Folio № 01 · Womenswear · 2026

Under the Same Spell — a final collection

Rownok Jahan Tithi · Leicester

01 — Womenswear · Final collection

Under the
Same
Spell.

Chapter I

Research — the scroll, the spell, the muse.

Where the collection began: a Bengali folk tradition, a muse in mixed heritage, and the first illustrated line-up.

Plates II–IVconcept
muse
line-up

Concept board — Gazir Pata Bengali scroll painting references — Rooted in *Gazir Pata* — a Bengali scroll tradition of the folk protector Gazi Pir. Protection, re-read as modern spiritual practice.II

Muse board — culturally curious women of mixed heritage — For the culturally curious — women of mixed heritage who live among paintings, cathedrals, and cross-cultural narrative.III

Illustrated line-up — four looks with tassel detailing — The collection on the page — tiered skirt, draped sari, halter, full gown. Green tassel as the recurring motif.IV

I wanted the print to belong to the garment — not sit on top of it.

— Designer's note · studio, Leicester · 2026

Chapter II

Development — print, toile, fit.

From painting to pleat. Face studies translated onto cloth, tested on the stand, refined on the body.

Plates V–XI7 spreads
orange · blue
toile · print · fit

Orange printed pleated skirt on stand with supporting face studies — From painting to pleat — warm face studies translated onto printed panels, tested on the stand.V

Blue painted pleated bodice and skirt on mannequin, multiple angles — Counterpoint in blue — hand-painted bodice and pleated skirt. Front, side, back — the garment in the round.VI

Three calico toiles on mannequin — peplum, ruffled bodice, printed pleated skirt — First calico toiles — peplum bodice, ruffled variant, and the printed pleated skirt, all in conversation.VII

White calico ruffled overskirt layered over printed base, three angles — The white calico overlay — tested front, side and back. Ruffle as silhouette, print as ground.VIII

Eight green-toned face study paintings arranged in a grid — Green-ground face studies — the second print story. Scanned, tiled, and repeated across the cloth.IX

Model wearing green-printed skirt and calico peplum — front, side, back — First fit — the green look on the body. Calico peplum with printed skirt, photographed around the figure.X

Line-up sketch beside mannequin details of green printed ruffle — From sketch to seam — the illustrated look paired with the ruffled print as it sits on the stand.XI

Tech sheet

The cloth, the colours,
the cut.

A quick reference for the materials, palette and techniques used across the eight looks. Prints are drawn in Procreate, cleaned in Illustrator, separated in Photoshop, and sampled on both sheer voile and Salem slub.

Brick

Dominant field — flower beds, underlayers.

RGB 184 · 69 · 31

Foliage

Leaves & stems — appears as the ruffle's underside.

RGB 47 · 74 · 59

Amber

Highlight — concentrated at the bloom centre.

RGB 232 · 200 · 114

Ground

Deep shadow — the print sits against this tone.

RGB 18 · 9 · 6

Voile

Sheer cotton — pleated, let the print float.

45 gsm · handle: soft, dry

Salem slub

Textured cotton — layered, anchored the print.

160 gsm · handle: grainy, firm

How it was made.

Research → Print → Cloth → Cut

Drawing.

Hand drawings in ink and gouache — flowers, figures, studio botany.

Print dev.

Scans refined in Illustrator & Photoshop. Placement and repeat tested on screen.

Sampling.

Swatches pulled onto voile and slub. Pleat depth widened by 3mm after fit.

Making.

Eight looks cut, stitched and finished in the studio over ten weeks.

III

Chapter III

Final collection — eight looks, photographed.

Shot in studio with daisy detailing — petal on cheek, bloom at the ear — the spell cast, the cloth worn.

Plates XII–XVIcover · centrefold
studio · green
triptych

Cover look — ruffled printed gown in studio

Plate XII · Cover

Look 01 — the ruffled gown. Printed voile & Salem slub · pleated & layered tiers

Leicester · MMXXVI

Detail — daisy at the earPlate XIII

A spell cast in flowers, pulled through the cloth.

The print began as a drawing — ink and gouache, flowers and figures, stitched together in Illustrator. Scans were colour-separated and pulled onto the cloth with screen and digital print. Voile let the pattern float; slub gave it a grain, a body, a tooth.

Pleating pushed the fabric into dimension. The print distorts at the fold — I welcomed the distortion. Where the ruffle turns on itself, the image becomes texture; where the cloth falls flat, the image returns.

The flower detailing on skin and at the ear was added in studio. It pulled the idea out of the cloth and into the portrait — petal on cheek, bloom on hand. The collection is as much about the wearing as it is about the making.