TIE AND DYE- IKAT

By: Monalisa Das

Faculty Associate
 IKAT TEXTILES OF
NUAPATNA
INTRODUCTION
The word ‘ikat’ is derived from the Indonesian word ‘mengikat’ which means 'to tie'.Ikat is actually the intricate process of
tie-dye (knotting selections of yarn before dipping them in separate colors one at a time) and finally weaving them to
produce one of the most delightful designs in multi-hued tones, in motifs drawn from the richness of nature.The tradition of
Ikat in Orissa is fairly old. Historical records available at the Jagannath temple in Puri dating back to 1719 indicate that verses
(shlokas) from the Geeta Govinda and calligraphic forms were woven into cloth donated to the temple. This unique Oriya
tradition continues to this day. The four basic colors found on Lord Jagannath - black, white,red and yellow - are extensively
used in these textiles. Even the motifs - temple border, lotus, conch and wheel signify the affinity with the reigning deity.
PLACE
Nuapatna is a village in Cuttack district of Orissa, famous for silk and cotton single-ikat
(weft-ikat) textiles. The weavers here produce a striking range of sarees with a brilliance,
glaze and texture that is unmatched. The village has a ‘Nuapatna weaver’s co-op society’
that brings together hundreds of craftsmen under one roof and practices fair trade. Other
Ikat clusters in Orissa are Sambalpur, Berhampur and Mayurbhanj.
PEOPLE
Orissa Ikat dates back to the 12th century when artisans from the Patan region of modern day
Gujarat migrated to Orissa and carried forward the craft. Now, these distinctive hand-woven
textiles support a thriving cottage industry employing thousands of people. Whereas the weavers
in the Sambalpur (double-ikat) cluster belong to the Meher community, the ones in the Nuapatna
(single-ikat) belong to the Patra community. Their kids begin to learn the craft from a very early
age, seeing their parents practicing it as a part of their daily life.
PROCESS

Ikat requires immense skills for detail of de-constructing the

desired pattern according to the density of the cloth, winding
threads on the frame according to the calculations made,
covering selected sections of the weft for resist-dyeing and
finally weaving. The entire process involves almost an entire
family’s participation in different aspects.

• Tying
• Dyeing
• Spinning
• Weaving
• Quality Check
• Starch
TYING
After the pattern to be woven is sketched on graph paper, degumming of the yarn (mostly cotton or silk) is done. Infact, any
yarn undergoes this pre-treatment process (washing it with soda and soap water) to increase pliability and give the saree
smooth and shinier texture. Once the yarn is dry, it is tied to a wooden frame. This is the weft of the saree. Bindings (cotton
threads or rubber bands) that resist dye penetration are applied to narrow or wide bundles of these threads (from as few as
four in very fine Ikat) in locations defined by the intended motif. After the bindings are in place, the threads are taken off the
loom and immersed in the first dye bath. After drying, the bindings are cut away; the threads are strung onto the loom again
and arranged carefully so that they match exactly. New bindings are put in place for all locations that should not receive color in
the second round of dyeing. Then the tied threads are taken off the loom again, immersed in the next dye bath and so on, until
the desired multicolored pattern has been created. This technique, called tie-resist-dyeing, requires great precision and
meticulous planning - spanning over months, sometimes years.
Dyeing
Traditionally, colors from plants, flowers and barks of trees were used as dyes in the
process. But in recent times, increase in demand for Orissa Ikat has fuelled the need to
use chemical dyes as well. Dyeing is done manually with acid dyes, sourced from Calcutta.
Once the yarn is tied and dyed in multiple colors, it is left to dry. Then the last set of
bindings are cut away, revealing the pattern that was initially planned on the graph.
Spinning
For the dyed yarn to be woven, they need to be opened up. The bunch is wound on a small
wooden charkhi which is put onto an axially rotating stick. One bunch on this charkhi rolls out
many more bunches on another charkhi that are of lesser thread-count. Then the bunch is
transferred on another charkhi, until single strands of cotton or silk are achieved. These single
strands that have the dyed pattern are rolled on to a spindle using a charkha (spin-wheel)
that is finally kept in ashuttle that the weaver uses to weave the fabric on the loom.
Weaving
Weaving is the interlacing of horizontal and vertical yarn to make textiles. There are many variations of this technique. The yarn used to
weave textiles can be made of a whole array of different materials. Weaving done by following methods
-Hand Loom
-Machine Loom
Hand Loom:
All the warp threads are threaded through the heald eyelet and its gap in the reed prior to weaving. The reed is like a comb and its
purpose is to control the separation of the warp threads. In Nuapatna sarees, the warp yarn is plain i.e. has no pattern. These warp
yarns are interlaced by the tie-dyed weft (filling) yarns (kept in the shuttle) running along the width of the loom, producing the woven
fabric corresponding to the design on the graph. Weft Ikat weaving is a slow process as the passes of the weft must be carefully
adjusted to maintain the clarity of the patterns. Passing the weft shuttle 80 times to and fro weaves about 1 inch of fabric. Most
weavers also combine Ikat pattern with a relief texture in the border of the saree (supplementary warp and weft weaves) that makes it a
specialty of the region.
Machine Loom:

Increasingly, machine looms are being used in the region. All the other processes remain the same
and take the same amount of time except weaving is a lot faster. Quite obviously, traditional weaver
families find these looms as a threat to their livelihood.
Quality Check

Once the saree is ready, it is carefully examined for its quality and any defects. Then, it sent for starch.
Starch
Most of the sarees are starched using ‘chawal ka paani’ (water that is left over after boiling rice). The
starched sarees are tightly wrapped over a wooden roll and left to dry in the sun. This gives the fabric
some stiffness and sheen. Then, these are carefully folded and sent to the buyers (or shops).
Products
Traditionally produced and managed by craftsmen themselves, these products were either consumed
by the local population or by people from neighboring regions. Now these products - sarees, dress
materials, stoles, ties and furnishings - make for a great export range. The motifs include Lord
Jagannath, Dasavatara, other Gods and Goddesses, temple border, lotus, conch, wheel, fishes,
animals and calligraphic forms.
 Ikat Saree Weaving - Sambalpur, Orissa
Handloom saree
Introduction
Ikat weaving is a kind of weaving that is well known all over the world. It is famously known for its intricate
weaving process. This style of weaving uses a resist dyeing process as similar to tie-dye. It is an elaborate
dyeing process in which yarn is dyed randomly in natural zigzag style that is made of cotton or silk fabrics.
Hence the final product is a piece of textile that is bathed and shimmered in colorful designs. Ikat weaving
is unique, as it either uses the warp or weft to weave a design pattern. Sometimes they are tie-dyed using
both warp and weft. Thus they are called as “Double Ikat”.
The unique characteristic of Ikat fabric is the blurriness of the designs. This blurriness is a result of
the extremely difficult method followed while weaving, as the weaver lines up the dyed yarns exclusively
so that the design patterns are attained in the most perfect manner on the completed textile. These
blurriness can be reduced either by the skills of craftsperson or by using the finest yarns. As Ikats are most
difficult to create with little blurriness, complicated patterns using multiple colors therefore they are more
expensive. Though the blurriness is the characteristic of Ikat, it is often priced by textile collectors.
Ikat is an Indonesian word that refers to a cord, thread or knot. The word Ikat is introduced into
European language that is attributed to Rouffaer. Now Ikat is a general English word that is used to
describe the process and the specific pattern of how and from where it has produced. Usually in
Indonesian language even the plural form of Ikat remains as Ikat itself whereas in English the plural form
adds an alphabet ‘s’ in common and considered as Ikats.
The unique pattern of Ikat is produced in various traditional textile centers all over the globe, from
India to Central Asia, Southeast Asia, Japan, Africa and Latin America. In Japan it is also called as “kasuri”.
Bhukhara and Samarkand were famous for silk Ikats since19th century while other countries have the
cultures with long histories of Ikat production. In double Ikats as both yarns of warp and weft are tied and
dyed before being woven into a single textile they are very rarely produced due to the requirement of the
intensive skilled labor. Such ikats are produced in Guatemala, Okinawa islands of Japan, the village of
Tenganan in Indonesia, Villages of Puttapaka and Bhoodan Pochampally in India and it is also produced in
Gujarat, India. The production and the patterns of Ikat varies widely from region to region. Generally these
Ikats are the symbolism of wealth, power, prestige and status.
 It seems to have a link between the production of Ikat in India and South-East Asia. As the Gujarati merchants
brought Patola (silk fabric) to Indonesian rulers and there the activity of Ikat production was taken over by the
Dutch. Thus the patterns of the Patola Ikat are predominantly similar to the double Ikats produced in Bali of
Indonesia. In Europe in Mallorca and in Spain Ikat floral patterns are used.
Earlier using the technique of Ikat weaving shoulder cloth, turban cloth and lungi were produced. But
today various products like bags, mats, sarees, bedsheets, dupattas, purses and files are made. When it comes
to Odisha, it is mainly associated with Ikat saree production. Ikat patterns are dyes and bound into the threads
before cloth is weaved. This particular process differentiates it from the tie and dye process where the fabric is
woven at the initial phase.
The technique of Ikat seems to have its origins in different places of the world. Ikat is one of the most
ancient techniques of dyeing fabrics. As per the sources Odisha Ikat dates back to 12th century. It is said that
artisans of Gujarat who migrated to Odisha carried onward the craft. Ikats practiced at Odisha showcases three
varieties. They are:
• Single Ikat – The process in which the yarns of either warp or weft are died.
• Ikat – In this procedure both the yarns of weft and warp are used together but in different parts of the single
fabric.
• Double Ikat – Here both the yarns of warp and weft are tied in a precise manner. Thus the threads from both
axis forms a mesh with each other at a certain point to showcase the complicated pattern of that particular
fabric.
Odisha Ikat sarees have appealed to the tastes of celebrities like Aishwarya Rai Bachan to other world
leaders. Though the maintenance of the Odisha silk Ikat sarees seems to be easy, they need to be handled
with care by a gentle hand wash or dry cleaning and a moderate temperature level has to be maintained by
ironing. For cotton Ikat sarees though the machine wash can also be done, still it is better preferred for dry
cleaning. In the production of Odisha Ikat sarees, they are traditionally practiced using hands. These days to
meet the modern rising demand, the making of these Ikats have been modernized. Thus in some places they
are carried out through an automated manner using machines.
Tools and Materials
The tools and raw materials used for weaving Ikat saree are as follows:
• Raw Silk: It is main element to weave an Ikat saree.

• Color: Colors are used for dyeing process.

• Firewood: It is used to heat up the dyeing container.

• Water: It is used for immersing the silk threads.

• Water Tank: It is used storing the water for coloring the silk threads.

• Scissors: It is used to cut off the excess of silk threads.

• Plastic Pirns: These are used for winding the yarns.

• Winding Machine: It is used for winding the silk yarns.

• Handloom: It is used for weaving Ikat silk sarees.

• Spinning Wheel: Spinning wheel is used to wing the yarns to the pirns.

• Bobbins: The dyeing yarns are wound on these bobbins for warping.

• Throw Shuttle: It is used for inserting weft yarns while weaving.

• Creels: A stand like structure on which the fully wound bobbins of silk yarns are placed as per the pattern
of warping.
Making Process
Ikat saree weaving gets initiated by a dyeing technique that is used to pattern fabrics that use
resist dyeing of the yarns prior to dyeing and weaving the cloth. Keeping the design in mind a
proper chart of warp and weft are visualized on a graph paper for this particular style of
weaving. Later as per the chart, the design is carefully transferred on weft and warp. In Ikat the
threads of warp and weft are measured carefully and the resist is formed by binding individual
yarns or bundles of yarns with a firm wrapping applied in the preferred pattern. To keep the
dyes from penetrating tightly bound bundles are covered with wax.
These yarns are then dyed. If a new pattern is required to create then the bindings of the
yarns may be altered at this stage and the yarns are dyed again with another preferred color.
This process (dye baths) may be repeated several times to get flexibility to create textiles that
produce complex multicolored, multi textured and multi layered patterns. The pattern is visible
to the weaver when the dyed threads are used as warp. These tie-dyed yarns are used either as
warp yarns or as the weft yarns or sometimes even as the both. Once the dyeing process is
completed, it is dried and all the bindings are detached. These yarns are spun using winding
machine.
Thus the required length of yarns are spun and cut off from the yarns that are on winding
machine. Those threads are woven into a fabric. This particular procedure is unique in Ikat as the
resist is applied to the yarns prior and then they are woven into cloth. Since the surface design is
created in the yarns rather than on the finished cloth.
These Ikat fabrics manufactured at Odisha are silk. They are woven by hand on a narrow
loom in a labor intensive process. Plain Ikat fabrics have different resist patterns thus it looks
similar on both the sides of textile. There are no right and left sides to the cloth.
The easiest method to create Ikat is dyeing the warp than the weft. As before attaching the
warp strings to the loom they are arranged in bundle and they are individually tie-dyed so that
the pattern is visible when the loom is set up. The tie-dyed warp threads are further loaded to
the beam. This beam is placed in the loom and the yarns are knotted to the previous ones on
the loom to begin the process of weaving. Thus by using the shuttle-pit loom or by using
fly-shuttle loom sarees are weaved in different patterns.
Products
These Ikat silk sarees with intricate designs demands more than 10 days for making,
whereas a simple plain saree requires more than 4 days for weaving a single saree. The
designs made on Ikat silk saree at Odisha are usually geometrical designs, dice,
pinnacles, birds, animals, temple towers and rudraksh. A normal plain saree with no
designs costs more than INR.4,000 whereas the designed saree costs from INR.7,000.
PATOLA SAREE WEAVING - PATAN
Introduction
Patola weaving is one of the difficult forms of weaving in the world which follows the double ikat (tie and
dye) style for the warp and weft yarns dyed according to the pre-design patterns before dyeing. As Patan of
Gujarat in India is one of the places where few of the weavers still practice this craft. At one time silk were
woven in the most of the cities of Gujarat, Jalna in Maharashtra and Burhanpur in Madhya Pradesh. Usually
the flora, fauna, elephants style, motifs of flowers, jewels, abstract geometrical patterns, maidens dancing
are some of the patterns done as the borders of the saree, where the craftsmen visualize the pattern of
dyeing for the warp and weft yarns which are woven zigzag at even place so that the warp and the weft yarns
meet precisely towards the right place to achieve the desired patterns style and colorful diversity. Patolas are
characterized by their intricate -bold patterns, juxtaposed with figurative motifs tied and dyed till the
complete patterns to be obtained are created.
As per the craftsmen, King Kumarpala in around 12th century had shifted to Patan and initiated
about 700 weavers for the Patola weaving. It takes about six months to a year of time for making the Patola
fabric from pre-loom to post- loom. King ensured that there were regular supplies of the new Patola fabric
every morning for his visit to the temple, where the fabric considered being pure and auspicious. There was a
custom followed in this region that, during the ceremony of the Shrimanta (Godhbharai in Hindi) i.e. during
the ritual of the seventh month of the pregnancy of a women, patola saree with figures of dancing women,
elephants and parrots were usually gifted to her. It is also gifted to the Gujarati women, girls as sign of social
status that she maintains as her own property in her wedded household. Few of the silk weavers from the
Slavi caste, whose ancestors basically originates from the states of Karnataka and Maharashtra chose Gujarat
as their domicile for the skills of making the patola saree during the 12th century.
Tools and Raw Materials
The best raw silk available in the market is preferred for the
production of Patola saree weaving.
• Slant Loom: Slant Loom is used to interlace the warp and weft
yarns.
• Bamboo Poles (Kamthi): Bamboo poles are used to fasten the
warp beam at the further end of the loom.
• Wooden Sword or Beater (Vi): It is use to held the interlaced yarns
together near the cloth beam.
• Cloth Beam (tor): The woven fabric rolled on to the beam on the
loom.
• Shuttle (Nali): Shuttle is use to insert the weft thread into the
loom.
• Yarn Winder (Parita): Yarn winder is use to wind the yarn to the
spindle.
• Vessels for Dyeing: Vessels are used to apply the color on the silk
yarn.
• Quill like Iron Needles: It is use to adjust the slight shifting yarns
and ensure perfect color alignment.
Making Process
Patola sarees are well known for their distinctive geometrical style and colorful diversity, where the selected raw
silk brought from the silk market are twisted which gives strength to the saree. Twisted bundle of yarns are held
on to the Aadha frame to which a thread immersed in the ink are used to mark on the yarns which are then tied
with a thread dipped in water and tied tightly to the silk yarns. To obtain the selective motifs of floral, tiger and
elephants on the saree, the warp and the weft yarns are characterized as per which the yarns of silk weft and warp
are tied separately, so that only the color to be obtained on the part of the yarn are only left open. The parts of
yarns that are colored are tied with the threads tightly and the open parts are immersed in the second color. This
process is repeated depending on the number of colors required for the warp and weft yarns which takes
minimum of about 75- 80 days for coloring. Coloring of the silk yarn is usually done with the acid dyes for better
uptake of the color and also made from vegetable extracts and natural colors usually from flowers, marigold,
sunflower, root bark, turmeric, madder, indigo etc.
The warp and the weft ikats are aligned properly to manipulate, create the sheds and mend the broken
ends. Usually each warp consists of series of warp yarn and single weft yarn that binds the warp yarns together.
The segregated yarns are set up to the loom each time as there is no fixed framework. Patola saree making are
usually in an inclined position which is fastened by a pole in the front and positioned in a slanted horizontal. Half
heddles are used to be held on a wooden rod (two main and two supporting rods) and shuttle used for this
weaving is usually made of bamboo. Looms are arranged such a way that more light falls on the left of the loom
through natural and artificial light which provides good illumination on the tilted weaving area by angular
reflection such that the action doesn’t hamper the weavers vision. The loom is slant for the perspective view of
the far ends of the woven area of the patola fabric.
One weaver is positioned to the lower right side and the other weaver stands on the right side near the
cloth beam distributing and organizing their work. Right side weaver operates the shed stick/ beater and throws
the shuttle from right and operates the pressure bar with handle to change the sheds. Both the weavers check for
the matching of the weft and warp to adjust the slight shifting with the pointed quill like needles for perfect color
alignment. Only about five to six inches of the fabric can be woven for about three hours in a day. Bamboo shuttle
is made to move to and fro through the warp sheds. Even today patolas are woven on a primitive hand operated
harness looms which are usually made out of bamboo strips and rosewood.
Products
Patola or the double ikat saree are usually renowned for their geometrical and colorful ranges with motifs of flowers, jewels,
flora fauna, parrots, elephants, dancing figures with plain, dark and colored borders on pallu and body of the saree.

Saree: Unstitched garment of about 5.5 to 6 meters length, which is usually draped by Indian women.

Scarves: A piece of fabric which is worn around the neck and near the head for warmth and covering.

Dupattas / Stoles: Long scarf used with the Salwar kameez.

Tie and Dye- Pochampally
Introduction:
Pochampally, a cluster of 80 villages, is an interesting combination of tradition, history, heritage, and
modernity is widely known for Pochampally Saree - the most typical weaving village in Nalgonda District of
Andhra Pradesh.
Pochampally, a cluster of 80 villages, is widely known for Pochampally Saree. The most typical weaving
village is an interesting combination of tradition, history, heritage, and modernity is situated in Nalgonda
District of Andhra Pradesh.
The weaves of Pochampally are popularly known as Ikkat or tie and dye weaves. Where, first design and
coloring are transferred onto warp and weft threads and then same are weaved together. The design on
the traditional looms of Pochampally are more than a century-old. Today, there are more than 10000
weaving families in 100 villages.
The interactions between consumer and weaver provide inputs for new designs. The weavers have
adapted themselves according to the changing tastes of the consumers. The manufacturing history of
Pochampally Ikat sarees dates back to 1950 and at that time, some village headmen of Pochampally
decided to weave silk along with cotton to make a better living. Unlike Orissa's Ikat weaving tradition, the
weaving of Pochampally sarees appears to be a modern development without strong indigenous roots.

Place:
This documenting is done in Pochampally Handloom Park Ltd situated in Pochampally. This is a
government - based factory spread in 24 acres, which exports products all over India. Around 200 craft
workers work in this factory. Only few families carry out this weaving works at home and few go to the
handloom factory.
Tools and Raw Materials
The materials and equipment are purchased from Gujarat for handloom factory where as local weavers purchase from
Vijayawada.
Raw Materials:

Silk: Silk is used rarely to produce silk saris.

Cotton: Many products are weaved using cotton threads.

Dye colors: For cotton threads fabric colors are used where as for silk thread chemical colors is used.
Tools: Equipment used in reeling, dyeing and weaving processes are as below:

Dyeing Machine: It is used to dye the threads in large quantity at a time.

Weaving Loom:Small loom is used for weaving saree and big looms are used to weave bedspreads and other fabrics.
Fly Shuttle: It is used to insert into fly-shuttle while weaving.
Warping wheel: Cotton threads are reeled on warping wheel.
Reed: Jointing process is done on reed.
Spinning Machine: Spinning wheels are used to prepare spools and spindles.
Reeling Machine: It is used to prepare spools.
Spools and Spindles: Spools is used while warping and spindles are used while weaving.
Spinning Process:
Reeling:
The cotton yarn after dyeing is brought for spinning process. Bundle of yarn is placed on the spinning wheel machine.
The cotton strand is reeled to spools and the wheel is operated. The workers simultaneously keep joining the broken
strands for continuous reeling of the threads. These spools are then sent for warping process.

Making Spindles:
The yarn is placed on Charka-spinning wheel is transferred into spindles. These spindles are later used to insert into
fly-shuttle, which is used in the weaving process.
Tie and Dye Process
In Pochampally village, the ikat weaving is called as chit-ku. Required designs are marked on the prepared
warp threads. According to the designs rubber strips are tied on areas, which should not be died, and the
exposed threads are dyed with color. After one round of dyeing those rubber strips are removed and tied
on different areas, which should not be dyed again. This step is repeated until all the colors of the
estimated design have been dyed on the thread. The dyeing process for tie and dye process is done
manually as different colors has to be dyed one by one on the yarn. Plain color dyeing is done in the dyeing
machine as only one color is dyed for all the yarn.
The machine accepts exactly 50kg of yarn to be dyed at ones, if less the chemical consumption will be
heavy and casting will become more on the yarn. Part of the dyeing machine holds a hook in which sample
thread is attached to keep checking the color or shade of the dye. The sample thread is checked regular
interval until required color or shades have been obtained. This dyeing machine will run for 24 hours at a
time for 50 kg yarn. After dyeing the yarn is dried in room temperature and then sent for jointing process.
Warping After spinning, the cotton yarn is rolled on the warp wheel from multi-ply spools. The yarn is
wrapped manually in a "to and fro" movement aka Aasu. The accuracy of this tying process eventually
determines the quality of design produced. After warping the yarn is twisted and folded and sent for
weft process. Weft process is done twice, one's before dying and another time after dying.
Weft is prepared in two types:This weft step entails preparation of yarn for resisting dye. The weft yarn is
spread out horizontally from a reel on to a special frame, going to and fro between a bigger iron peg on
one side and around smaller ones arranged in a semi-circle on the other side. The distance between the
big and small pegs corresponds to the width of the finished fabric. This tool for grouping the weft is used
typically in the Pochampally area, and not anywhere else. This process is one for dupatta, shall and
scarf’s.
In another way the yarn is stretched and tied on either side. This process is done usually for saree, bed
sheets and dress materials. After weft designs are drawn on weft thread and sent for tie and die process.
Yarn is dyed in required color and dried in room temperature and then again sent for another round of
weft process. This time threads are stretched and untangled and rolled and sent for jointing process.
Jointing Process: Weft yarn is brought for jointing process. The yarn is passed through a reed and then
attached to handloom for weaving. After weaving is completed small amount of yarn is left in the reed
and the weaved fabric is cut. The yarn is then tied to left over thread in the reed for next weaving
process. Each yarn is knotted one by one with remaining threads in the reed. This process is known
as Jointing process.
Ash powder is used for better grip of threads. This process id done manually and takes 1 to 2 days for
one set of weft. After jointing process the reed is fixed in handloom and weaving process is started.
Weaving: The prepared reed is
fixed to the weaving loom and
weaving process is started. The
weaver interlaces the cotton
threads of warp. The shuttle
passes through the threads to
interlock the threads of warp.
Artisan use different colors of
contrasting threads while weaving
to create designs. The proton of
woven cloth is wounded to the
wooden beam, which is located in
front of the weaver. After weaving
of 6 yards of fabric, the portion of
unwoven warp is intentionally left
before and after the sari weaving,
which is later knotted for fringe. It
takes nearly 2 to 3 days to
complete one sari. The length of 3
saris warp is loaded into the loom
at a time. For bed sheet weaving
big handlooms are used. Thus the
weaving is completed and sari is
folded in traditional manner for
the market.
Products :
- Pochampally weaving cluster
is mainly concentrated on
producing cotton products. Silk
saris are produced based on the
customer orders.
- The unique Pochampally
weaving standout for their
intricate patterns created by
coloring onto warp and weft
threads first and then weaves
them together in Ikat style.
- Spectacular designs are
beautifully composed with
combination of vibrant colors
and rich count of threads. The
range of products includes, silk
and cotton sari, scarves, stoles,
bags, pouches, sari bags, and
women's dress materials.
- Men's wear includes shirts,
kurtas, and pants. Others
include bed sheets, Divan sets
and curtains.
• THANK YOU……