Fashion Design Department | NIFT Hyderabad

Gollabhama Gatha
Unraveling the Extra Weft

Arushi Kamboj | Ishika Rathi | M Sai Kiran | Nikhil Chaudary |

Namrata Maurya| Samanwita Biswas | Sheetal Chandra | Yashi Verma
Gollabhama Gatha
Unraveling the Extra Weft
 Arushi Kamboj Ishika Rathi M.Sai Kiran

Samanwita Biswas
Yashi Verma

THE TEAM
Nikhil Chaudhary

Sheetal Chandra Namrata Maurya

CONTENT
 1
PREFACE...........................................

ACKNOWLEDGEMENT......................... 2
INTRODUCTION..................................4

GEOGRAPHY.......................................5

HISTORY & HERITAGE.........................7

THE GOLLABHAMA CLUSTER................ 11
TECHNICAL INFORMATION.................17

EVOLUTION.......................................23

MARKETING......................................31

INSTAGRAM BRANDS..........................35

SWOT ANALYSIS................................36

CONCLUSION.....................................37

BIBLIOGRAPHY.................................39
 PREFACE
Craft is one of the richest forms of art in our nation. It is a part of our heritage and is woven deep into our culture,
making it close to our hearts. With industrialisation and influence from the West, we have noticed a gradual shift
in interest from traditional crafts and is being less appreciated. Allowing these precious crafts downswings would
equate to letting a part of our identity dwindle. This is a huge loss, considering that we live in an era where the ideas
of self-exploration and expression are highly valued.

The Gollabhama textile is one of the many vulnerable crafts in India, which is from the town of Siddipet in Telangana.
This unsung beauty once defeated by the fast-changing consumer trends, is steadily rising up again to carve a niche
for itself.

While we love to cherish these drapes that adorn us, we must also try appreciating the craft and the craftsmen for
their skills. Keeping these regional crafts alive and flourishing is crucial in keeping the diversity alive, which is the
very spirit of our culture.

This Document discusses the history, current scenario and technical details of the Gollabhama handloom while
paving a way for design intervention into creating a more sustainable future for it. With this document, we aim to
create greater awareness about the craft among its readers.

1
ACKNOWLEDGEMENT
We humbly thank Mr. Nallapally Vijay Prakash, Supervisor, and Weavers from Adarsh Society,
Mr.Yekkaladevi Kallasham, Mr. Sirigari Satyam Garu, and Weaver from Siddipeta Cheneta Sa-
hakara Sangam, Mr. Balla Duttu Garu, Dr Sunanda R. K. Professionals at Weavers Service Centre,
Hyderabad Mr. Srinivasalu, Gollabhama Master weaver at Weavers Service Centre, Hyd. Mr. Shravan
Manda, Sr. Designer at TSCO (Telangana State Handloom Weavers Cooperative Society) Boutique Bougainvillea,
Thea, Vayana and Isha Foundation.
It is all their selfless efforts and co-operation that helped us learn about the craft and conduct our research. We
are greatly indebted by their help.

We would like to express our extreme gratitude towards our mentor, Dr Prof. Malini Divakala for her undue
support and guidance without which this project would never have been possible. We would also like to lend our
special thanks to Mr. G. M. Reddy Sir, Centre Co-ordinator for his encouragement and help. We are grate-
ful to our institute, National Institute of Fashion Technology, Hyderabad, for promoting learning and
arranging a project that allowed us to enhance our knowledge about crafts and explore further.

We are sincerely thankful to everyone who helped us conduct our research and we all honestly appreciate the
helping hand.

Thank You!

2
3
 INTRODUCTION
Gollabhama sarees are woven in the Siddipet region of Telangana. The uniqueness of these
weaves lies in the transfer of the distinctive designs and colours onto the warp and weft
threads that are then woven together. Gollabhama craft’s very identity comes from its
motif- the elegant milkmaid with her long- plaited hair, gracefully dressed in a Ghagra-choli
and draped dupatta, carrying the milk pot. Folklore says that it was this graceful appearance
of the milkmaids in Dwapar Yuga, who would carry pots of milk and curd to offer to lord
Krishna, that inspired the ‘Gollabhama ’motif for the sarees. It is said that Mr. Lakshmana
Rao introduced the original Gollabhama motif 30-40 years ago, which is still in use. Although
there is no document that authenticates this.
Motif plays a very important role in defining and enhancing the aesthetics of a textile.
However, in this case the craft takes its name after the motif hence limiting the option of
change in design. Initially Gollabhama sarees were woven for the women of Golla
community but has now paved its way into the hearts of a larger audience. The once
declining craft is now gaining prominence through the efforts of people working with the
craft and the weavers are hopeful for a strong revival.

4
 GEOGRAPHY

Telangana is situated in the Deccan Plateau and is the youngest Indian state formed in 2014. It is the twelfth most
populated and eleventh largest state (112,077 sq. km) in India with Hyderabad as its capital. Agriculture has been
the chief source of income for the state’s economy and some of the major crops include maize, tobacco, mango,
cotton, sugar cane and rice. The state is rich in minerals and has several coal reserves. The culture here is a mix-
ture of customs from Persian traditions brought by the Moghuls, Qutub Shahis and Nizams combined with South
Indian traditions. The state is also rich in arts like classical music, painting and folk arts like Bura Katha, Shadow
puppet show and perini Shiva Tandavam, Gusadi Dance, Kolatam etc.
Siddipet is a town located in Medak district of Telangana, renowned for temples as well as traditional looms. The
cotton sarees of Siddipet region have brought in a lot of fame to this town. The handloom sector of Siddipet is rich
in tradition and is regaining its prominence with the emergence of various e-commerce and social media plat-
forms.
In addition to sarees, Siddipet has a wide product range which includes towels, bed sheets, pillow covers, and
other cloth materials used for decorative as well as interior purposes at homes. The cotton sarees created here
are popular all over India and many weavers are now modernizing their looms and creating a good market by
participating in expos and exhibitions.
Siddipet is a municipality and serves as the headquarters of Siddipet district. It is well connected by roadways
since it is near Nizamabad, Hyderabad, Karimnagar and Warangal. It also has two bus depots with 103 buses that
cover 6 mandals i.e., Siddipet, Mirdoddi, Togutta, Kondapaka, Chinna Kodur and Nangnoor.The depots also have
two interstate services from Siddipet to Mumbai and Gondia.

5
6
WEAVING BACKWARDS
&
WEAVING CULTURES

HISTORY AND HERITAGE

7
 ORIGIN OF
PADMASHALI WEAVERS

Rajappa, J., & Kumar, K. (n.d.). Revival of Siddipet Jala Handloom Sarees Project. (Page 33)
Retrieved from https://drive.google.com/file/d/1lmDwxhaMbWoOjLAj8IaZfd3rQ7394S4J/view?usp=sharing

Padmashalis are descendants of the hundred sons (refer image) who are spread all
over India and the world. The evidence of their origin can be found in many religious
Puranas. The weaving technique of the community came from Sri Bhavana Maharishi.
The Padmashalis followed Vaishnavism and eventually developed and specialized in
weaving skills. They made cotton and silk clothes without having any skills in produc-
tion of raw material.

8
 Origin of the name Padmashali:

There Are different interpretations on the origin

of the name ‘Padmashali’ and its group. One on
Vaishnava group and the other on Shaiva group.
The Vaishnava group interprets that the word
Padmashali means beholder of the sahasrara
or intelligence, while the Shaiva group sug-
gests that the word Padmashali came into being
as, the grandsons of Lord Surya, who weaved
clothes out of the Lotus (Padma).
Some people believe it is derived from the San-
skrit word Shali meaning Silk cloth. Saaleedu
means spider in Telugu. Comparing the weav-
ing activity with the spider’s weaving of the web
might have coined the name for the weavers.

PADMASHALI
COMMUNITY
TODAY
With greater industrialisation, machine-made
Kailasam Garu, a master weaver from
goods became popular and people lost the ap-
Adarsh Society, recollects his childhood
preciation they had for the handlooms, as a
days, where he spent most of the time
result, Padmashalis migrated to urban and semi
around the looms, tells us that his father
urban areas for better opportunities.
used to weave sarees with flower bootis
The Main principles that Padmashalis follow in
and not gollabama sarees.
their profession are, ‘no meat eating, no liquor
consumption and no betting’. These customs are
According to Kailasam Garu, Gollabama
followed thoroughly and they believe that it will
Craft has been in existence for about 50-
help them attain great knowledge and wealth.
60 years, which took its start with one of
The community is very religious.
the weavers of siddipet, inspired by the
beauty of milkmaids of the place, tried
out a milkmaid motif and rest is the his-
tory.

9
BRIEF HISTORY OF THE SAREE

Previously, the sarees were specially woven for Golla community which were thick and
strong to withstand wear and tear from their work and rough weather. Eventually the
thickness of the sarees decreased with addition of extra patterns in weft depicting a
woman or milkmaid carrying clay pot on her head in combination with other motifs in
different proportions. This gave Gollabhama its name and identity.

10
 BEHIND
THE
WEAVE

THE GOLLABHAMA CLUSTER

11
 CLUSTER STRUCTURE AND
MANAGEMENT

The government has distributed 21 jacquard looms to different weaving

societies.
There are 50-60 jala looms used by individual weavers who work with
labels and companies
• Project chenetha sahakara sangam
Number of looms provided: 3 looms
Speciality: Plain saree with butas on the body and Gollabhama motif on the
pallu.
• Irkodu Chenata sahakara sangam
Number of looms provided: 3 looms
Speciality: 8”-7” Gollabhama motif in the bottom of the saree in one
direction.
• Tirumala chenetha sahakara sangam
Number of looms provided: 1loom
• Vera reddy palli chenetha sahakara sangam
Number of looms provided: 5 looms
Speciality: 2” Border with zari and Gollabhama motif in the pallu.
• Siddipeta
Number of looms: 6 looms
• Adarsh Society
Number of looms provided: 3 looms

The cluster operations are controlled and a 9-member committee

oversees the functioning of the clusters.
Each society elects a president for them and out of all the elected
presidents one member is selected who acts as a bridge between the
societies and TSCO. The committee selects the chairperson of TSCO.

12
 ORDER PLACEMENT

The orders are looked into by the Division Marketing Officer

Mr. Kalinga Reddy. The layout and specifications is given by
the TSCO designer who looks into the trends and gives de-
signs accordingly.
Once the sarees are finished, quality parameters are checked
and the sarees that don’t match these standards are rejected,
those are sold individually by the weavers. This implies that
sales happen once every 2-3 months.
District Co-operative Society a.k.a Zilla Sahakara Sangam
provides the weavers with loans for their principal amount
which is used to buy the raw materials-yarns, dyes etc and is
repaid once TSCO pays the weavers.

Kailasam Garu : When asked about

how they purchase materials and
how the orders are addressed,
Kailasam garu says that all raw
materials, like yarns, dye etc., are
sourced locally, once the sarees
leave the loom, they are packed
and are sold by the Society at
prices decided by the society and
TSCO.

13
 GOVERNMENT SCHEMES
for Handloom Weavers
Welfare
Despite the huge popularity of Siddipet
handlooms, the Gollabhama saree weavers are dis-
couraged by the rising prices. Their search for alter-
nate income is the main reason for the fading indus-
try. One of the best hand-woven products, the sarees,
sell for lower prices in the market.
In 2014, Chief Minister Mr. K. Chandrasekhar Rao
promised to revive the weaving industry. This is the
first time the
Telangana government has turned its focus on the
promotion of Gollabhama sarees. In the meeting,
more than 30 weavers who specialise in weaving
Gollabhama sarees were promised handloom equip-
ment by Minister Mr. Harish Rao, besides initiating an
action plan on promotion of handlooms under various
welfare schemes like Nethannaku Cheyutha, Chene-
tha Mitra, modernisation of looms etc.
Kailsam garu : When asked what and how
is the aid from Government is, Kailasam
Garu responded by saying that the help
they received was primarily getting Jac-
quard looms which helped them work fast-
er and produce better saris. However, he
believes that the weavers would need better
subsidies, increase their wages and most
importantly recognize their hard-work.
This not only the lives and financial state
of weavers is improved, but the Handloom
craft lives on by attracting more people
to pursue it. Kailasam Garu informed that
during Covid-19 Pandemic, life was quite
difficult as having work is the only way
to have food on their plates. He says they
did not receive any help from Government
during Pandemic, however, they received
financial aid from Adarsh Society which he
was quite helpful during the needy times.
14
1.Mahatma Gandhi Bunkar Bima Yojana:

Under this scheme total premium is Rs.470/-, out of which

GOI contribution is Rs.290/- beneficiary contribution is Rs.80/-
and LIC contribution is 100/. During years 2016-17, 1053
Handloom Weavers have been enrolled under the scheme.

Following incentives are given to the weavers :

• Scholarship to their (2) Children, who are studying from
9th to 12th Class Rs. 1200/- per Children per annum.
• Death claim of Rs.60,000/- for deceased weaver.
• Up to Rs.1.50 lakhs for the deceased weaver on Accident
will be benefited under the scheme.

2. Chenetha Mitra (Yarn Subsidy Scheme):

The objective of the input subsidy linked wage compensation

is to provide better wages to weaver artisan without compro-
mising on manufacturer margin and to be competitive in the
market.
The Government of Telangana gives a 40% price subsidy on
yarn purchases, this is in addition to the Government of India
10 % yarn subsidy.

3. Thrift Fund cum Saving and Security Scheme:

•Under this Scheme upon the declaration of monthly aver-

age handloom activities, government debits fixed 8% monthly
instalment in 1 RD account and credits 16% regularly on the
other.

15
16
 From
GREIGE GOODS
to
GRACEFUL WEAVES

TECHNICAL INFORMATION

17
 TOOLS & RAW MATERIALS

Fly shuttle

Weaving loom
Charka

Punch card Reed and warp beam

Spools spindles

Spinning machine
18
 PRE-WEAVING PROCESSES
SCOURING
Scouring (boiling) is the process of removing all impurities
such as waxes, fats, colouring matters, etc. contained in the
cotton yarns. This process is mandatory for better
penetration of the dye into the yarns.
100l of water is heated up to 40 to 50 degree Celsius for 1 yarn
bundle which is 5kg to create a mixture for scouring.
50g Caustic soda + 50g soda Ash(50g) + 50g wetting
agent+100l water.
This mixture is mixed well till it’s properly dissolved and then
heated up to 80-90 degree Celsius. At this stage, the soaked
yarn is put into the water and allowed to boil with it for three
to four hours while stirring. It is left overnight to cool in the
same vessel. Next day the yarn is thoroughly washed to
remove excess water and then dried.
DYEING
Vat dyes are popular for dyeing yarns used in Gollabhama sarees. These
dyes are suitable when colour fastness and brightness are desired. They
are naturally insoluble in water. Therefore, before dyeing the yarns with
vat dyes, it is important that the dye is rendered soluble, which is done by
following a simple procedure.
20 gm vat dye + 10 ml of red Turkey oil + caustic soda + sodium hydrosul-
phite + warm water for 5kgs of yarn.
The mixture is vetted well for 10 to 15 minutes at the required temperature
as per the chosen colour. The designers prepare a shade card with the
colours that are used in the design which is given to the weavers. Once the
weavers find the colours according to the shade card, the dye solution is
prepared and the yarns are dyed.
This vetted solution is added to the dye bath which is approximately 100
litres of water heated up to 60 to 70 degree Celsius and then stirred well.
At this stage the yarn is immersed in the dye bath and agitated with quick
turns initially and then worked for 30 to 60 minutes depending upon the
desired colour depth and intensity. After dyeing, the yarn is removed from
the dye bath, hydro extracted and then exposed in the air for 30 minutes
also known as air oxidation. This process is followed by the yarn being
thoroughly washed with warm water, rinsed with cold water and left for
drying. However, weavers in Siddipet usually source pre-dyed yarns from
the market or order it from society dyers.

19
 SIZING
The dyed yarn is prepared for sizing which is an important pre weaving process that imparts luster and strength to the yarns and enhances
the overall finish of the woven fabric.
However, Mr. Srinivasalu, Master weaver at Weaver’s Service Centre, Hyderabad says that sizing is not essential for the Gollabhama sarees
that are woven in Siddipet since they usually go for 2/120s cotton yarn and a 2-ply yarn which is quite sturdy. According to Mr Srinivasulu
when 60s, 80s, or 100s single yarns are used, sizing becomes a necessity. He added that 2-ply cotton yarns are popularly used in the mak-
ing of Gollabhama sarees in Siddipet, whereas single yarns are most commonly used in places like Venkatagiri, Mangalgiri and Chirala in
Andhra.
But today weavers in Siddipet are looking at updating their skills, and professionals are working towards producing sarees of better finish
and quality to make the craft more suitable for the
competitive markets. Therefore, sizing as a pre-weaving process has become more preferable and commonly practiced.
This process requires a sizing solution to be prepared. Two popular ways of creating sizing solutions in Siddipet are with maida and coconut
oil or sago powder and ‘Thumma Jiguru’ (Acacia Arabica).
To create a sizing solution (7.5kg yarn bundle) with maida:
1 kg maida + 5 litres + 100-200 ml coconut oil
Once the right consistency is reached, the dyed yarns are worked well in the solution for at least 20 minutes after which they are removed
from the solution, squeezed and dried in sunlight.
Another way of sizing is with sago powder.
Sago solution (1 kg sago powder + 5L water) + 40l water +100g of coconut oil and paraffin wax.
The solution is then cooled to room temperature, to which Thumma jiguru (overnight soaked gum solution) is added and mixed well. The
dyed yarn is then agitated in this sizing solution and left covered in it overnight. Next day the yarn is dried in shade.
The maximum length of warp suitable for street sizing is 12 sarees which is 6.3 × 12 yards (inclusive of the blouse) is suitable yardage.
Such a limit exists due to the limitations of space that comes along with Street sizing.
After following either of the two procedures, the yarn is ready for the winding process. The yarns are bound to bobbins for warp and weft as
well as for preparing tilli’ (yarn for extra weft insertion). In the warping process yarns are wound onto the warp beam, whereas weft yarns
undergo Pirn winding.

20
 Satyam Garu : The greige yarn is bleached and then
dyed in desired colors. The yarn is then wound on to
perns usually by women. Once the winding is done,
the warping beam is prepared, punch cards are in-
stalled in the loom and weaving starts. It usually
takes around 1-1 1/2 day for them to finish weaving
a gollabama dupatta.

21
 THE LOOM AND WEAVING
The looms that the weavers use for weaving the Gollabhama are Jala/Adai which was originally used and the Jacquard loom which was
later introduced and is still in use.
Jala/Adai is a complex handloom mechanism which is quite suitable for figured textiles. To weave using this loom, the motif design is first
created in a table loom and then transferred to a master harness which is attached to the loom and controls the heddles (replaced by punch
cards in Jacquard loom). This harness can control individual warp yarns separately. Therefore, as per the desired design specific warp
yarns are lifted by an assistant ‘the draw boy’ to create the shed and then a small ‘tilli’ or shuttle carrying the extra weft is passed through it
to create the motif. This step of the process has been made easy with the introduction of jacquard loom. This is essentially how the gollab-
hama sarees are woven. During the weaving process, when the weft runs out of the pirn, the shuttle is removed and a new pirn with same
quality yarn is taken. The end of previous weft yarn from the saree is twisted along with the new weft yarn and is added to the shuttle where
small knots are made, it is then replaced from where it’s stopped and the weaving process continues
Weaving using the Jala technique is a very laborious and tedious task as it requires the Weavers to manually tie each warp yarn to
attach them with the harness and Jala weft thread according to the graph design. Also, it requires great accuracy for the warp yarns to be
picked correctly for the right design to be woven. A tiny mistake could result in wastage of the entire woven fabric.
Today, though the Jala looms are still commonly used for weaving the gollabhama sarees, the government has also introduced Jacquard
looms for few society weavers. Jacquard looms mechanise the entire process of lifting warp yarns to create the shed as per the design
punched on the punch cards. The Jacquard could be operated either manually or mechanically by a simple switch, which reduces the time
taken to weave the sarees and simplifies the process.
The woven saree is packed and ready for sale.

22
 EVOLUTION OVER
THE YEARS
From Yesterday To Today

EVOLUTION

23
Originally woven for the Golla
community, the Gollabhama sarees
have been foresighted to cater to
a larger group of audience. It is no
secret that for any product to
sustain in the market there is a
need for constant upgradation as
time progresses and the same
applies to the Gollabhama craft.
“There is a need to incorporate new
technology in traditional handlooms
for it to become commercially via-
ble. When talent finds technology
there is a greater scope to develop
new business models.”
– Dr Sunanda R. K.
With a life of nearly 100 years, this
craft has evolved significantly. Once
created for a specific group of
people, is now a craft that can be
cherished by everyone. From raw
materials, weaving process, motifs
to the end result, all the aspects
of the craft underwent a constant
change over a period of time.
Traditionally woven in cotton and
silk, we now see possibilities of
introducing sustainable
alternatives like linen and hemp
into the Gollabhama sarees as well
as our festive favourite zari yarns.
We have also learnt that the weav-
ing of the craft was much compli-
cated and different from what we
see today.
Initially weavers used a reference
paper with the motif design which
was placed underneath the warp
yarns, as per the design on the
paper, the weaver picked the yarns
manually to insert extra weft to
weave the motif. The weaving sim-
plified with the introduction of the
jala looms and the pace of weaving
was made faster with the introduc-
tion of jacquard looms.
Today, the Gollabhama is being
woven into not only sarees but also
dupattas, stoles, furnishings and
dress material. A lot of this growth
is credited to professionals at the
Weaver’s Service Centre, Hydera-
bad, and Telangana State Handloom
Weavers Cooperative Society (TSCO)
along with industry experts like Dr
Sunanda R K who realise the value
of these handlooms in our Indian
heritage and culture and are mak-
ing every possible effort to create a
more sustainable future for them.
Story of Gollabama Dupattas
Satyam Garu : Gollabama
started its journey as a hum-
ble cotton saree, making its
way into siddipet and tel-
angana’s womens wardrobes.
However, to attract a wider
age group, Gollabama Du-
patta’s were woven, and they
were a hit! Thanks to Saman-
tha Ruth Prabhu, who visited
them in 2016, and purchased
Gollabama sarees and Du-
pattas which made them quite
popular.
24
The Weavers Service Centre, Hyderabad, func-
tions like a research and development depart-
ment for regional heritage handlooms and crafts.
Gollabhama is one of the crafts they are work-
ing on. The service centre makes an attempt to
create multiple variations of the sarees such that
no two sarees have the same design. Once these
samples are ready, they are displayed for the
Weavers, society members and exporters. They
are allowed to take the samples with them as a
reference for production. The exporters produce
One about GI Tag :
the sarees based on the samples for the inter-
Initially these sarees were waiting for its recognition,
national market and these designs are further
however that changed when Siddipet Gollabama Sarees
modified depending on the market’s response.
received Geographical Indication tag which helped it
Some of these modifications include changes in
protect the integrity of the weave and recognize the
the motif layout, its combination and colours.
art-form on a higher level.

In case there are any discrepancies that take

place during the production of the sarees based
on the given sample, the weavers can imme-
diately contact the Weavers Service centre for
further guidance. The Weavers Service Centre
gives a complete written instruction based on
the suitable yarn type and other important in-
formation to the Weavers for them to be able
to replicate the design correctly. In case there
is an issue even after the written assistance,
the weavers from the Weavers Service Centre
can visit the production unit. In this manner the
information about the new design developments
disseminates across craft producers and evolved
styles are created.
DYES
An important observation on the evolution of the Gollabhama craft is that it has shifted
from using natural dyes to Vat dyes which are
synthetic in nature. Dr Sunanda R.K. credits this shift to globalisation, as using these
dyes provide short-term profits. Another reason behind choosing these dyes is that
they have great colour fastness. It is believed that some of the colours of these dyes are
less harmful to the environment compared to the other synthetic ones but they do have
an adverse impact.
Industries also tend to choose synthetic dyes over natural dyes due to their costly na-
ture which is because of limited availability of dye yielding plants caused by deforest-
ation. This is one of the reasons why the initial design variations for the Gollabhama
sarees could not be made with natural dyes since it was economically impractical to do
so.
Ironically, a newer problem faced today is that, with the increased demand for vat dyes,
its cost has also increased which no longer makes it a sustainable option, creating a
need to switch back to natural dyes. Further research is being carried out using na-
no-technology for greater performance and absorption of dyes.

25
26
 THE MOTIF

Kailasam Garu :
When asked about the Craft’s techniques and how did they change over the
period, Kailasam garu says that the technique has changed a lot, for good.
Initially when Kailasam garu would practise weaving at their home, they
would use Jala technique which is quite laborious and would take 3-4 days
to make one 13 inches Gollabama Motif. However, with the introduction of
Jacquard looms, the same could be done in half amount of time and it is
even faster when they were provided motors to help with lifting the reed that
operates the punch cards.

The Gollabhama had diversified in the past into other two motifs, namely
the Bathukamma and the Kolatam motif. However, this does not seem to
have sufficed the demands of the competitive market. Our research shows
that professionals often credit the downfall of the craft to the similarity in
its designs. One major drawback of the sarees is the repetition in style.
Sticking to one motif with little variation cuts down the choice offered by
the saree, which makes it unsuitable for repeat purchases. This has led to
the loss of interest among potential buyers.

27
 However, fortunately for the craft, this is not just a realisation, but an identified prob-
lem being catered to by skilled professionals. Weavers at the Weavers Service Centre,
Hyderabad, are looking into introducing new motifs such as Chakra, Milk pot, Shank
and Flute (all being elements relating to the folklore that inspired the Gollabhama motif )
in a Buti format on the body of the saree. They are also working towards re-introducing
the iconic ‘Radha-Krishna’ motif on the pallu along with Gollabhama motif. They are
also creating variations within the Gollabhama motif by introducing new poses, differ-
ent silhouettes, garment details and so. One example of such variation is the ‘Dancing
Gollabhama’.
However, fortunately for the craft, this is not just a realisation, but an identified problem being catered to by skilled professionals. Weavers
at the Weavers Service Centre, Hyderabad, are looking into introducing new motifs such as Chakra, Milk pot, Shank and Flute (all being el-
ements relating to the folklore that inspired the Gollabhama motif ) in a Buti format on the body of the saree. They are also working towards
re-introducing the iconic ‘Radha-Krishna’ motif on the pallu along with Gollabhama motif. They are also creating variations within the
Gollabhama motif by introducing new poses, different silhouettes, garment details and so. One example of such variation is the ‘Dancing
Gollabhama’.
The design visualisation is done by drawing it on a graph paper and then translating it on a weave. There are unlimited possibilities to
create as many motifs as one would desire. Hence, true challenge is the design creation. Even though the process of motif creation might
suggest possibilities of creating motifs that can make these sarees trendy as per market standards, there is a need for clever design inter-
vention. The sarees must be true to the zeitgeist, yet keeping the identity of the craft and very essence of the Gollabhama alive.

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 FROM THE LOOM
TO THE LADIES

MARKETING

31
Marketing was a major concern for the Weavers and as a result they were forced to shift to basic
weaving for 30 years until the craft was viewed for revival in the year 2015.

A major reason behind the decline of the popularity in Gollabhama craft according to Dr. Sunandha
was the reiteration in the design which made it extremely easy for the craft to be copied in power
looms. Due to the lack of novelty, it created a feeling of boredom and repetition among the custom-
ers which resulted in the decline of the craft. She also mentioned that because of the absence in
updating the craft with the trends, it critically contributed to the craft’s decline.

In order to sustain the craft in the long run, one needs a complete SWOT analysis of the craft and its
market to create relevant designs. These designs require branding for a higher recall value. There is
also a need for constant upgradation once the craft is in the market. It is crucial to keep the trends
and consumer behaviour in mind along with material expansion and product diversification for the
craft to be able to sustain in the market.
“Marketing a craft is different from marketing any other product. To sell a craft one needs to sell a
story and not the product itself.” – Dr Sunanda R. K.

In the handlooms industry, the profit margins are low and the cost of production is high. The efforts
and intricacy involved in creating any handloom product is incomparable to that of machine-made
products. Highlighting the story of the craft and emphasising on its heritage helps the high costs of
these crafts to become more justified and seems like a fruitful approach towards its marketing sam-
ples, to study the viability of the design variations and share them with the weavers and exporters.
The pricing of these samples at the Weavers service centre is non-profit based, which includes the
cost of raw materials, dyes and technical assistance.

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 Another important aspect for any product to perform well in
the market is its quality. What makes these craft-based prod-
ucts so special is that no two products are the same. Given
that they are handmade, each product has its own aesthetic
imperfections. Due to its reduced value, the craft underwent
commercialization which resulted in the compromise of its
quality. However, it is suggested that studying the market of
the product, its end-use, customer needs and available tech-
niques can help us set a standard for the crafts.

Today, the Gollabhama craft has a very specific custom-

er-based market. These customers either have a good knowl-
edge about the craft or are professionals in the same field.
Hence, making the number of customers that appreciate the
craft very small.

The Gollabhama sarees are usually worn on special occa-

sions and thus, its sales are quite limited. There is definitely
a need to glamourise it to attract a larger audience across all
age groups and geographical locations. Another viable strat-
egy is collaborating with designers and famous personalities,
who can associate the craft to their celebrity brand giving the
craft a platform to gain popularity.

33 https://2.bp.blogspot.com/-7WksG4M1zzY/XK2r6wDbv_I/AAAAAAACfO0/
L2JtFpKm8j8NzmIev2PitEKLwN0sHM14QCLcBGAs/s1600/IMG_1872.JPG
One about the time & people.
Kailasam Garu :
As per Kailasam Garu initially the weaving used to happen in their home where
all the family members were involved in making of the saree, however, this has
slightly changed. Now most weavers work in a society, where they are provided
instructions on what orders to make and designs to weave. They get a fraction
of amount on each saree every month as salaries and they seem to be quite con-
tent with this way of working.

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 INSTAGRAM BRANDS

We reached out to brands that work with Gollabhama on social media. Brands like boutique Bougainvillea, Thea,
and Vayana shared their experience with the craft. The iconic inlay motif inspired the brand Vanaya to deal with
Gollabhama saree. The rest of the brands are helping in reviving various Indian weaves and crafts, and support
weavers. These brands source their products directly from weavers and handloom cooperatives run by the gov-
ernment or societies. They do extensive background research before they start sourcing. They try to understand
the craft, identify the best price, meet the artisans and take expert references. Whether buying singularly or in
bulk, most of them prefer outright purchases. According to the brands, weavers are open to change and are ready
to experiment with designs. Weaver’s flexibility depends on the design given to them and also the loom that they
are working with. But for design interventions to be made possible, the purchase order quantity needs to be high.
These brands deal with weavers only a couple of times a year as the demand for the craft is low and the produc-
tion rate is also slow. There is an end-to-end inspection of the sarees once it is delivered and the defective sarees
are sent back to be replaced which happens quite rarely. There are three motifs used in the Gollabhama sarees:
the Gollabhama, Bathukamma, and Kolattam. Gollabhama motif is the most popular one and cotton based Gol-
labhama sell more than the silk ones. The brands are also trying to introduce other products apart from sarees
with the Gollabhama motif. The brands always receive good feedback on the Gollabhama sarees. The customers
love how beautiful, soft and easy to drape the sarees but the purchase is not repeated. Brands also feel a need for
a GI tag with the GI number to prove the authenticity of the sarees but during a conversation the brand ‘Boutique
Bougainvillea’ chose to differ and said that, “the tags don't mean anything in the market. The silk GI mark has
been found in synthetic varieties and there should be a real-time tracking system to check the authenticity of the
code on these tags”. The best way to ensure the authenticity is to deal directly with the weaver, they added.

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 SWOT ANALYSIS

STRENGTHS WEAKNESS
-Strong visual identity -Limited by motif associated
-intricacy of motif design identity
-Novelty among common common - Lack of awareness
floral motifs -diversion in family lineage
-Well organised clusters -Lack of authentic documentation
of history

OPPORTUNITIES THREATS
-Versatile fibre usage -Dominated by another popular
- Popular trends supporting crafts handloom
such as #vocalforlocal -Fast fashion trends and fads
- Branding by utilising Social media -Pricing
platforms. - Not considered suitable for the
- Initiatives taken by government younger age group.
and industry experts

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 CONCLUSION
Gollabhama is a craft that is one of a kind and even though it has limited historical data
documented, it has interesting stories and inspiration associated with it. Today, we need
something new to rekindle the lost interest. While creating any new design one needs
to keenly be careful of introducing a motif or any design element such that it does not
overstep on the original identity of the craft. We can happily think of advancing the craft
by adding newer motifs of girls dancing or mythological figures, creating motifs of
goddesses or even experiment with motifs of school-going girls to create sarees suiting
the contemporary times, holding a message as well. But, can we still call this saree a
‘Gollabhama saree’? Can it be justified calling the saree a Gollabhama? It indeed is a
true dilemma.

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https://i.pinimg.com/originals/0b/53/f3/0b53f3482a57d6832d60b3443cf2c89c.jpg

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 BIBLIOGRAPGY
Extinction looms over Gollabhama weavers
Saumya
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Gollabama sarees siddipet - weavers

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Weavers to access thrift scheme money ahead of lock-in period

Correspondent
https://www.thehindu.com/news/cities/Hyderabad/weavers-to-access-thrift-scheme-money-ahead-
of-lock-in-period/article31660694.ece

Weavers to access thrift scheme money ahead of lock-in period

Correspondent
https://www.thehindu.com/news/cities/Hyderabad/weavers-to-access-thrift-scheme-money-ahead-
of-lock-in-period/artice31660694.ece

Siddipet special sarees GOLLABHAMA/ Handloom Gollabham sarees, Ekkath sarees&poshampal-

ly sarees/.
https://www.youtube.com/watch?v=fcAcpjRme84&feature=youtu.be

Making of Handloom Gollabhama Sarees || Chenetha Gollabhama || Vanitha TV

https://www.youtube.com/watch?v=8zZsXx9W1ws&feature=youtu.be

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