NATIONAL INSTITUTE OF

FASHION TECHNOLOGY

NUAPATNA
CLUSTER
Under the guidance of:
Dr. Binaya Bhusan Jena,
Professor
Department of Fashion
Management Studies

Prepared and presented by:

Meghna Roy, Nidhi Tiwari, Jayarekha K, Ishita Kundu, Sakshi Mahajan,
Charu Tripathi, Payal Parida
 Internal Jury

CLUSTER STUDIES

SUBMITTED BY:
Charu Tripathi
Sakshi Mahajan
Jayarekha K
Ishita Kundu
Meghna Roy
Nidhi Tiwari
Payal Parida

Department of Fashion
Management Studies National
Institute of Fashion
Technology (Ministry of Textiles,
Gov. of India)

2
 CONTENT

Sr no. Topic Page No.

1. Abstract 4
2. Decleration 5
3. Acknowledgement 6
4. Certificate 7
5. Objective 8
6. Introduction 9
7. History 10
8. Current Scenario 12
9. Process of Weaving 15
10. Forward/ Backward linkages 19
11 Government Intervention 20-
12 Types of designs 22
13 Design Interventions 22-24
14 SWOT 25
14. Toshali craft Fair 26-27
15. Suggestions 28
17. References 45

3
 ABSTRACT

The current state of Indian handlooms from Nuapatna cluster is explored in this
document, with particular focus on the current market scenario of Nuapatna
handloom products of silk and cotton sarees produced with single Ikat technique,
followed by a discussion of the changing face of Indian fashion equation and how
designs are changing and evolving from past to present. We have also discussed how
the artisans are taking inspiration from the past and mixing them with current
requirements of the marketplace. We have evaluated the awareness of the the
handloom This study emphasises the need for mew marketing techniques by
examining the possibilities of improving the reach of the weavers outside Orissa and
also expanding its customer base through different channels.

4
 DECLARATION

We hereby declare that this project report entitled A Case Study on Historical
Importance and Value, Design Interventions and Outcomes of Nuapatna,
submitted by us under the guidance of DR. BINAYA BHUSAN JENA and
DR. SANTOSH TARAI National Institute of Fashion Technology towards
partial fulfillment of the degree of MASTER OF FASHION
MANAGEMENT in Cluster Studies, is our original work and has not been
submitted earlier to any other University /Institution for the fulfillment of the
requirement for any course of study. However, any material taken from any
other published source has been suitably referred to and acknowledged at
various places.

Names:
Ishita Kundu
Jayarekha K
Charu Tripathi
Meghna Roy
Nidhi Tiwari
Sakshi Mahajan

Batch: 2022-2024
Date: 13th April 2023
Place: Bhubaneswar

5
 ACKNOWLEDGEMENT

Our handloom cluster visit in Nuapatna, Odisha was a fleeting journey of erudition
where we achieved an unparalleled blend of learning and experience. We take this
opportunity to thank the people who have helped us in it, for the completion of our
document. We are thankful to our director sir, Mr. Rajesh Kumar Jha, for supporting us
with our cluster visit. We wish to place on records, our deep sense of gratitude to our
faculty mentor Dr. Binaya Bhusan Jena and Dr. Santosh Tarai, who has been a
constant source of encouragement and support for us in this project. We express our
very special thanks to our Centre Coordinator Prof. Lipsa Mohapatra, for her help and
guidance during the cluster visit. We are really thankful to Mr. Prasanna Guinn, for
letting us learn the practical aspects of handloom making. We are especially thankful
to Mr. Arjun Pal who took time to explain us the design aspects of the Nuapatna
cluster.

6
 CERTIFICATE

This is to certify that the project entitled An Ikat Village- Nuapatna, submitted
towards the partial fulfillment of the Degree of Master of Fashion Management b y
Meghna Roy, Nidhi Tiwari, Jayarekha K, Sakshi Mahajan, Charu Tripathi and Ishita
Kundu and is their original work under my guidance and the results are based on the
research done by them

Name of Guide: Dr. Binaya Bhusan Jena & Dr. Santosh Tarai
Designation: Professor, FMS
Date:
Place: Bhubaneswar

7
OBJECTIVES

Main Objective: The main objective of this

report is to try and understand the current
situation of the weavers of Nuapatna and
their exposure to the market. Based on this
understanding, we have tried to come up
with few marketing ideas and strategies that
can help this cluster grow and achieve
greater success that can positively impact the
lives of these artisans.

The report also considers few important

aspects like the relevance of Nuapatna in
today’s world of fashion, their age old
traditions of weaving, unique Ikat products,
the current state of this village, the problems
faced by the artisans and their future plans.

The following are some other objectives that

we have considered:

• Understanding the people of Nuapatna

and their craft
• Understanding the importance of Ikat in
the heirloom history of India
• Studying the weaving traditions and
techniques of Nuapatna as a cluster.
• Understanding the current market
scenario of Ikat and try and suggest some
marketing strategies that will help boost
this artwork and thereby its trade.

8
 INTRODUCTION

The glorious history of Indian traditional hand weaving has resulted in some of the most
gorgeously created textiles, mostly in the form of sarees. These sarees have been fascinating
with a variety of eye-catching colours and traditional motifs with some imaginative designs.
They have always appealed to the wealthy and royalty who used to patronise the crafts.

The handloom industry is a significant source of livelihood for the people of the town, and it
has a rich history that is deeply intertwined with the social and cultural fabric of the region.
Nuapatna lies between 85° 15’ to 85° 54’ east longitude and 20° 20’ to 20° 30’ north latitude.
The area of production consists of four blocks of the districts namely Baramba, Tigiria,
Banki and Athagarh. However, the main area of production is Nuapatna, a Panchayat having
about 5000 weavers with more than 3000 looms.

The handloom cluster in Nuapatna is one of the largest in Odisha, and it produces a wide
range of textiles, including sarees, dress materials, shawls, bed sheets, and towels. The
textiles produced in Nuapatna are renowned for their intricate designs, vibrant colours, and
high-quality craftsmanship. The handloom industry in Nuapatna has a unique identity, and it
has been recognized as a Geographical Indication (GI) by the Government of India.

9
 EARLY HISTORY (PRIMARY RESEARCH)

The temple culture of Odisha is where

khandua cloth got its start. It dates back
to the state. About the origin and use of
Khandua fabrics for offering and
dressing the deities of Lord
Balabhadra, Devi Subhadra, and Lord
Jagannath, historical references may be
found. This custom is still practised
today, and in the revered Sri Jagannath
Temple in Puri, deities are reverently
handed a Khandua fabric with text
from the well-known epic "Gita
Govinda," which was authored by the
legendary 12th-century poet great Kavi
Jaydev. The Sarees have a close-knit
relation with the Jagannath
cult. Yellow coloured Ikat fabric for
Lord Jagannath symbolises salvation,
green for Balabhadra symbolising life
and red for Subhadra signifying power
of Shakti. Even the motifs such as the
temple border, lotus, conch and wheel
signify the affinity with the reigning
deity.

Previously, the King in West Bengal

gave the Anga Vastra as a gift for
Jagannath to the Tigiria King (so as to
maintain a good relationship). As he
accepted the gift from the King in West
Bengal, he realised that there are 3
gods in total, Jagannath, brother
Balabhadra and sister Subhadra.

To keep this culture alive, he requested

the King in West Bengal to send the
weavers to Odisha. After the weavers
from West Bengal came to Odisha,
Tigiria King provided land and home to
permanently settle in Nuapatna.

Now Nuapatna cluster has its GI tag for

Single Ikkat handloom production.
10
 EARLY HISTORY (SECONDERY RESEARCH)

Madala Panji, the religious sacred

document maintained by Lord
Jagannath temple which also records
the rituals conducted by the temple
and states that king Ram Chandra
Dev of Puri directed the weavers of
Nuapatna to weave special cloth for
Lord Balabhadra, Devi Subhadra and
Lord Jagannath for clothing the
deities on different festive occasions.
And therefore practice of using hand
woven fabrics for the lords is in
vogue since 1710 AD.

The deities particularly, were clad

with fabrics woven with “Gita
Govinda '' Slokas which were initially
woven at the birthplace of the great
poet at village Kenduli. For some
unknown reasons it was not possible
to weave Khandua at Kenduli. Hence,
King Ram Chandra Dev of Puri
directed that Khandua be produced at
Nuapatna. It was in `1710 A.D as
stated earlier. Since then, Nuapatna
started weaving the “Gita Govinda”
Khandua for regularly offering to the
lords at Puri temple. Today, very few
generations of families carry on the
legacy of preparing and weaving this
Gita Govinda Khandua.

11
CURRENT SCENARIO OF
NUAPATNA CLUSTER

1. Living:

The people of Nuapatna live together in

communities wherein work, living and
earning- all go hand in hand. The living
condition of Nuapatna is humble and
pretty much in penury but people living
there are satisfied with their village
conditions. Being artistic in nature, the
artisans try and keep their village and
homes aesthetic by painting the walls,
setting up clean and functional looms
and keeping decorative knick knacks
around their homes. The villagers do
have access to water and electricity
although sanitation is a problem.

2. Working Conditions:

The artisans of Nuapatna have set up

their own work stations in their home
where they work and weave on looms
set up by either the Mahajan of the
village or by themselves. Ever y
household has a minimum of 2-5 looms
on which the entire family carries
forward the legacy of Ikat weaving as a
part of the tradition started by their
ancestors. The workers maintain the
looms by themselves and bear ever y
expense related to the loom. The
working conditions are pretty simple
and basic, not very apt when it comes to
cleanliness and maintainance but the
artisans of Nuapatna pull through.

3. Wages:

The monthly weaving wages of the

people of Nuapatna ranges from about
8k- 9k. Per saree, an artisan earns about
500-700 Rs depending on how he/she is
willing to sell their products - whether
independently or through some middle
men. Apart from this, the Govt. also
provides some relief in the form o f
allowance, housing and looms that are
provided to the artisans. Moreover, o n
selling their products the artisans keep a
range of 17-20% profit.
12
4. Male/Female Ratio:

The male to female ratio in the village

of Nuapatna would be around 60:40.
Men predominantly rule the market and
look after the finance in this business
while women are involved in weaving
and other processes of developing an
Ikat product. Women are less in number
and do believe in taking a back step in
order to let their husbands go ahead and
take important decisions in the trade.
Women are good with handcrafting and
other minute detailing of saree/dupatta
making and stick to doing that to
support their family.

5. Other occupations:

Most of the people of Nuapatna are only

involved in the legacy of Ikat weaving
and no other occupation. This cluster is
compromised of people who are
extremely effective and efficient in their
work and hence choose to only do so.
Also, considering the amout of time
each product takes to complete, the
artisans have no other choice but to sit
and weave in order to complete their
work so that they can deliver their
products on time. Independent weavers
are too pressed for time but few other
small weavers involve themselves in
few other occupations like working in a
temple, owning a small shop etc.

6, Art:

The legacy of Ikat weaving is age old

and the art has only gotten better with
time. The people of Nuapatna are
experts in preserving their tradition just
the way it is supposed to be and still
continue to produce the most
unadulterated, raw and beautiful Ikat
products. The process of manufacturing
still continues to be the same, the way
they inherited it and learnt it over the
years from their ancestors and that
shows in their products.
13
Nuapatna has been witness to the most
enriching saree making processes and
is responsible for creating some
magnificent pieces for renowned
people holding important positions
like Indira Gandhi, Draupadi Murmu,
Pratibha Patil and many more.
Although the art has its own charm
and history of evolution, handloom as
an industry is failing to create an
impact on the youth. Since the youth
has access to so many options, the
value of these timeless pieces have
been declining which is why the
artisans are not getting their due and
the art the deserved value and
appreciation.

7. Survival:

The artisans only have one way to

survive and that is through their
artwork. They put all their bets on Ikat
weaving because that's all that the
cluster of Nuapatna is all about and
although a section of people in this
village feel that the artwork doesn't
get the kind of recognition it deserves,
there is also another section which
believes in the power of this art and is
quite happy with the kind of orders
that they receive both nationally and
internationally. Survival is definitely
tought for the people of Nuapatna but
not all are unhappy with it. People do
have their way out and now with the
help of schemes, fairs and exposure to
technology, a lot of artisans are even
selling their products through digital
platforms like Facebook, Instagram,
WhatsApp etc. Some people feel that
the Mahajan is dishonest and choose
to not depend on him and start their
own venture and such people also
seem pretty happy with their decision.
Ones who have established
themselves over the years as a
successful independent artisan are
ruling this market and receive some of
the most prestigious orders from
eminent people around the country
and overseas.
14
 PROCESS OF WEAVING IKAT IN NUAPATNA

1.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.
2. 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 fueled 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.

3. 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 a shuttle that the weaver uses to weave the fabric on the loom

16
4. Weaving - 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 for 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.

17
5. Quality Check

Once the saree is ready, it is carefully examined for its quality and any defects. Then,it sent
for starch.

6. 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).

18
 BACKWARD LINKAGE

• Raw materials- from local market

• Silk yarns - from Bangalore
• Cotton yarns- from Bargarh
• Boyanika provides cotton and raw materials for its order.
• Fab India, Ritu kumar, Boyanika, Reliance provide designs and certain materials
for its orders.
• Dyes are ordered from Kolkata by the local vendors and sell it to the artisans

FORWARD LINKAGE

• The co-operative society and the independent artisans sell their products to
brands like Fab India, Ritu kumar, Boyanika, Priyadarshini, Mehers, Reliance etc
• Apart from the brands, they also cater the local sellers.
• They also sell their products in certain exhibitions and fairs.
• Workers who work for Mahajan produce on the basis of orders and give it
to Mahajan, who then Marks up the price adding their margin and sell to the
brands ahead.
• Few independent artisans sell their products through social media handles like
Instagram and Facebook. They sell approximately 100-150 products per month (
India as well as other countries) with the margin of 5%-10%. Most of the orders
are from West Bengal (silk), Bangalore (silk) and Odisha (cotton).
• The exclusive handloom brands such as Anita Dongre-
AND, Rangriti(Viva), Bunkari. The Label Life, FabIndia, Karigari, and Indiloom,
Odisha Handloom , Gocoop sell products of Nuapatna
• Amazon India also acts as a 3rd party seller for Nuapatna products

19
 GOVERNMENT INTERVENTION

The Nuapatna cluster in Odisha, India is known for its handloom weaving industry,
producing beautiful fabrics that are highly valued. However, this industry has been
facing various challenges in recent years, including competition from machine- made
fabrics, lack of modernization and marketing support, and a decline in the number of
skilled weavers.

To address these issues, the government of Odisha has taken various measures to
support the Nuapatna cluster. One of the main interventions is the implementation of the
Integrated Handloom Cluster Development Scheme (IHCD), which aims to provide
assistance for infrastructure development, skill upgradation, and market promotion of
handloom products. Under this scheme, the government has provided financial
assistance for construction of common facility centers, training programs for weavers,
and marketing support through exhibitions and fairs.

Additionally, the Odisha government has also initiated the 'Branding of Handloom
Products' scheme to provide a distinct identity to handloom products from the state,
including those from the Nuapatna cluster. Overall, these government interventions are
aimed at supporting the handloom weaving industry in Nuapatna and improving the
livelihoods of the weavers.

For the purpose of promoting their goods, master weavers, traders, and individual
weavers participate in exhibitions and expos at various locations. They actively engage
in the diversification of existing designs to satisfy customer demand.

20
Khadi India
An entity of the Central government, Khadi India (Adarsh Khadi Utpadak Sangh), operates
shops all over the country. They have established an office in Nuapatna and serve as a sort
of intermediary between the market and the artisans. The only publicity Nuapatna weavers
receive nationwide is through this. The Khadi India craft cluster in Nuapatna is home to
many busy weavers. They produce higher-quality cotton and silk sarees, and 60–70% of the
designs are created by Khadi India. The remaining portion is the work of the weavers. The y
help the weavers financially and technologically.

The Orissa State Handloom Weavers Cooperative Society

Kalyanimayee, is a group at the state level. This has partnerships with handloom retailers
like Boyanika, Utkalamrita & other such handloom stores. The Kalyanimayee WCS offers
the weavers financial support, technological support, logistical support, and a safe
marketplace. Weavers only handle manufacturing because the organization handles the
entire selling and promoting.

Benefits from Govt. Policies

Work shade , Solar light is provided to them to ensure their homes are lighted in the night,
Government also provides them bobbin winding machine and pitlooms, Mudra scheme
which gives loan of 2500

Facilities that were not provided by the Government​​

Medical assistance to families are lacking.
Unavailability of the Pension of Rs.3000 to 60 years plus weavers.

21
 DESIGN INTERVENTION
Orissa's Nuapatna textile is the most fundamental type o f
Ikat in Orissa. Gita Govinda and Khandua Patta are two
well-known fabrics from Nuapatna. The local people
from nearby regions used to consume these goods, whic h
were traditionally made and managed by craftsme n
themselves. These communities of traditional craftsme n
are now more and more at risk from the challenges posed
by the variety of "emerging lifestyles" that have changed
socioeconomic circumstances.

•The traditional
designs like Tarabali, Khandua, Nabakoti etc have their hi
storical values and are present since previous times.
•Kalyanimayee Co-operative society and brands
like Khadi India, Boyonika, FabIndia, Ritu Kumar, Anita
Dongre provide the designs that they need for their
orders. They provide the blue print pattern to
be transformed into a design on a saree.
•NIFT with the active support from the Ministry of
Textiles, aims to reach out to the artisans and
craftsmen and help
them with introducing innovative designs.
•Individual artisans create their own designs of their
choice. They get their inspiration from traditional basic
prints.

TYPES OF DESIGN

The village has a long tradition of Ikat weaving dating back 800 years. The weft Ikat is the
most fundamental type of Ikat in Orissa.
They basically have certain traditional designs and patterns which has been passed down
through generations. Few eye-catching designs includes,

•Gita Govinda Ikats

•Khandua Patta
•Nabhakoti
•Shankha Design
•Tarabali Sarees
•Chungudia Dali Saree

Gita Govinda Ikats The calligraphic ceremonial cloth known as Gita Govinda ikats was
presented to Puri Jagannath. As a temple gift, it is said that the poet Jayadeva himself started
the custom of writing the verses on the cloh. The silk is referred to as "Bandha Gita Govindha"
in a report from 1719, which indicates that the lines were tied and dyed in ikat.
The Gita Govinda cloths, which are typically knitted by Buddhist weavers, are made in various
shapes, colors, and sizes for each of the three deities. Most of the lines are written in Oriya
script, though occasionally Devanagari is also used. 22
Gita Govinda Ikats The calligraphic
ceremonial cloth known as Gita Govinda ikats
was presented to Puri Jagannath. As a temple gift,
it is said that the poet Jayadeva himself started
the custom of writing the verses on the cloh. The
silk is referred to as "Bandha Gita Govindha" in a
report from 1719, which indicates that the lines
were tied and dyed in ikat.
The Gita Govinda cloths, which are typically
knitted by Buddhist weavers, are made in various
shapes, colors, and sizes for each of the three
deities. Most of the lines are written in Oriya
script, though occasionally Devanagari is also
used.

Khandua Patta The Khandua Patta These

patterns, which were previously used as
shoulder cloths by newlyweds, have been
transformed into silk Ikats. Close inspection
reveals that the temples are actually weave
Ikats.

Shankha Design – Even in previous

times, these sarees were extremely
exclusive and scarce, making them very
uncommon today. These sarees, which are
typically white or cream in color, have
conch shell or shankh patterns sewn into
the border and anchal. The finest single
ikat is one in which the warp and weft are
tied and dyed before weaving. In the
finished weave, it produces superb
curvilinear ikat patterns.

23
Nabhakoti – The Nabakothi Khandua
Silk saree is so called because it has nine
distinctive motifs in the Kothi or houses
that are arranged horizontally across the
body. The number nine is considered lucky.
The saree is frequently worn for special
events like weddings and religious rituals
due to the presence of these motifs and the
use of premium silk threads, which make it
a symbol of Odia culture and tradition. The
saree's authenticity and cultural importance
are also enhanced by the fact that it is made
in Nuapatna. Traditional handmade sarees
from the state of Odisha include the
Nabakothi Khandua Silk Saree. It is called
for the nine holy gems (nabakothi), which
are thought to bestow the wearer with luck
and prosperity.Ikat is a method used to
create the saree, which entails using a
variety of colored threads to weave
intricate patterns onto the cloth. The motifs
used in the saree are drawn from folklore
and nature, and they frequently feature
peacocks, lotus flowers, and other classic
Odia patterns. Nagathi Khandua Silk sarees
are renowned for their vibrant hues and
plush textures, which are made possible by
the use of premium silk threads. They
represent Odia culture and tradition and are
usually worn for special occasions like
weddings and religious ceremonies.

Tarabali Sarees– Only premium natural

fibers like cotton and silk are used to create
tarabali shawls, making them lightweight
and portable. The fabric is therefore ideal
for ladies of all ages. These sarees' creative
inspiration came from stars and
constellations, making them stand out from
other patterns.

Chungudia Dali Saree –Another vintage

style from Nuapatna is the Chungudia Daali.
The entire body of the saree is woven with a
unique style of water blossom and leaf motif.
The blossom is woven into the anchal in
various colors all over as well. It features
legacy from our Nuapatna weaving 24
community.
 SWOT ANALYSIS
Strength :
•Nuapatna traditional handloom products have
demand from national and international market
•Availability of skilled weavers and masters.
•Availability of plenty number of looms
•National award winner masters are there
•Availability of all kinds of raw material
•Availability of govt. Co-operative body for the
welfare of the cluster
•Number of mahajans, traders and S.M.E are
there to help in finance and raw material for the
artisans
•There are skilled helpers to prepare tie and dye
yarn as per design
•Good transportation facility from/to the main
city
•Availability of some small and medium
entrepreneurs who trades their own product
directly to the market
•Cluster weavers have experience to work for
designers like Ritu Kumar
•Mainly Boyonika, Priyadarshini and some
local designers give production order on regular
basis and help in marketing.
Opportunity :
• High demand of handloom products in the
market
•Some national level designer like Ritu Kumar
and retailer like Reliance showed interest to
work with this cluster
•Nuapatna cluster has good number of
international clientele
•The trend towards sustainable and eco-friendly
textiles is growing globally, and the cluster has
the opportunity to position its handloom fabrics
as a viable alternative to mass-produced
textiles.
•Nuapatna cluster has the opportunity to
expand its market reach through e-commerce
platforms and online marketing, which can help
it reach a wider customer base.
Weakness :
•Quality of raw materials are not always
same
•Lack of cooperation among different
weaver groups
•Lack of trust and ethics between
mahajans/traders and weavers
•Unhealthy competition between
entrepreneurs and traders
•Limitations in designs and colours
• Low production capacity
•Dependent on mahajan and traders for
marketing and sales
•No knowledge about digital medium and e-
commerce
•Artisans have no idea about market value of
their products
•Poor connections with any government or
private agency of exporters to export these
handloom products
• Unstable yarn cost cause loss of the
product market value
•No initiative from the co-operative for the
marketing of Nuapatna products through out
the country
•No proper packaging for the product
Threats :
•Availability of similar products in cheaper
price.
•Traditional designs can be lost as modern
design has more demand in the market
•Duplication of the design in the power loom
sector
•If product quality differs, customer will lose
their trust
•Low knowledge about the extensive process
of production to the customers which results
in disregard of the product value.
25
 TOSHALI CRAFT FAIR
Toshali Crafts Mela is an annual craft fair held in Bhubaneswar, the capital city
of Odisha in India. The fair is organized by the Odisha Tourism Department and
showcases the handicrafts and handloom products made by artisans from all over
the state.

The fair provides a platform for artisans to showcase and sell their products,
including textiles, hand-woven saris, stone and wood carvings, metalwork and
jewellery. Visitors can also witness the artisans work, demonstrating their skills
and techniques.

Toshali Crafts Mela is a popular event that attracts visitors from across the
country and abroad, and is held during the winter season. The fair also provides a
boost to the state’s tourism industry, highlighting the rich cultural heritage and
artistic tradition of Odisha.

26
Product availability-

• The Nuapatna stall was very small in size.

• There was not a sufficient variety of products.
• Placement of the stall was very interior of the fair, so visibility of the
stall was very poor and footfall of the stall was less.

PRODUCT PRICE

Cotton Sarees ₹2000 - ₹8000

Cotton Shirts ₹800 - ₹1200

Suit pieces ₹1800 - ₹3000

Towels ₹200 - ₹400

27
HORECA MARKETING STRATEGY FOR NUAPATNA
HANDLOOM

Handloom Cafe in Chennai

• Horeca is an acronym for hotels, restaurants, and catering.

Nowadays, hospitality sector focuses on providing the right
experiences to its customers through the various touchpoints of
customer interaction by delivering personalised services and
offering a wholesome experience.
• According to a report by the Federation of Hotel and Restaurant
Associations of India, the HoReCa (Hotels, Restaurants and
Catering) industry contributes approximately USD 78 billion
annually to the Indian economy, which contributes to more than 7
percent of India's GDP.
• This industry increased by 10 percent over the last three years to
reach INR 275,512 crore in 2018-19 and is predicted to grow by an
astounding 6 percent by 2022-23 to reach IN 341,877 crore.
• HORECA can play a huge role in promoting Nuapatna products by
displaying some of these products for sale and by mentioning
Nuapatna in their brochures. In addition to the visibility that the
hospitality sector brings, it is also a way to diversify the cluster ’s
revenues, something much needed after the pandemic, and to
broaden its audience.
• Benefits: Cluster Awareness to a vast audience

Go Native

28
• Implementation prospect: Reaching out to hotels in Orissa for promoting the
Cluster
First and foremost, target will be the capital city Bhubaneswar as every district is
connected to the city. Some of the prime hotels are:
1. Mayfair Lagoon
2. Trident Bhubaneswar
3. Vivanta Bhubaneswar
4. Welcome Hotels by ITC
5. Swosti Grand
• Creating a brochure, magazine and pop up store for Nuapatna cluster products, it
will increase the cluster’s awareness
• The brochures and magazine can be created by the students of NIFT, the brochures
will be placed in the areas with maximum footfalls, in the reception counters,
auditoriums and restaurants.

29
2) Hotels can tie up with clusters to make products for decorative purposes. The
products that can be created are as follows:
• Table cloths
• Cushion Covers
• Small pouches
• Pillow covers
• Bed runners

INDIAN HANDLOOM BRAND

India Handloom brand was launched by the Prime Minister of India on the occasion
of the first National Handloom Day on August 7, 2015 in Chennai. It was launched
by the Government of India to provide assurance to the consumers about authenticity
of handloom products as well as product quality assurance. It differentiates high
quality handloom products and helps in earning trust of customers by endorsing their
quality in terms of raw materials, processing, embellishments, weaving design and
other quality parameters. The registration for India Handloom is granted to certain
specified eligible entities in respect of identified products which meet certain ideal
quality parameters.

30
Process of Registration:

• Eligible participants in India handloom brand initiative: Weavers, master weavers,

co-operative societies, apex handloom societies, retailers, exporters, self- help groups,
Joint Liability Groups (JLG), Handloom Weavers Groups (HWG) etc.
• Eligible Products for Branding: Sarees, Dress Materials, Bed Sheets,
Scarf/Shawl/Chadar in certain fabrics like cotton, silk and silk cotton. Khandua,
Odisha ikat is also one among them.
• Registration Fee
• The application forms are available with the offices of the Textiles Committee and
Weavers’ Service Centre free of cost. Also, it is available on
www.textilescommittee.gov.in or www.handlooms.nic.in for free download. Online
application can be accessed at
http://www.handloommark.gov.in/handloommarkregistration.aspx
• The registration fee for all the categories has been fixed at Rs. 500/ - per item. One
application can be for more than one item which can be paid at the time of submission
of application.
• The registration shall be done after on - site verification by concerned RO of Textile
Committee/WSC of the above categories.
• The registration shall be valid for a period of 3 years from the date of registration.
• Based on the track record of maintenance of quality standards of the products, the
registered applicant shall be allowed to use the brand after 3 years also, once it is
renewed.

Who can implement it?

Independent weavers, master weavers and co-operative society can register themselves.

Benefits:

• Weavers will be able to get bulk orders and higher wages by interacting directly with
the market.
• It acts as a medium to provide contact details of the manufacturers to the buyers who
have the potential to order in bulk.
• Ministry of Textiles will actively promote the brand through media campaigns to
raise awareness among manufacturers as well as consumers and create demand for
products with the India Handloom brand.
• Registered users of the India Handloom Brand would be assisted in design
development, institutional finance and technical assistance as per the National
Handloom Development Programme.

31
PACKAGING
• Few brands like Boyonika, Priyadarshini and Mehers already buy fabric from
Nuapatna and to help increase the reach and awareness of this craft, we can request these
Orissa based brands to add one crucial thing to their packaging- an artisan label. An
artisan label can contain all the important details of the artisan like picture, phone number
and a small message from the artisan. There will also be the provision of review, the
customer can contact Boyonika for any review they would like to give, or any suggestion
which can be collectively sent to the artisan.
• Benefits:
❖ The artisan will receive the due recognition for his product and the cluster will be
promoted.
❖ This can also help the artisan directly receive bulk orders or customized orders from
the customer which will generate great profit.
• Another aspect of packaging can be using waste or extra fabric for the packaging of
the product that is directly bought from the cluster.
• Benefits:

• This will generate employment since few artisans can be assigned to solely make
sustainable bags which can last the customer for a really long time
• It can be a small token back from Nuapatna. Such bags can also be a good choice for
gifting purposes.
• When the customer reuses these bags, it can also garner more attention to other
potential customers through word of mouth.

Name: Mr. Dines h

Sahoo
Contact details:
9854321087

Mr. Sahoo and his family is

involved in the process of Ikat
weaving since the past 20
years. He lives in the village
of Nuapatna and continues to
weave the legacy forward.

32
 TRAVEL & TOURISM

• Tourism offers great opportunities for emerging economies and developing countries.
Most of the visitors to the cluster presently are the students. Foreigners
visit Nuapatna once in a while if they are suggested by their tourist guide.
• Proble m: There is no mention of Nuapatna Ikat in the columns of Odisha Handloom in
Odisha tourism. Even though it has the GI tag, still the other Ikat clusters are more known
than this one.
• Suggestion:
❖ Putting a proper article about the cluster.
❖ Talking to the tourist guides to promote Nuapatna more.
❖ Start a campaign encouraging tourists to spend 1 day in Nuapatna for experiencing a
beautiful life of countryside.
• Implementation And Benefits:
❖ People prefer the official tourist site before visiting any place. A strong presence there
would help the cluster to promote itself better
❖ Talking to the local tourist guides and asking them to promote Nuapatna with word of
mouth and also insisting the tourists to spend a day in Nuapatna to enjoy the local
food, sight seeing and experince the manufacturing of Ikat products.

33
DISTRIBUTION OF NUAPATNA HANDLOOM IN DEFENCE SERVICES

AWWA (Army Wives Welfare Association) is a non-profit organization run by the

spouses of Indian Army personnel & was established in 1966. While AWWA's primary
focus is on the welfare of Army wives and their families, the organization also plays a
role in promoting & supporting various cultural & social initiatives, including traditional
art & craft and the handloom sector in India. The Defence Services have traditionally
used handloom fabrics for their uniforms.
Here are some ways in which AWWA helps in promoting the handloom sector:
Handloom Melas: AWWA regularly organizes Handloom Melas across various Army
locations in the country, where weavers and artisans from different states can display
their cultural heritage and sell their products directly to customers. These Melas provide
a platform for weavers to showcase their products to a larger audience, as well as
network with other artisans and buyers.

Direct Procurement: Defence units also directly procure handloom products, such as
towels, bed sheets, bedcovers, curtains, table covers, carpets etc from weavers in rura l
areas for use in their Officer’s Mess all over the country.This provides a steady market
for rural artisans and their products and helps them earn a sustainable income.

Display In CSD & Non-CSD: These products after procurement are also kept in various
CSD’s & non CSD’s. Different permanent outlets near CSD called by various names like
Sajni, Aahwan, Aarohi, Grahasthi etc. which keep these handloom items throughout the
year at every Army station.

Collaborations : AWWA collaborates with various organizations, including

government agencies and non-profits, to promote the handloom sector. This helps in
creating awareness about the sector and building partnerships for the benefit of weavers
and artisans. 34
Skill development : AWWA organizes various skill development programs for Army wives
and their families, which include training in handloom weaving and other related crafts. So
artisans are called to teach their skills to others. These programs help them to learn new
techniques, develop their design skills.

Marketing support : AWWA provides marketing support to weavers and artisans by

promoting their products at various events organized like their Ladies meet, Regiments
Raising Day, Reunions, Silver & Golden Jubliee Celebrations & many more such
occasions. This helps in providing a platform for weavers to showcase their products and
connect with potential buyers. AWWA helps in promoting entrepreneurship and self-
employment in the handloom sector

35
Awareness sessions : There are various lectures & sessions that happen from time to time
to teach & make the soldiers families aware about the rich heritage about the state where the
unit is. These are generally done by showing them the videos & pictures and also visiting the
place if possible as part of recreational outings with a purpose

Social Media Promotion: AWWA also uses social media platforms such as Facebook and
Twitter to promote handloom products and artisans. They share stories and pictures of
weavers and their products, which helps create awareness about the importance of supporting
the handloom industry.

Overall, AWWA's efforts in promoting the handloom sector are focused on preserving
traditional weaving techniques, promoting entrepreneurship, and creating opportunities for
weavers and artisans to showcase their products and connect with potential buyers. by
providing marketing support, direct procurement, and training and skill development
programs for weavers and artisans
36
Implementation

As the state is untouched by the Defense fraternity, there is a very strong scope of connecting
the Handloom & Handicraft sector with the Defense. AWWA is already doing this awareness &
promotion for other states cluster.

This can be done by AWWA in following ways:

Market Linkages: AWWA can help the handloom cluster in finding markets for their
products. As AWWA has a vast network, it can help the cluster in showcasing their products in
various exhibitions, fairs, and trade shows. AWWA can also help the cluster in connecting with
.
potential buyers, retailers, and wholesalers

Skill Development: AWWA can provide skill development training to the weavers and
artisans of the handloom cluster. It can organize workshops on design, weaving techniques, and
product diversification. This will not only help the weavers in enhancing their skills but also in
creating products that are more in tune with the current market demand.

Financial Assistance: AWWA can also provide financial assistance to the handloom cluster.
It can provide them with loans, grants, and subsidies to set up their business, buy raw material,
and invest in equipment. This can help the weavers in overcoming their financial constraints
and focus more on their craft.

Branding and Marketing : AWWA can also help the handloom cluster in branding and
marketing their products. It can help them in creating a brand identity, logo, and marketing
collaterals. It can also help them in developing an online presence through e-commerce
platforms, social media, and other digital channels.

37
 FASHION SHOW/TRADE SHOW IN NUAPATNA

Set a budget: We set a budget for the event. The budget should cover expenses such as venue
rental, seating arrangement & chair rentals, promotional materials and other miscellaneous
expenses. Budget expense can be taken care by NIFT government programmes and by the
society heads.

Select the venue: Once you have set a budget, the next step is to select a suitable venue in
NUAPATNA for the event. The venue should be easily accessible and should have adequate
space for booths, stages, and other requirements. Having the fashion show on the roads and
street can be budget friendly and may also attract a lot of crowds. Create an exhibit plan:
Create a detailed exhibit plan that outlines the products to be showcased, the booth design, and
the materials required. This should include details such as the display of unique fabrics,
garments, and accessories, as well as the weaving techniques used in creating the products. The
show must also include their cultural practices and the backstory of the artisans.

Invite Retailers: Once the venue has been selected, the next step is to invite retailers. This
could include handloom designers, fashion brands, and other industry experts. We can also
invite potential buyers and customers to attend the event. Like in spectrum NIFT students had
approached a lot of food retailers to sponsor, we can approach store managers and big retailers
to come and attend the trade/fashion show who are interested to buy in bulk.

Follow up: After the event, follow up with the artisans, society head and attendees shall be
done. Collect feedback and suggestions for improvement. Use this feedback to plan better
events in the future.

38
Who will implement it?

The implementation of a trade show/fashio n

show in a handloom cluster can be done by the
cluster members themselves, with the help of
society members, master weavers and NIFT
officials and students. The society members can
take on responsibilities such as organizing the
venue, inviting participants, setting up booths,
and coordinating with participants. Event
organizers (NIFT) can help with better
understanding and coordinating the event, while
designers and other industry experts ca n
contribute to the fashion show component of the
event. The success of the event will depend o n
the collective efforts of all stakeholders
involved.

39
FEATURE IN INFLIGHT MAGAZINE

The content of an inflight magazine can vary depending on the

airline and the target audience, but typically includes a range of
articles and features about travel and tourism that are designed
to entertain and inform passengers during their flight.This
magazine provides information on the state that the visitors are
visiting via that particular flight.They include travel,
gastronomy, and leisure material to assist visitors who are new
to the state

We can promote the Nuapatna Handloom Cluster on domestic

airline magazines such as Hello 6E(Indigo),
SpiceRoute(Spicejet), GoGetter(GoAir), and Vistara by writing
about the cluster and its products in the page that has been
allotted to Bhubaneswar.
.
If the Nuapatna cluster is featured in an in- flight
magazine, many new travellers get the chance to learn about it.
This may ignite the interest in Nuapatna ikats as they are
heritage handlooms, leading them to purchase the products.
40
41
 THEATRE ADVERTISEMENT

The term theatre advertisement refers to the on-screen branding that

customers view at movie theaters, which is typically displayed as a short audio-
visual advertisement before the film begins.

Advertising at movie theatres is cost-effective and is determined by the type of

multiplex, cinema screen, number of seats in that multiplex, location of the
multiplex, and multiplex brand.

The distraction-free atmosphere promotes successful cluster advertising and recall.

We can contact ORMAS (Odisha Rural Development and Marketing Society) to

generate new marketing channels for micro companies and rural farmers to develop
sustainable livelihood.

It will aid in raising public knowledge of the cluster and product.

The advertisement can have an impact on viewers' minds and help them
realise the worth of the handloom product.

42
 ONLINE MARKETING

Dipuna Khatual, a 26-year-old localite from Nuapatna,

already owns a small business which he runs through
social media platforms like Instagram and Facebook and
WhatsApp group chat. He works with a team of 75+
weavers with the help of whom he sells approximately 150
products per month both domestically and internationally.
He sells to customers with the margin of 20% while he
keeps 5% - 10% margin for resellers. He also does take
customised orders. This yields a revenue of around 50-60k
per month.

PROBLEM

Even though he has been doing this business for the past 3 years, the social media reach is
not as he desired

43
Suggestion:

•Social media campaigns can be conducted.

•Collaborations with local influencers can be made.
•Starting a website to showcase his business.

Implementation & Benefits:

•Budding freelancers can be hired by the business owner (Dipuna Khatual) for creating
and managing social-media campaigns as well as creating websites which can bring in
more sales therefore generating more income.
•We can help him in the above mentioned process.

44
 REFERENCES

• HoReCa marketing strategies explained in detail (for vendors and producers) | SharpGrid.
(n.d.). https://www.sharpgrid.com/ontrade-insights-eng/horeca-marketing-strategies-
tactics?ophqt=cbb3ce00efa82c4d15de391413d3078647b8895d7ab51b74
• India Handloom Brand. (n.d.). https://www.indiahandloombrand.gov.in/
• Handloom cluster Nuapatna and Gopalpur.docx.
(n.d.). Scribd. https://www.scribd.com/document/488827592/Handloom-cluster-Nuapatna-
and-Gopalpur-docx#
• https://www.nift.ac.in/
• https://retailmarketing.co.in/horeca- marketing/
• https://www.goindigo.in/campaigns/hello-6e.html
• https://odishatourism.gov.in/content/tourism/en/search.html?keyword=nuapatna