
Gold weight: 7 gms.
Price: Rs. 70, 800.
Size
(mm)
Diamond chart

Product 14: Earring
collet portion of the neckwear
to derive matching earrings.
1
Inspiration
2
3
Step 2: Earring derived
directly from the center part
of the collet element.
Step 3: Modified the silhouette
and changed the drop.
Final Design
Reduced the number and size of
diamonds and made the earring
a Jali and collet piece instead of
a solid studded collet.
13.10 mm
27.45mm
S.no Qty
1 1.5 16
2 1.6 6
3 1.7 4
Gold weight: 6 gms.
Price: Rs. 80,000.
Size
(mm)
Diamond chart
Product 14: Earring
collet portion of the neckwear
to derive matching earrings.
1
Inspiration
2
3
Step 2: Earring derived
directly from the center part
of the collet element.
Step 3: Modified the silhouette
and changed the drop.
Final Design
Reduced the number and size of
diamonds and made the earring
a Jali and collet piece instead of
a solid studded collet.
13.10 mm
27.45mm
S.no Qty
1 1.5 16
2 1.6 6
3 1.7 4
Gold weight: 6 gms.
Price: Rs. 80,000.
Size
(mm)
Diamond chart

Inspiration
1
part of the Kolam.
Product 15: Pendant
13.00 mm
20.10mm
S.no Qty
1 1.6 4
2 1.8 1
Gold weight: 3 gms.
Price: Rs. 25,100.
Size
(mm)
Diamond chart
Step 2: Form inspired from
the Kolam.
1
2
3
Step 3: Refined the form.
Step 4: Developed the form
into a pendant.
4
Final Design
Removed the top suspension collet
and modified the side view so that
the chain can pass through the
negative space in the side view.
Inspiration
1
part of the Kolam.
Product 15: Pendant
13.00 mm
20.10mm
S.no Qty
1 1.6 4
2 1.8 1
Gold weight: 3 gms.
Price: Rs. 25,100.
Size
(mm)
Diamond chart
Step 2: Form inspired from
the Kolam.
1
2
3
Step 3: Refined the form.
Step 4: Developed the form
into a pendant.
4
Final Design
Removed the top suspension collet
and modified the side view so that
the chain can pass through the
negative space in the side view.

Inspiration
1
2
Step 2: Curvilinear form
generated from the dome of
the Jhumki.
3
Step 3: Simplification of the
form.
into a Jhumki.
4
Step 5: Added details to the
form.
Step 6: Reduced details and
number of diamonds used,
changed the stud on top.
5
6
21.62 mm
25.50mm
S.no Qty
1 1.8 48
Price: Rs. 1.86,000.
Size
(mm)
Diamond chart
Final Design
Reduced the size of the dome of
the Jhumki and made the silhouette
more closed and compact. Number
of diamonds reduced.
Product 16: Jhumki
Inspiration
1
2
Step 2: Curvilinear form
generated from the dome of
the Jhumki.
3
Step 3: Simplification of the
form.
into a Jhumki.
4
Step 5: Added details to the
form.
Step 6: Reduced details and
number of diamonds used,
changed the stud on top.
5
6
21.62 mm
25.50mm
S.no Qty
1 1.8 48
Price: Rs. 1.86,000.
Size
(mm)
Diamond chart
Final Design
Reduced the size of the dome of
the Jhumki and made the silhouette
more closed and compact. Number
of diamonds reduced.
Product 16: Jhumki

Step 1: Replicated the Kolam in a
doodle and tried adding diamonds to
the negative spaces.
Step 2: Developed the flat view of a finger
ring which would have a studded top and
Jali shank.
1
2
Inspiration
18.10 mm
22.67mm
Final Design
Made some changes in the silhouette of
the flat Kolam to make it more balanced.
S.no Qty
1 1.65 8
2 1.75 9
Gold weight: 6 gms.
Price: Rs. 74,700.
Size
(mm)
Diamond chart
Step 1: Replicated the Kolam in a
doodle and tried adding diamonds to
the negative spaces.
Step 2: Developed the flat view of a finger
ring which would have a studded top and
Jali shank.
1
2
Inspiration
18.10 mm
22.67mm
Final Design
Made some changes in the silhouette of
the flat Kolam to make it more balanced.
S.no Qty
1 1.65 8
2 1.75 9
Gold weight: 6 gms.
Price: Rs. 74,700.
Size
(mm)
Diamond chart

Inspiration
Product 18: Oval bangle
S.no Qty
1 2.0 21
Price: Rs. 1,21,500.
Size
(mm)
Diamond chart
55.32 mm
24.0mm
Step 1: Details and diamonds were added to
the silhouette of the existing Kolam to
produce a design for an oval bangle.
1
Final Design
Number of diamonds wwas reduced and diamonds
were spaced out throughout the design to avoid the
piece from looking to bulky in the center.
Inspiration
Product 18: Oval bangle
S.no Qty
1 2.0 21
Price: Rs. 1,21,500.
Size
(mm)
Diamond chart
55.32 mm
24.0mm
Step 1: Details and diamonds were added to
the silhouette of the existing Kolam to
produce a design for an oval bangle.
1
Final Design
Number of diamonds wwas reduced and diamonds
were spaced out throughout the design to avoid the
piece from looking to bulky in the center.

Inspiration
Step 1: Simplification of the border Kolam and repetition
around a center, to develop a neckwear.
1
Step 2: Addition of a 5-stone cluster on the axis of the
motif to reduce the negative space in the piece.
2
Final Design
Used the first and second forms alternately to balance the
look of the piece. The height of the forms has been
compressed to make the piece more compact.
S.no Qty
1 1.6 52
2 1.7 37
3 1.8 24
Price: Rs. 4,45,700.
Size
(mm)
Diamond chart
Inspiration
Step 1: Simplification of the border Kolam and repetition
around a center, to develop a neckwear.
1
Step 2: Addition of a 5-stone cluster on the axis of the
motif to reduce the negative space in the piece.
2
Final Design
Used the first and second forms alternately to balance the
look of the piece. The height of the forms has been
compressed to make the piece more compact.
S.no Qty
1 1.6 52
2 1.7 37
3 1.8 24
Price: Rs. 4,45,700.
Size
(mm)
Diamond chart

Product 20: Earring
S.no Qty
1 1.6 8
2 1.7 8
3 1.8 18
Gold weight: 9 gms.
Price: Rs. 1,36,800..
Size
(mm)
Diamond chart
17.26 mm
24.50mm
Inspiration
Step 1: Took a form from the
neckwear to create matching
earrings. Explored the form
by rotating it 30 degrees
around a common center,
Creating a flower-like pattern.
Step 2: Refined the centre part
of the new pattern. The
intersecting collets in the
center form the basis of a more
elaborate studded element.
1
2
Step 3: Removed two forms
from the sides to make the
design more compact and
balanced.
Final Design
Added diamonds to make the
center look bolder. Balanced the
negative spaces by adding
single-stone collets.

Product 22: Bangle
Product 24: Earring
Product 25: Earring
Product 23: Earring

Product 26-34: Earstuds for the starting price bands
Product 26 Product 27 Product 28
Product 29
Product 30
Product 31
Product 32 Product 33
Product 34

Product 35-40: Pendants for the starting price bands

References:
“The Dance of the Peacock”
by
Usha R Bala Krishnan
Meera Sushil Kumar
“History and Culture of Tamil Nadu”
by
Chitra Madhavan

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