MANDI LEATHER

CRAFT
Members: Akashdeep
Diva
Diya
Purnima
Samiksha
Shriya
Shubharjyotsun
Acknowledgement
The whole process and journey of doing this
project was overwhelming for all of us. The amount
of knowledge and experience we gained is
inexpressible. To be able to learn about a craft so
closely, by being able to talk to the artisans would
not have been possible without our supportive
faculties.
We would like to express our gratitude of deep
regards to our mentors/ guides, Mr. Sandeep
Sachan and Ms. Avani Pandaya for the provision
of expertise. Without their deep knowledge,
understanding and experience our project would
have lacked quality.
Atlast i would like to thank the National Institute
of Fashion Technology for having given us this
opportunity of undertaking a craft documentation
project as a part of our curriculum.

PAGE 1
LIST OF TOPICS
COVERED
 What is leather?  Leather crafts of Mandi
 The origin of leather  Raw materials
 The leather making process,  The design
explained  Tools used
 About Mandi  Machines used
 Geography  Manufacturing
 Climate  Products
 Population composition  Growing their business
 Settlement patterns  Scope for improvement
 Economy  Product costing
 How to reach Mandi  Customers
 Constitutional framework  Details of artisans
 Education  Problems faced by artisans
 Culture  Market promotion
 Handicrafts of Mandi  SWOT analysis
 STD, Mandi

PAGE 2
WHAT IS LEATHER?
Leather is a product made from the skin of animals which, to a
large number of complex
THE ORIGIN OF
treatments, become usable and rot- LEATHER
proof.
From a microscopic point of view, Leather making is an ancient art that
the skin can be seen as a tight has been practiced for more than
interweaving of numerous collagen 7,000 years. Fresh skins were dried
fibers, the external envelope of in the sun, softened by pounding in
living beings. skin is the animal fats and brains, and
fundamental part (dermis) of the preserved by salting and smoking.
coating that covers every living being
Beginning with simple drying and
and separates it from the external curing techniques, the process of
environment, makes it a unitary vegetable tanning was developed by
whole and can be comparable on a
the Egyptians and Hebrews about
large scale to the membrane that
400 BCE.
separates each cell from outside
itself and by extension to the During the middle Ages the
electromagnetic force that makes Arabs preserved the art of leather
each atom singularly identifiable and enclosed in a whole. making and so improved it that Morocco and cordovan became
highly prized leathers.
By the 15th century, leather tanning was once more widespread
in Europe, and, by the mid-19th century, power-driven machines
that performed such operations as splitting, fleshing, and
dehairing were introduced.

PAGE 3
The leather making process,
explained
The principal methods of making leather haven't changed that
much over the years, but that doesn't mean it is easy. Tanners
are highly trained in what they do, and it is a surprisingly
complicated and lengthy process.

PAGE 4
1. Curing: Raw hides and skins must be preserved to stop them 7. Bating: A long delime can significantly improve the removal
deteriorating before the leather-making process can begin. of any remaining lime, scud (miscellaneous debris) and
Methods of preservation include salting, chilling, freezing residual components broken down during liming
and the use of biocides.

8. Pickling: Weak acid and salt solutions are used to bring the
2. Soaking: Cured hides or skins are soaked in water for several pelt to the weakly acid state required for most tanning
hours to several days. This allows them to reabsorb any processes. Stronger pickling solutions are used to preserve
water they may have lost in the curing process or during pelts so that they can be stored or transported in a stable
transportation. It also helps to clean them of salt and dirt. form over periods of several months.

3. Painting: Painting is a method by which wool can be 9. Degreasing: Solvents or water-based systems can be used to
removed from sheepskins using a sulphide based mixture. remove excess grease before tanning.

4. Liming: Liming removes the epidermis and hair. This also

results in alkaline swelling of the pelt to cause a controlled
breaking of some of the chemical crosslinks of the collagen.

5. Fleshing: After liming the pelt is passed through a machine

to remove fleshy tissue from the flesh side. Hides may be
split into layers at this stage or after tanning.

6. Deliming: The principal action of deliming is to gradually

neutralise the alkali in the pelt, avoiding rapid changes in pH
Vegetable leather tanning in Mandi
which could lead to distortion or disruption of the tissues.

PAGE 5
10. Tanning: Tanning converts the protein of the raw hide
or skin into a stable material, which will not putrefy and is
suitable for a wide variety of purposes. Tanning materials
form crosslinks in the collagen structure and stabilise it
against the effects of acids, alkalis, heat, water and the action
of microorganisms. The main types of tanning materials are:
 Mineral tannages: Most leather is tanned using salts of
chromium.
 Aldehyde and oil tannages: Tanning with aldehydes and oils
produce very soft leathers and this system can be used to
produce dry cleanable and washable fashion leathers and
also chamois leather.
 Vegetable tannages: Various plant extracts produce brown
coloured leathers which tend to be thick and firm. This type
of tannage is used to produce stout sole leather, belting
leather and leathers for shoe linings, bags and cases.
11. Splitting: A splitting machine slices thicker leather into
two layers. The layer without a grain surface can be turned
into suede or have an artificial grain surface applied.
12. Shaving: A uniform thickness is achieved by shaving
the leather on the non-grain side using a machine with
helical blades mounted on a rotating cylinder.
13. Neutralisation: Neutralising removes residual
chemicals and prepares the leather for further processing
and finishing. Additional tanning material may be applied to
give particular properties which are required in the finished
leather.
14. Dyeing: The dyeing of leather into a wide variety of
colours plays an important part in meeting fashion
requirements. Some leathers are only surface dyed, while
others need completely penetrated dyeings, as is the case
with suede leathers.
15. Fatliquoring: Fatliquoring introduces oils to lubricate
the fibres and keep the leather flexible and soft. Without
these oils the leather will become hard and inflexible as it
dries out.
16. Samming: This process reduces water content to about
55% and can be achieved by a number of machines, the
commonest being like a large mangle with felt covered
rollers.
PAGE 6
17. Setting out: The leather is stretched out and the grain
side is smoothed. This process also reduces the water
content to about 40%.
18. Final drying: Leather is normally dried to 10-20% water
content. This can be achieved in a number of ways and each
method has a different effect on the finished leather.
22. Final grading: Leather will be graded before dispatch to
the customer. This grading may consider the colour intensity
and uniformity, the feel of the leather, softness, visual
appearance, thickness, design effects and natural defects
such as scratches.

19. Staking and dry drumming: A staking machine makes

the leather softer and more flexible by massaging it to
separate the fibres. To finish off the leather may be softened
by the tumbling action inside a rotating drum.

20. Buffing and Brushing: The flesh surface is removed by

mechanical abrasion to produce a suede effect or to reduce
the thickness. In some cases the grain surface is buffed to
produce a very fine nap, e.g. nubuck leathers. After buffing
the leather is brushed to remove excess dust.

21. Finishing: The aims of finishing are to level the colour,

cover grain defects, control the gloss and provide a
protective surface with good resistance to water, chemical
attack and abrasion.

PAGE 7
 ABOUT MANDI
Mandi, town, central Himachal Pradesh state, northwestern
India. Mandi is a trade centre for agricultural produce and
timber. Hand-loom weaving and handicrafts are the principal
industries. The town also conducts a frontier trade with Tibet
(China). It is connected by roads with Shimla and with towns to
the north and west. The surrounding area is a mountainous tract
drained by the Beas and Sutlej (Satluj) rivers, and their fertile
valleys yield grains (notably rice and corn [maize]) and other
crops. Large quantities of rock salt are mined. Numerous
religious sites are located in and around the town, including
Bhima Kali Temple, dedicated to the Hindu goddess Kali, and
Rewalsar Lake, which has special significance for Buddhists,
Hindus, and Sikhs.

PAGE 8
GEOGRAPHY
Within the diverse terrain of Himachal Pradesh are several
parallel physiographic regions corresponding to the northwest-
southeast-trending ranges of the Himalayan mountain system.
The region adjacent to the plains of Punjab and Haryana consists
of two stretches of the Siwalik (Shiwalik) Range (the Outer
Himalayas) separated by long, narrow valleys.
CLIMATE
The Siwalik region has hot summers (March to June), with
temperatures rising above 100 °F (38 °C), cool and dry winters
(October to February), and a wet season (July to September), with
rains brought by the southwestern monsoon. As elevations
increase farther north, the climate becomes wetter and cooler. In
the Great Himalayas, winters are bitterly cold and snowy, with
temperatures dropping below 0 °F (–18 °C).
POPULATION COMPOSITION
The population of Himachal Pradesh is composed of a variety of
distinct ethnolinguistic groups and social castes. Among the most
prominent communities are the Gaddi (Gaddi), Gujari, Kinnauri,
Lahuli, and Pangwali. Many Punjabi immigrants have settled in
the major towns and cities since Indian independence in 1947.
SETTLEMENT PATTERNS
Himachal Pradesh is one of the least-urbanized states in India. In
the early 21st century its urban population accounted for less than
10 percent of the total. There are more than 50 towns, and the
capital, Shimla, constitutes a city of reasonable size. The capitals
of the former princely states, including Bilaspur, Mandi,
Chamba, and Kullu, are now district headquarters. Dalhousie,
Kasauli, and Subathu are hill resorts of British origin. Kangra,
Palampur, Solan, and Dharamshala are other notable towns in
the state.
PAGE 9
ECONOMY

Most people in Himachal Pradesh depend

for their livelihood on agriculture,
pastoralism, transhumance (seasonal
herding), horticulture, and forestry.
However, the government of Himachal
Pradesh has encouraged the development
and dispersal of manufacturing, with
different towns—mostly in the southern
part of the state—often specializing in the
manufacture of particular goods.

PAGE 10
HOW TO REACH
MANDI
Despite its remote location, Himachal Pradesh has a reasonably
well-developed infrastructure that not only has aided domestic mobility
but also has helped in the promotion of tourism. Scenic narrow-
gauge rail lines run from Kalka to Shimla and from Pathankot (in
Punjab) to Jogindernagar. There also is a railhead in Una. Roads,

however, crisscrossing through the ranges and valleys, serve as the

communications lifeline of Himachal Pradesh; the state operates
many bus routes throughout the network. Regular domestic air
service is available in Shimla and Kullu.
On reaching the airport, taxis are the best option to get to Mandi.
Buses and auto rickshaws are other ways to get to Mandi from the
Bhuntar Airport.

Nearest Airport: The closest airport to Mandi is the Bhuntar

Airport in Kullu at a distance of around 59 km.

PAGE 11
CONSTITUTIONAL FRAMEWORK CULTURE
The basic governmental structure of Himachal Pradesh, like that The fairs and festivals of the rural communities provide many
of most other Indian states, is determined by the national occasions for song, dance, and the display of colourful garments.
constitution of 1950. The state government is led by a governor, The Kullu valley, known as the
appointed by the president of India. The Council of Ministers, valley of the gods, provides the
headed by a chief minister and responsible to the directly elected setting for the Dussehra festival
Legislative Assembly (Vidhan Sabha), assists and advises the held each autumn to celebrate the
governor. defeat of the demon king, Ravana,
by the prince Rama (as recounted
in the ancient Hindu epic the
EDUCATION Ramayana). During the festival,
the various temple gods are
Since the late 20th century,
carried in procession in covered
Himachal Pradesh has made
palanquins, accompanied by
great efforts to expand education.
bands of singers and dancers.
Consequently, there has been a
Participants in this and other such
remarkable rise in the number of
celebrations are typically decked
primary, secondary, and
in vibrant attire, often accented
postsecondary institutions and a
with exquisitely designed shawls
corresponding increase in
from Kinnaur district, finely
enrollment at all levels. Himachal
embroidered handkerchiefs from
Pradesh University, founded in
Chamba, or distinctive woolen
1970 in Shimla, was the state’s
caps from Kullu.
first institution of higher
education; it now has dozens of
affiliated or associated colleges.

PAGE 12
HANDICRAFTS OF MANDI
Himachal Pradesh State Handicrafts & Handloom Corporation
Limited
(An H.P. State Government Undertaking) came into being in
the year 1974 with the objective to assist and promote the
interests of the poor weavers and artisans of the state. The
Corporation ensures the overall welfare of artisans and weavers
by imparting training, design inputs, raw material, reviving the
languishing crafts and providing them marketing facilities
through its chain of emporia located within and outside the
state. Apace with changing trends and preferences the
Corporation plays the key role in evolving new designs through
the designers appointed from NIFT with the financial assistance
and support of the Ministry of Textiles, Govt. of India, New
Delhi. The Corporation is running a handloom cluster
development scheme in Mandi and Kullu District (Himachal
Pradesh) under Integrated Handloom Cluster Development
Scheme with the financial assistance of the Ministry of Textiles,
Govt. of India, New Delhi.

PAGE 13
INTRODUCTION to Leather
Crafts of Mandi
Apart from paintings and embroidery, there are other crafts in
Himachal Pradesh that are very well known around the country
and the world. The major craft works of Himachal Pradesh are
leather craft, jewellery, metal crafts etc.
Himachal Pradesh has given rise to incredible handicrafts.
Among the wide range of alluring handicrafts, leather craft is one
of the chief craft works in Himachal Pradesh.
Leather craft is the practice of making leather into craft objects or
works of art, using shaping techniques, colouring techniques or
both. It is a major craft of Himachal Pradesh.
From cloth embroidery to leather, the people of Himachal
Pradesh are skilled with extraordinary embroidery skills which
they also do in leathers, varying range of products being purses,
chappals, socks, belts, sandals etc.
The footwear made by the leather craftsmen are extremely
comfortable to wear and are embroidered with colourful threads,
red, yellow, green, blue, black, gold etc.
The leather works of Himachal Pradesh is one of the most
renowned crafts and it also contributes to the economy of the
state as well as the people.

PAGE 14
RAW MATERIALS
The main and most important raw material is leather. But now
artisans prefer switching to other raw materials too because the
market is slowly shifting to contemporary products with cheaper
rates. Also, the younger generation shows less interest and
enthusiasm in buying pure leather products because of their old
designs and look. Hence, using leather was not a viable option.
Some of the daily used raw materials are-
 Cowhide leather
 Form leather
 Rexene
 Readymade leather
 Adhesive

PAGE 15
THE DESIGN
The designs are traditional, simple and colourful. Their
traditional motifs and traditional pahari designs can even
challenge the established Persian aesthetics.
The embroidery done on the leather products is done with
several colours and then glitter is added through the imitation zari
(gold thread). What we noticed was that the designs were inspired
from flora of the place. The traditional designs and the colourful
embroidery never fails to attract eyes.
The lightness and the leather being so comfortable including
beautiful embroidery attracts the eye of tourists and sometimes
when it's the time of festivals in the state, these leather products
are high in demand and often the tourists wish to take them as a
memento.
Now, with advancement in technology for machinery and
availability of the internet, artisans are including a hint of western
touch to their products for better sales and acceptance among the
younger generation.
Artisans also visit quarterly workshops, mostly held by FDDI,
where they get to learn about the latest techniques and designs.
They then incorporate their learning into their products.

PAGE 16
TOOLS USED

To make leather footwears craftsmen mainly use tools like-

 Hammers of different sizes
 Punches
 Rappi (Knife)
 Sewing Machine
 Metal nails
 Scissors
 Pincers

PAGE 17
MACHINES USED
Machinery (some of them)-
 Glazing machine
 Beam machine
 Shaving machine
 Rolling machine

Leather shaving machine

PAGE 18
MANUFACTURING
The steps for manufacturing leather products are as follows:
 Procuring skin from local market
 Preservation
 Salting
 Chilling
 Use of biocides
 Folding
 Transportation to different units
 Soaking (3-4 days)
 To reabsorb lost water
 Remove salt and dirt
 Liming
 Fleshing
 Vegetable tanning

Vegetable tanning of leather

smoothing and cleaning

PAGE 19
PRODUCTS
The products diversify from artisan to artisan, but mainly revolve
around a few. Such as-
 Shoes For men and women
 Chappals For men and women
 Fashion accessories- belts etc. For men
 Bags - wallets, small handbags, potlis and coin purses

PAGE 20
Different types of footwear

KOLHAPURI CHAPPAL

JOOTIS

MOJARIS

BOOTS

PAGE 21
LOAFERS

CHAPPAL

STRAPPED SANDALS

PAGE 22
GROWING THEIR BUSINESS
When the artisans were interrogated whether they would like to
grow their businesses, everyone favored in saying yes! They were
ready to collaborate with big companies and agencies for better
profit, but they were a bit skeptical about exporting their stuff due
to lack of knowledge about the international market. Mr. Walia
is one of the enterprise owners we were connected with. He told
us about his experience in exporting products to Germany. The
response was pretty good, but they demanded different designs,
for which Mr. Walia’s artisans lacked skill and knowledge. He
asked for help from NIFT, to collaborate and provide them with
designs and techniques.
SCOPE FOR IMPROVEMENT
When the artisans were asked, as to how do they think they can
improve in their field, for better earning and lifestyle, they
suggested a few points, which are as follows-
 Training ( they learnt about machine production so as to
gain more knowledge in this field, but he was not interested
in incorporation in their craft due to lack of capital and
interest)
 Design development
 Marketing
 Trademark
PRODUCT COSTING
Usually the artisans/ shop owners keep an additional margin of
40%, after including charges of the raw material, labor and
transportation. This 40% is later on added to create a profit
Example- if the original cost of a product is Rs 60, they would add
Rs 40 more, to make some profit. (Though they are not satisfied
with the present system of the pricing)
Other than this, the rates depend on various factors, such as-
 Tourists
 Raw material
 Labor charges
 Distribution
 Season
 Market analysis (common rates around the market and
other sellers)
CUSTOMERS
They main customers found buying their products are 35+ year
old working women. They buy handbags and comfortable
chappals for daily use. They also come across men buying
workwear shoes or older men buying comfortable dailywear
chappals. Younger generation is not a part of their audience, they
only come over on special occasions such as marriages or
festivals.
PAGE 23
DETAILS OF THE ARTISANS THAT
WE CONTACTED

Mr. Kashi Ram

Kashi Ram,
his father
Maghu Ram
and brother
Hem Raj
own a leather
shoe shop in
Mandi.

Mr. Shyam Lal

Shyam Lal does the

work of flaying skin
from animals. He
also tells us that the
cost of one salted
cow hide is around 50 to 150 rupees.

PAGE 24
Annexure Interviews

Chet Ram, Nokhu Ram; age-42

shop-village Dhanotu, Sundernagar tehsil, village- village sakroha; po sakroha,tehsil-balh, Mandi
Pali, PO Chuhan, tehsil balh, Dist Mandi
PAGE 25
Khem Chand Ganga Ram
village- gaggal, tehsil- balh, mandi- age-30 Traditional Shoes of Mandi- Rakabi Shoes

PAGE 26
PROBLEMS FACED BY
ARTISANS

PAGE 27
1. Artisans are financially not strong to buy materials so
they either end up switching materials or leave the craft.
2. Lesser trade opportunities.
3. They only sell locally (don’t have the right experience to
sell the product in a bigger market).
4. They are not aware of the new design, innovation and
changing market demand properly.
5. Income is not sufficient to fulfil their basic needs so they
don’t want future generations to continue the craft.
6. They don’t even know about the subsidies and
Government Schemes which can be helpful to them.
7. They don’t have trademarks for their handicraft
products.
8. If they try to export their design or product, they are not
able to fulfil the demand because
- They are not aware about global designs.
- The design varies culturally and geographically too.
9. They don’t have product diversity.
10. They don’t know the advantages of the internet
properly (like marketing and online trading).
11. Most of the people don’t like to buy leather products
as they did before, so there is a downfall in the leather
market.
12. Most of the younger generation is influenced by
western design, so they don’t buy local craft because both
are available in same prices and even western products
have more varieties in their product.
PAGE 28
PROPOSED SOLUTIONS
TO INCREASE THE
MARKET OF THE CRAFT

PAGE 29
1. Online presence of the craft is negligible, so we can
also enhance its online presence through various
social media platforms.
2. There are some government sites which plays major
role in reaching out to the potential audience of the
craft (like http://www.himcrafts.com, http://hptdc.in/
and http://www.craftsinindia.com/) , but unfortunately
there is absolutely no information available of the this
craft, so we can also make a catalogue of the craft that
can provided to these sites. So, this local craft can
reach out towards more potential audience.
3. We can train the craftsman with the help of industry
experts through various workshops, so they can have
a better understanding on how to sell their products in
bigger market.
4. Community-based design.
5. We can also minimize the communication gap
between a designer and a craftsman so they can
collaborate with each other. So, the craft can be
developed further and there can be a design
innovation in the craft.
6. There are not many policies that can help the
craftsman, so government can closely monitor the
craft and can also make new policies to uplift the craft.
7. We can collaborate with artisan for long period of
time by which students can understand ground market
and artisan can have better understanding of design
8. Collaboration with NIFT for increased profits, brand
tag, publicity and better designs
9. We (in our institute) can form committees for
students who are interested in promoting this craft and
working with the artisans one-on-one with the aim to
uplift this dying sector. We can aid them with
packaging of the products as packaging plays a big role
in marketing.
PAGE 30
PAGE 31
Strengths- Weaknesses-
 Can provide employment to many  Lack of recognition about the craft form

 Can help empower women, by helping them earn  Unawareness about international market and
from home requirements

 Availability of raw materials is nearby  Lack of coordination between government

bodies and private players

 It is a potential source of foreign revenue because

of authenticity and uniqueness  Uninformed about the latest technologies

 Designs can be changed and customized  Inadequate info about latest trends/designs
according to the customer

 Less interest of younger generation

 Requires low capital investment

 Still confined to rural areas and small cities

 Artisans are not pressurized and can work as they
like

PAGE 32
Opportunities –
 Growing interest of international market in
handicraft sectors
 Designers incorporating crafts in their products
 E-commerce is a channel through which they
could reach their products to different corners
 Helps increase tourism of the place
Threats-
 For better lifestyle, youth opting for other careers
 Due to unforeseen circumstances like covid, had
drastic implications over the tourism industry.
The circumstances have impacted business
drastically.
 Artisans often move on to other businesses for a
better lifestyle.
 It is one of the unglorified art
PAGE 33
THE SOCIETY FOR
TECHNOLOGY AND
DEVELOPMENT, MANDI
-A Non Goverenment Organisation
STD’s FIELD
The Society for Technology & Development (STD) is a non STATIONS
profit organization, working since 1990 for the welfare of
deprived sections of society in Mandi district of Himachal
Pradesh. 1. STD's Field Stations are primarily active production centres
with networks of artisans and other poor producers. It also
Consisting of a multi-disciplinary group of dedicated and undertakes related and other activities to expand linkages
experienced professionals from the fields of technology, both horizontally and vertically.
engineering, education, social, agriculture and horticulture
sciences, besides a group of committed field researchers and
artisans, the STD has been working to replicate models and 2. Society started its work from Bhadyal. Later on Malori &
strategies to help farmers and artisans. Nagwain came into existence. Every activity at these stations
is nodally co-ordinated by Society Head Office. Co-
ordinators of each field station are members of Governing
Council & thus integral part of over all management.

3. Each Field Station has its own infrastructure in terms of

production-related activities in the respective technology
sectors being pursued there and administrative/ office
functions.

PAGE 34
 Mr. Joginder
Walia, Director of
STD

Malori Unit
Activities: Leather Tanning, Leather
Product, Carcass, Pottery.

PAGE 35
ABOUT

Mr. Jogendra Walia (male) who lives in Malori, P.O. Behna, Teh
Sadar, Distt.Mandi, Himachal Pradesh. He can comprehend
Hindi, English, mandyali. He did his graduation in economics.
From 25 years he had been connected to craft. Also owns a
showroom in mandi. He connected with NGO named as Society
for Technology & Development
The Society for Technology & Development (STD) is a
nonprofit organization, working since 1990 for the welfare of
deprived sections of society in Mandi district of Himachal
Pradesh. The STD has been working to replicate models and
strategies to help farmers and artisans.

Mr. Walia’s employees-

From left-
Sukhya Ram- leather making and leather machine operator,
Beli Ram- Master Craftsman,
Byasa Devi & Pammi Devi

Products: traditional bag and footwear

PAGE 36
THANKYOU FOR BEING
A PART OF OUR CRAFT
CLUSTER

PAGE 37