India has been well

known for textile since

very ancient times. The
origin of Indian textiles
can be traced to the
Indus valley
civilization as early as
5th millennium BC. The
people of that
civilization used
homespun cotton for
weaving their garments
and used indigo to color
their fabric. Textile
has always played an
important in trade and
business here in India.
Rome, China and Egypt
everywhere traces
have been found of
Indian textiles. India is
textile hub and it has
thousands of clusters
which beautifully
weave and give is the
most beautiful fabrics
which mesmerize our
eyes
 Khadi has gained worldwide appreciation as it is hand made, durable, long lasting and organic in
nature. The fabric is produced by the masses for the masses. It is associated with Gandhian philosophy
as well as makes a fashion statement. Through the medium of khadi weaving, the weaver expresses art
KHADI and designing by the spindle and loom. It is widely accepted in the Indian fashion circle. Leading
fashion designers now include it in their collection by designing clothes with khadi material. There is
huge demand of it in international market, especially in western countries.
Khadi (or Khaddar) is a hand-spun or handwoven fabric primarily spun out of cotton and sometimes silk and wool. India, Bangladesh, and Pakistan are the
main producers of Khadi textile. Today, it is a fashion-forward industry spinning a global demand.
Historical relevance purely inidan tradition self designed austere simplistic swadeshi .Gandhian values self reliantic patriotic.
Origin and History
It was re-discovered by freedom fighter Mahatma Gandhi, as an initiation of empowerment. The first fabric of Khadi was woven with the commencement of
the Boycott Movement in India, which dates back to 1920s. During the ‘Swadesi Movement’ that began by shunning foreign goods, it was widely publicized
among the Indian population as an alternative to the British textiles.
The industry was institutionalized by the government soon after independence. After the setting up of the Khadi Village Industry Commission (KVIC), India
set its first foot into an independent terrain.
VARIETY
It is a coarse and easy fabric to sew. Patchwork, Kantha, Phulkari, and Block Printing are designed easily on this fabric. It has an unusual captivating appeal
even in its plain form.
The fabric has facets spreading from printed, embroidery, hand spun to hand loomed, warp print and jacquard. Its variety that we get today is not limited to
the politician’s trousseau of a nehru style jacket. It has become a style quotient for the masses and the young crowd of modern India.
GLOBAL APPEAL
The sophisticated fabric with a simplistic appeal has been renowned globally not just for its heritage but also because of its fashion appeal. The rise of the
fabric as high-quality materials in the handloom industry has added to its global demand.
Khadi production activity is spread all over INDIA ,mostly in villages and in small towns . Yearly Inida produces Rs600 crore worth of khadi and garned sales
worth Rs 900 crore.Have increased in years.
Today with various perceptions of Khadi floating around, the current market of Khadi is something along the lines of experimentative
The efforts put into changing the youth’s perception of khadi and creating products that would appeal to this generation has been a contributory factory
to this increase.
2014, saw the credit given to youth centric designs to boost sales, innovation of fabric apparel in collaboration with NIFT and NID(government supported
institutes of fashion and design) TO PROMOTE KHADI!
with the youth of india ,blindly following the ramps and walks of the western fashion,as khadi develops an international market , THE YOUTH ARE BOUND
TO WAKE AND TAKE PRIDE IN THEIR OWN FASHION HERITAGE.
It is soon becoming a trend in the Fashion industry through the works from sabyasachi-the ultimate collections from the fabric.
Khadi is defined by Mahathma Gandhi is a cloth,handwoven in India from hand spun yarn.This cloth in itself has unique properties and an essence of
exclusivity khadi products are unique in the sense that they are ‘use of a kind’,besides being truly cottage.They are flawed and not mindless creations of
machines.Though the legal definitions states it to be a fabric,Khadi has now widely accepted into the category of ‘natural’,’eco friendly, and ‘organic’,due to its
hand made quality.
Khadi is defined by Mahathma Gandhi is a cloth, handwoven in India from hand spun yarn. This cloth in itself has unique properties and an essence of
exclusivity khadi products are unique in the sense that they are ‘use of a kind’,besides being truly cottage. They are flawed and not mindless creations of
machines. Though the legal definitions states it to be a fabric,Khadi has now widely accepted into the category of ‘natural’ , ’eco friendly, and ‘organic’, due to
its hand made quality.
 KHADI

Khadi (or Khaddar) is a hand-spun or handwoven fabric primarily spun out of cotton and sometimes silk and wool.
India, Bangladesh, and Pakistan are the main producers of Khadi textile. Today, it is a fashion-forward industry
spinning a global demand.
Historical relevance purely inidan tradition self designed austere simplistic swadeshi .Gandhian values self
reliantic patriotic.
Khadi has gained worldwide appreciation as it is hand made, durable, long lasting and
organic in nature. The fabric is produced by the masses for the masses. It is associated
with Gandhian philosophy as well as makes a fashion statement. Through the medium
of khadi weaving, the weaver expresses art and designing by the spindle and loom. It is
widely accepted in the Indian fashion circle. Leading fashion designers now include it in
their collection by designing clothes with khadi material. There is huge demand of it in
international market, especially in western countries.
WOOL
 PASHMINA FABRIC

Pashmina Fabric
Pashmina (also known as Pashm) is a fine cashmere wool, coming from Kashmir in India and some parts of Nepal. The word ‘Pashmina’ comes from the Persian word
‘Pashmineh’ which means ‘made from Pashm’, and Pash means wool in Persian. The Iranians, who came to Kashmir via the Ladakh route, gave the fabric its name,
‘Pashmina’.
The wool comes from either a Changthangi goat or a Pashmina goat which are a special breed of goats indigenous to the high altitude regions of Nepal and India. The
famous Pashmina shawls are made from this fine fiber.

Origin
The Pashmina Goat was first discovered by a prominent Muslim scholar, Mir Sayyid Ali Hamadani in Ladakh in the 1300s. Earlier, the fiber was also known as pashm. The
first mention of Kashmiri woolen shawls were found in the Afghan texts between the 4th century BC and the 10th century AD. However, it was the 15th-century ruler of
Kashmir, Zayn-ul-Abidin, who started the Cashmere wool industry in India by introducing weavers from Central Asian countries

The Making
The Changpa tribe, from the Changthang region are known to be the traditional producers of Pashmina Wool in the Ladakh region. These tribal people rear sheep in harsh
and chilly winter climate and lead a nomadic life to produce Pashmina wool.
The Cashmere wool is collected every spring from the goats shedding their winter coat. Approximately 80–170 grams of the fiber is collected from each goat and spun to
produce Cashmere. Throughout the winter season, the inner coat of the goat’s wool re-grows and becomes ready for extraction of wool in the next Spring.
The quality of the cashmere produced in the Gobi Desert is regarded better than the Himalayas variant, because of its consistent manufacturing process and modern
machinery.

Variety
The Pashmina comes in 2 main variants – Ladakh Pashmina and Pashmina from Nepal. Shawls from Nepal are regarded as the best in quality because the mountain
goats adapted to the harsh cold climate over the years develop a coat which provides an exceptionally warm and light fiber. It is slightly warmer and coarser than the
Cashmere fibers obtained from lower region goats. Ones from Nepal is called the Chyangra Pashmina. The shawl from Nepal came into the limelight when it was worn by
Princess Diana.
Ladakh pashmina is also similar to the Nepali pashmina as it is also manufactured in the similar high altitudes in Kashmir near the India-China border. Amidst the cold
temperatures, these goats develop a unique, incredibly soft pashm (inner coat) which is six times finer than that of human hair. Since the fiber is very fine, it cannot be spun
by machines. So, the wool is hand-woven into Cashmere products like scarves, shawls and wraps, etc.

Pashmina is made from fineness of the cream coloured goat’s wool having intricate embroidery. Pashmina meaning soft gold in Kashmiri, some designed are hand block
printed and those blocks sometimes date back to more than 100 years. It takes a week to get a single shawl of pashmina. Hand embroidery is done on the shawl which
takes more time to make it an end product. The tedious work makes it one of the costliest fabric.
 KULLU SHAWL

A Kullu shawl is a type of shawl made in Kullu ,India, featuring various geometrical patterns and bright colors. Originally, indigenous Kullvi people would weave
plain shawls, but following the arrival of craftspeople from Bushahr in the early 1940s, the trend of more patterned shawls came to rise.[
Kullu Shawls are well known all around the world for its simple and elegant designs and its fine woolen fabric and manufacturing quality. Kullu shawls are worn
by both: men and women, but men’s shawls are usually called "Loi" or "Pattu" and are often plain without any pattern or minimal patterned stripes on two
edges.
Typical Kullu shawls have geometrical designs on both ends. The shawls may also have floral designs, which may run all over. Each design may have up to eight
colors. Most traditional colors are often bright colors, used to emphasize the shawl and make it more appealing, however, there are instances where the shawl is
made with a more dull color, such as pastel. Kulu shawls are also crafted in yak's wool, sheep wool, Pashmina, and other handcrafted material.c

Purely Hand Woven

Our Each and Every Product is Woven by our Beautiful and Skilled Importance of Kullu Shawls in the local economy:
Weavers at Home. We Don't Have Factory Outlet. Every Weavers is Kullu shawls play a very significant role in the economy of the valley. It is one of the major income sources for these
Working from Home in their Hand-looms. people where thousands of them earn their living by weaving part time or full time. Around 20,000 people work part-
time and about 10,000 people earn their livelihood by working full-time. These shawls are made in the valley itself
by local people who have inherited their skills from their past generations. Shawls made in the valley are woven
Bunch of Weavers using handlooms and these handlooms can be found in almost every home in rural areas. These are used to
Our Many Weavers are Working as SHGs and Helping each other in weave shawls and fabric for other clothes to fulfill their own needs or for commercial purposes. Kullu shawls are
their Good and Bad. And Himalayankraft is trying to Give These also an important part of the heritage of Himachal Pradesh due to which state government provides many benefits
Beautiful hands a fair price and Employment. to weavers so this heritage can flourish and can be preserved. The current state of Kullu Shawls:
Kullu shawls are made using handlooms but these days some outside manufacturers especially from Ludhiana,
(http://archive.indianexpress.com/news/80--kullu-shawls-have--made-in-ludhiana--stamp/717485/) are producing
Art is in Blood and Region cheap factory-made material with copied design patterns and selling it on heavy discounts which is leaving a very
Himachal is Hilly State where after every 10 Kms there is new bad impact on original Kullu Shawls' market share and valley’s economy. Consequently, it is discouraging weavers
region and Every Region has Unique Culture, Tradition and Art. We who have been working on this craft for decades making this beautiful art die a slow death. Handmade kullu
have Give a Centralized Platform To these Clusters where world shawls are getting a very tough competition because of its relatively higher cost as it involves a lot of hard work.
can See and Buy Their Unique Art State government has recently taken many steps to prevent these crises. Most crucial of them all is assigning of
Geographic Indicator (GI) to Kullu Shawls (http://hpscste.nic.in/pbulletin/third.html). This GI can only be used to
those shawls which have being produced in the valley itself and have been made using the handlooms. This
Purely Naturally Extracted practice has been adopted to restrict the sale of power-loom-made shawls in the name Kullu Shawls. How to make
We Used Only Naturally Fabrics like Pure Wool, Marino Wool and sure whether it is original or fake?
Angora Wool. All Fabric is Dyed by Organic and Natural
Techniques.
Primarily made of red and black
wool,Naga shawls are made by several
tribes in the region.
Every major tribe has its own distinct
shawl pattern and some warrior shawls
even feature figures of
tiger,elephant,human head, cock and
spear.
HAND PRINTED/PAINTED
AND DYE
 KALAMKARI
Kalamkari is a type of hand-painted or block-printed cotton textile. There are two distinctive styles of kalamkari art in
India — the Srikalahasti style and the Machilipatnam style. The Srikalahasti style of kalamkari is done using a pen
for freehand drawing of pattern and filling in the colors, is entirely hand worked. Machilipatnam style of Kalamkari
work involves vegetable Dyed block-painting of a fabric
Srikalahasthi Kalamkari Fabric
With fabrics designed with the help of a free flowing pen, Srikalahasthi Kalamkari is a distinctive style of Kalamkari in
India.The term Kalamkari, or Qalamkari, refers to hand printed or block printed cotton textiles that are used to create a
variety of different garments.
Kalam means pen while kari means craftsmanship. In Srikalahasthi Kalamkari, the free flowing pen is also used to fill
in the colors. It originates from the town of Srikalahasti in the Chitoor district of Andhra Pradhesh, India.

The Making of Srikalahasthi Kalamkari

To start with, the cotton fabric that is used as a base is first doused and soaked in a prepared mixture of Myrobalans (a
type of plant) and cow milk. This helps the fabric attain its glossiness, which then provides a rich background for the art
work to be done on.
A makeshift pen is constructed out of bamboo. This pen is dipped into fermented jagry and water and then used to
create various outlines or shapes onto the fabric.
Once this is done, dyes are used to fill in color and darken the outlines. After all the colors are added to the artwork, the
fabric is then washed in order to help it retain and soak the dyes.
Style and Variety
Srikalahasthi Kalamkari is a form of Kalamkari itself wherein art work is created by free hand. The other form of
Kalamkari is one where block prints are used to stamp in images on the fabric and create the motifs and patterns.
The latter, however, does not have a distinguishing name and is often only referred to as Kalamkari work.
Kalamkari fabrics can be used to create a vast variety of garments ranging from sarees, kurtas for a salwar kameez set,
dupataas, informal lehengas, long skirts, indo-western t-shirts and printed pants.
In terms of contemporary usage, Kalamkari work is also used for items pertaining to home décor, such as lamp shades,
bedspreads, cushion covers, linen, shower curtains, curtains, rugs and table linens. As it has an extremely unique look,
it works very well as a décor element.
BANDHNI — Gujarat (also Rajasthan)
Dyed in tie & dye style, the art of bandhani is a highly skilled process. In this the fabric is tied into small points with
threads and when dyed, the knotted parts remain uncoloured. Different types of tying methods are leheriya,
,mothda,ekdali, trikundi, chaubandi, etc. It is also known as Bandhej, and is made on superfine cotton, mulmul,
muslin, etc
EMBROIDERY
SHEESHA
Mirror work has been in vogue for centuries and is popularly known as “Sheesha” or “Abhala Bharat” embroidery. This
is an art form in which mirrors of various shapes are fixed on to the fabric through embroidery. In recent times
however, mirrors have been replaced by reflective luminescent metal pieces of different shapes and sizes, particularly
on apparel. Mirror work is used on various fabrics such as georgette, crepe, cotton, silk, chiffon and many more
which are then turned into attractive apparel and accessories ranging from sarees, to cushion covers and belts.
It which was later replaced by glass. The use of these decorative embellishments was inherited from Iran during the
Mughal reign. However, surprisingly, the Mughal rulers did not wear clothes embellished with mirrors.

Shisha work is a type of applied decorative needlework that is characterised by small pieces of reflective material
that are sewn onto a cloth ground material. This technique is also known as mirror embroidery
CHIKANKARI EMBOIDERY
CHIKANKARI EMBOIDERY — Lucknow, Uttar Pradesh
Chikankari is an art, which results in the transformation of the plainest cotton and organdie into flowing
yards of magic. The word ‘Chikan’ steps from a Persian word derived from ‘Chic’, which referred to the
‘Jali’ work done on marble or wood. Chikankari is a long running or darning stitch worked with six strands
on the right side of the fabric taken over four threads and picking up one. Other styles of embroidery are
backstitch, chainstitch, bakhiya, jail work, etc.

1. Bandhani,shibori,laharia and mothra are basically designs produced over plain cloth
using the tie and dye technique.
2.• The specialty of bandhani is the design formation on multy colored round spots.
3.• The cloth meant for bandhani is scoured, bleached for having good white ground
and to have better penetration of dyes.
4.• The cloth is laid over the table and designs are imprinted over by using wooden
blocks and washable colour.
5. • The lady on work will first tie spots all around the circle line and then put the
required spots inside the circle.
6. • The cloth after putting the knots is taken for dyeing, mostly cold brand of dyes.
7.• Laharia means waves. The wave effect is brought on the cloth by the art of tie and
dye.
8.• Laharia work is applied on sarees and churidarh set.
9.• The cloth is scoured and bleached for getting whiteness and good absorbency. the
cloth is then made into a rope form.
Tools
10.• One end of the roped cloth is provided with a rotating handle and the other end a
Sui needle is the importam]]]nt tool which plays a major role in Chikankari works. Circular frames id used to hold the cloth
hook.
as it obtains tautness .
11.• In The tightened rope cloth , thick twine rope is tied with knots at frequent
These frames are made with the cloth as well as wood as per need.
intervals without cutting twine in between the knots.
Wooden bocks are used to print the design on plain cloth.
12.• then tied cloth rope is taken for dyeing and on completion of dyeing process,
Rectangular wooden tables are used as support during printing process.
colored wavy lines are formed as a design all over the fabric.
Containers are used while washing the cloth after completion of stitching work.
SILK
 BHAGALPURI SILK — Bhagalpur, Bihar
Also known as the ‘Queen of all fabrics’. The yarns are weaved with silk threads of multi colors which are reared from the
Tussar cocoons. They are weaved into exotic and symbolic designs and motifs or leave it plain weave in its pure texture
and feel.

PROCESS OF SILK WEAVING The process of tussar weaving has the following steps - (a) Designing: The master craftsmen select
the drawings. The design is mainly variations of weave and color. (b) Raw material preparation: This is a long process that can also
be divided into certain steps: * Reeling silk: Cocoons are firstly sorted and then the good ones are boiled in water with some
amount of soda for 1/2 to 2 hours. For 1280 cocoons, 300gms of soda is used. In this process, the vessel is pressed with a heavy
lid, so that the cocoons do not come out. After boiling, the silk strands are unwounded onto bamboo spools. Workers use their
bare thighs to draw out a single filament of silk from the cocoons. This silk is known as ghicca silk. In khewa silk, the hands are
used to unwind the silk filament. . * Throwing: After this process the spools are transferred to skeins. After drying, these skeins
are reeled on bobbins to make a thicker, stronger, and multi threaded yarn. Around 10 skeins are twisted together. * Dyeing:
Natural dyes are commonly used for dyeing tussar silk. While the process of dyeing is similar for all colors, mordants are used
differently for specific colors. In general, the first step for all dyes is extraction by boiling the dyestuff in water. The solution is
strained, and the dye is applied to wet yarn skeins. After some time the skeins are put in mordant solution to fasten the effect of
the dye. The last step is to wash the yarn with reetha powder. For black color harer powder is boiled in water for 15-20 minutes.
The wet skeins are put in a dye bath for 20 minutes in a separate container. Kasis stone is used as the mordant. It is put in plain
water and sieved. The dyed skeins are put into this kasis solution for 5 minutes. After 20 minutes the skeins are washed in reetha
solution. For indigo dye the mordent (alum) is applied before dyeing, and the skeins are kept in an airtight container. After half an
hour, the skeins are put into boiling indigo solution. The excess dye is washed out with reetha. 6. Preparation of WeavingIn the
weaving operation, lengthwise yarns that run from the back to the front of the loom make the basic structure of the fabric and
are called the warp. The crosswise yarn is the filling, also known as weft. Before weaving the warp and weft yarn needs to be
spun to the required specifications. Then the yarn is wound onto large spools, which are placed on a rack called a creel. From the
creel, the yarn is wound onto the warp beam. This process is known as spooling.
7. Weaving process In the weaving process on the loom, the warp beam is mounted at the back and the warp yarns are conveyed
to a cylinder called the cloth roll, which is at the front of the loom. Supported on the loom frame between the two cylinders, the
warp yarns are ready to be interlaced by the filling or weft yarns, to produce the woven fabric. In the weaving process four steps
are fundamental - Shedding: the operation performed by the harnesses - rectangular frames to which a series of wires, or
heddle, are attached. As each warp yarn comes from the beam, it must pass through an opening in the heddle. Drawing in: the
operation of drawing each warp yarn through its appropriate heddle eye. . In the weaving process the heddle frame raises or
lowers certain groups of alternate warp yarn by treadles, so that the filling yarns alternate in passing under one group of warp
yarns and over another. Picking : As the harnesses raise the heddles, which in turn raise the warp yarn, the filling yarn is inserted
through the shed by the shuttle that contains a bobbin of filling yarn. This crossing of wefts between the shed of the warp is
known as Picking. Each warp yarn passes through a heddle eyelet and through an opening in another frame that resembles a
comb and is called the Reed. With each picking operation, the filling yarn is pushed against the woven fabric. This process is
known as Beating. With each shedding, picking and beating, the newly constructed fabric must be wound on the cloth beam.
This is referred to as taking off. 8.FINISHING After the fabric is taken off the loom, it is washed with plain water and spread for
drying. After drying, water is sprinkled with a spray machine. This spraying should be uniform all over the surface. Then the fabric
is folded properly and beaten with a heavy hammer, called kundi. This beating process sets the weave properly. The fabric is now
ready for calendaring. This is a mechanically produced finish, achieved by pressing the fabric between a series of two or more
rollers to smoothen it and produce a wrinkle free effect. 9. PACKAGING For the export market the products are packed in natural-
dyed cotton bags, with the brand name printed on. 10. USES OF THE PRODUCT Both home furnishings and dress material are
made from tussar fabric. Under home furnishings, products are cushion covers, pillow covers, curtains, etc. For apparel, the
products are scarves, shawls, saris, dupattas, and running material. 11.MARKETING Tussar silk has a good demand in the foreign
market, but is not as popular in India. Because of its warmness and roughness, it is appreciated in cold countries. The price range
of tussar products is from Rs.150 to Rs.5000 (As per October ’04 information). The major source of marketing of tussar from
Bhagalpur is craft exhibitions and exporters. Because of its good export demand, the craftsmen are positive towards the use of
natural dyes, variations in design and products and child labor free production. .
ERI SILK
Artists Behind the Fabric
Eri Silk has become the face of Indian Silk. Around forty percent of Eri Silk is produced in Nagaland, Meghalaya,
Manipur, Bihar, Orrisa, Karnataka, Assam, Andhra Pradesh and Jharkhand. The bulk of Eri Silk production gives Assam
the name of Eri Silk state.

Sources of Inspiration
What makes Eri Silk distinctively unique and the best amongst the vast ranges of Silk counterparts is its beauty that is
added upon by texturing. Much like the Mulberry Silk, the Eri Silk is also textured, but the texturing done over the Eri silk
is finer and much more than the mulberry Silk, which ultimately adds up to the breathtaking yellow sheen of the Tussar
silk.

Making
In order to open Eri silk in its original, fluffy form, it is either boiled with soap water or through scouring (cleaning) it in a
large tank through the process of hydro-extraction. A coating of ‘sericin’ gum on the filament of the cocoon prevents it
from opening with ease. This process is thus known as degumming.
The degummed cocoons are then opened in cocoon opener which helps in further cutting the eri silk fibres to the
appropriate length. Fiber Cutting is the next part of the process which involves the cutting of eri silk. Manual cutting is
inefficient, hence the ‘twin blade cutter’, modified for eri silk cutting is suitable. Next, ‘Carding’ parallelizes and
individualizes the eri silk fibres to maintain quality of the output. It is also essential to open and free the cut eri silk from
remnants of insects. Series of gilling and drawing operation make the carded sliver fibres parallel and uniform. The next
step involves removing shorts fibers present in the gilled uncombed eri silk sliver.
Uses of eri silk fabric[edit]
Eri silk fabric is a boon for those who practice absolute non-violence, not using any product obtained by killing any
animal. It is widely used by everyone in the regions in which it is produced. It is becoming popular the world over.
Buddhist monks in India, Bhutan, Nepal, China, and Japan prefer this silk, due to its non-violent origins.
In India, eri was mostly used for the preparation of winter shawls for men and women. The thermal properties of eri silk
makes it a suitable fabric for shawls, jackets, blankets, and bed spreads. Dress materials and baby dresses are also
made from eri silk fabric because of its soft texture and moisture absorbent quality. Nowadays very fine (up to 210 Nm
eri spun yarns are available, which enables weavers to weave very fine clothing, including traditional sari dress
materials.
Eri silk is durable and strong and has a typical texture; hence, it is widely used in home furnishing like curtains, bed
covers, cushion covers, wall hangings, quilts, etc. Its woolly feel adds to the comfort.
Two eri spun-silk mills have been established in Hindupur in Andhra Pradesh and Kokrajhar in Assam while another is
at Chaygaon, near Guwahati, Assam, which is spinning the finest Eri spun-silk yarn with various blends with bamboo,
muga silk, and cotton.
Eri silk products are promoted as eco-friendly and natural, and provide jobs and money for the tribal peoples who
practice eri culture.
Eri silk production in India during 2007–2008 was 1,530 tons. This made up 73 percent of the total wild silk production
of 2,075 tons.
Vegan designer Lucy Tammam uses eri silk in her couture evening and bridal wear collections
KASAVU
Kasavu is a handwoven cream colored saree with gold border, worn by Malayalee women. From the land of ‘God’s
own country’, Kerala’s Kasavu emerges as one of the finest traditional saris which define the essence of the beauty
of every woman in Kerala. It is a handloom designed material which enhances its glamor through the intrinsic borders
soaked in the color of pure gold. This fabric sari is considered to be the most auspicious attire for women in Kerela,
especially during their new year, as per the Hindu calendar. Also known as Kasavu, Kerela Kasavu , and Mundum
Neriyathum (Nereyathum).

Faces Behind the fabric

This artwork presented on the sari symbolized and defined the personality and the cultural aspect of women who had
their cultural roots deep in the soil of Kerala. The original essence of this fabric felt a noticeable presence depicted
through the remarkable sketches of Painter Raja Ravi Verma. The design of this fabric also found its popularity in the
mythological epics like Mahabharata which portrayed Shakuntala in many Kerala Kasavu attires.
Varieties
The basic attire of Kerala Kasavu is basically categorized into two pieces of garments; one is the ‘kara’ which
represents the colored bit of a design that is imprinted in the border and the second which is the ‘Mundu’ that defines
the lower portion of the garment. The attire also consists of the upper garment which is known as the ‘Neriyathu’.
Tools to make Kasavu Sarees:
•Small Bobbins: To wind the zari threads for warping.
•Charaka Equipment: To wind the yarn.
•Scissors: To cut the extra fabric, yarns.
•Measuring Tape: For measuring the length and width of the
fabric.
•Rice Kanji: In this liquid, the cotton yarns wound on the
pirns are immersed.
•Chalk Powder: Applied to the table for pasting the next set
of fabric for printing.
•Sticker Gum: For sticking the fabric firmly during printing.
•A piece of Fabric: Used to stick on the two edges of the
printing table.
•Sand Paper: To rub the corners of the fly shuttle for better
weaving.
•Safety Pins: To hold the printed fabric for drying.
Kasavu Saree Making Process:
•The cotton yarn is brought from Salem and Zari threads from the Surat, Gujarat in India
•Cotton yarns are wound to prins by the Charaka equipment and immersed in the Kanji liquid for stiffness.
•Cotton yarns are spread on the beam, knotted with previous cotton yarn and fixed to the loom.
•Zari threads are wound to pirns with the Charaka equipment for weft.
•Zari bobbins are fed to the Zari warping beam that has the eyelets moving from one end to other by winding the
required length.
•The Zari threads are knotted firmly to the previous threads and applied with wax throughout the length for a better
grip.
•After the cotton yarns and zari threads are set on the loom, the weaving is done with the controlled mechanism of the
Jacquards for the insertion of the patterns.
•As per the pattern required it is taken for embroidery or printing work.
•As Kuthampully is famously known for the Kerala saree, sarees woven on the powerloom mostly from Salem and
Erode are further finished with the printing work.
•The Saree is evenly spread on the table with the help of chalk powder and sticker gum.
•As per the required design and colour, the printing paste is made and spread through the screens to the saree
pieces. (Read about Block Printing.)
•The saree is then passed through a series of rollers for a smooth finish which is generally referred to as a calendering
process.
•MYSORE SILK
•Karnataka produces nearly 70% of the country’s total mulberry silk production of 14,000 metric tons.
•Maily grown in mysore district.
•First initiated during reign of tippu sulthan.
•Later was hit by global depression and competition from imported silk and rayon.
•In revived back after 20th century and mysore state became top multivoltine silk producer in india.
Made from Mulberry silk and carrying historical importance the Mysore Silk sarees are luxuriant, uniquely
minimalistic, elegant and continue to stand out with all these qualities though machine made. The sarees have
plain single colour base fabric of 100% pure silk blended with a narrow strip of gold zari border at both ends. The
weaving process involves two types of looms — the Dobby loom and the Jacquard loom.
BANARSI SILK
Banarsi silk known for gold and silver brocade or zari, fine silk and opulent embroidery. The saari is decorated with intricate design
inspired by Mughal, floral and foliate motifs, mango leaves motifs and minakari work.
MUGA SILK — Assam
Muga silk, which is mainly produced by the Garo community of Assam, is obtained from semi-domesticated
multivoltine silkworm. The most significant characteristic of ‘Muga silk’ is its golden bright hue.

Muga silk is known for its fine texture an d

durable nature.
Known as ‘ the golden fibre’
This hand-washable silk has a naturally
yellow gold tint and its lustre increases
with ever wash.
PHULKARI
Phulkari
Phulkari, which literally translates into ‘flower work’, has a history etched in the culture of Punjab. Spun from the
charkha this spectacular style of embroidery is patterned on odinis, shawls, kurtis and chunris. The main
characteristics of this embroidery are the use of darn stitch on the wrong side of cloth with colored silken thread. A face
of fashion that finds its first mentions in Punjabi folklore of the romantic protagonists Heer and Ranjha, Phulkari is a
dream weaver for every Punjabi girl.
The Comeback of Phulkari
The embroidery took a backseat with the division of India and Pakistan. However, it soon sprang back up like an
evergreen style statement. Even though there is an inimitable demand for Phulkari work till date, there are limited
credible sources left from where one can purchase a hand-woven Phulkari fabric. With commercialization of the
needlework, quicker methods of production were devised.
Sources of Inspiration
Thread by thread, each motif was created in a geometric grid, which was a peculiar technique for coming up with a
curvilinear final output. Long and short darn stitch was put to clever use for creating horizontal, vertical and diagonal
thread work, inspired by routine of the artists, flowers, and animals.
JAMDANI
Jamdani, a word of Persian origin, is a combination of the words ‘Jam’ and ‘Dani’ meaning flower and vase respectively.
This weave done by loom on brocade is a time-consuming process and is a blend of figures and floral motifs. Jamdani
also known as muslin cloth has a weave of the typical gray and white, and sometimes a mixture of cotton and gold
thread
The Making
Jamdani, like other traditional arts is done by men. Communities of artisans in Uttar Pradesh and West Bengal in India
and at Rupgang, Sonargaon, Shiddhirganj ( Bangladesh), excel in this artistic skill.
In contrast to using karpash cotton, today weavers use Cotton and Silk blends. Being a versatile fabric, it can be either
woven in full Silk or also with a combination of real gold/silver/precious metal yarn. Jamdani is eco-friendly as it is spun
by hand and foot tools. Some designer pieces can take upto 13 months to complete, with two full-time weavers. Banaras
and Tanda in Uttar Pradesh & West Bengal respectively, are some places for the weaving of these sarees.

Varieties
Jamdani sarees, due to their diaphanous nature, drape beautifully and are supple to touch. Dhaka Jamdanis portray
multicoloured linear or floral motifs but the mango motif signifying fertility, growth and marital bliss is extremely popular.
Tangail Jamdanis have single coloured borders or two to give it a ‘meenakari’ effect, (Jamdani motifs are created on the
Tangail fabric). Shantipur Jamdani has delicate checks, stripes or a texture made by coloured threads or a mixture of
fine and thicker yarn. Lately tie and dye designs are being done for the pallu (part of the saree draped over the
shoulder). The Dhaiakhali Jamdani has a tighter weave with bold contrasting borders and low prices making them
affordable.
Jamdani means, a vase of flowers. History of this fabric dates back to the early ages, wherein mentions of the
fabric are seen scripted in Arthashashtra written by Kautilya. The glory of this fabric can also be seen mentioned in
the writings of Chinese, Italian, and Arab travelers. Basically this fabric is of unbleached cotton yarn. Saris are
woven using this method are called as terchha. The part of the sari which goes over the shoulder is decorated with
motifs called jhalar.
CHANDERI FABRIC
Chanderi Fabric
Chanderi is a traditional ethnic fabric characterized by its lightweight, sheer texture and fine luxurious feel. Chanderi
fabric is produced by weaving in silk and golden Zari in the traditional cotton yarn that results in the creation of the
shimmering texture. The fabric borrowed its name from the small town Chanderi in Madhya Pradesh where traditional
weavers practice the art of producing textured sarees in cotton and silk decorated with fine zari work.
This fabric can be classified into three types – Chanderi silk cotton, pure silk and Chanderi cotton. Traditionally, Chanderi
fabric was primarily used in weaving Sarees and Salwar Kameez material.
Characteristic of Chanderi
Creation of unique buttis or motifs and the transparent or sheer texture of Chanderi fabric are the two prime
characteristics that distinguishes it from other handloom fabrics.
Motifs or Buttis
The buttis or motifs on Chanderi fabric are primarily hand woven on handloom, with the use of needles. Separate
needles are used to create different motifs. Weavers coat these motifs with gold, silver as well as copper. Motifs created
using chanderi weaving are inspired from nature and include Swans, gold coins, fruits, and heavenly bodies.
From traditional motifs of flowers, peacock, lotus to modern geometric patterns, today one can find strikingly beautiful
motifs like ‘Nalferma, ‘Dandidar, ‘Chatai’, ‘Jangla’, Mehndi wale haath’ etc. adorning the Chanderi fabrics. Color palette
of Chanderi sarees are predominately ruled by soft pastel hues, however with changing times, vibrant combinations of
red and black, turquoise and navy blue, fuchsia and white also exist.
Transparency
Transparency or sheer texture is a unique feature of Chanderi fabric that differentiates it from other textiles produced
across India. The transparency of this fabric is because of the use of single Flature quality of yarn. When glue of a raw
yarn is not separated from it, the non-degumming renders a shine and transparency to the finished fabric which
produces a Flature yarn.
Fashion Connect
Since ancient times, Chanderi fabric holds a special position in the Indian handloom industry. Traditionally, this fabric
was used to weave the nine yard drapes. But now, with fusion of traditional and modern weaving techniques, Chanderi
fabric is extensively used by fashion designers to create Indo-western dresses, tunics and tops.
POCHAMPALLI IKAT
pochampalli Ikat
Pochampalli Sarees, also known as Pochampalli Ikat, is a traditional garment that originates from Bhoodan
Pochampally in the Nalgona District, Telangana State.
The Making of Pochampalli Ikat
These hand woven fabrics are woven in an extremely interesting way. What sets it apart from other fabrics is the fact
that the warps and weft threads are colored or dyed first and then added to the loom to create the fabric. In India, Ikat
is carried out with the help of Batik and wax.
Batik is a traditional technique wherein dots or lines are created with the help of a sharp tool known as canting. The
resist is printed with the help of a copper stamp called the cap. The wax which is used along with this resists the dyes
and thus, the patterns are created.
Style and Variety
Pochampalli Ikat is, apart from being used to create sarees, also used to create a variety of other Indian ethnic
garments such as salwars, anarkalis, skirts and lehengas.
This double ikat textile is known for its geometric pattern and an intentional bleed. The process used to do so is known
as Resist Dyeing also called ikat, wherein a host of methods are used to prevent the dye from spreading all across the
fabric. The place Pochampally has got it place in UNESCO World heritage site as a part of iconic weaving cluster of
India
•PAITHANI
•Paithani is a variety of saree,named after paithani town in Aurangabad
•Woven by hand made from very fine silk.
•Considered to be one of the finest silk sarees in India.
•Its characterized by borders of oblique square design and a pallu with a peacock design.
•Plain as well as spotted designs are available. Among other varieties, single colored and kaleidoscope-colored
designs are also popular.
•Its achieved by using one color for weaving lengthwise and another widthwise.
The art of weaving Paithani is 2000 years old. The fabric
looks exactly same on the both sides. . It is made of silk with
an ornamented zari pallav and border. Traditional vines and
flowers, shapes of fruits and stylized forms of birds esp
peacock are used as motifs is weaved in rainbow colors.
The Making
Despite the craft being centuries old, the Paithani sari is still woven in the same traditional manner. It is woven with
extreme caution as the silk threaded sticks are very fragile. This makes Paithani one such fabric that cannot be
matched with any other fabric of its kind. The motifs on pallu can vary vastly from mangoes to peacocks and even
lotuses. Some designs are also borrowed from the architecture of the Ajanta Cave. The creation of a Paithani requires
skilled labour and artisans having in-depth knowledge of the fabric, its threads as well as its dyes. The time taken to
create a Paithani can range from anything between two months to a year depending upon the pallu and the border. Its
manufacturing can also cost anything from sixty thousand rupees to five lakh rupees
Designs on the fabric range from simple to intricate depending on the wearer .
Its disapperaring as few people wear it.
Puan is essentially a warp- around skirt with few black and white.
The Apatani weave comes from the
Apatani tribe of
Arunachal Pradesh.
The weaving techniques of this tribe are
considerably more advanced than the
rest of the tribes of Arunachal Pradesh.
Its known for geometric pattern,mainly
angular designs and zigzag patterns.
It forms an essential part of the daily
wardrobe of the people.
•PHULKARI
•Phulkari literally means flower work, which was at one time used as the word for embroidery, but In time the word has
come to represent embroidery shawls and head scarfs.
•The embroidery is done with floss silk thread on coarse hand woven cotton fabrics.
•Usually geometrical patters are embroidered.
Phulkari, which literally translates into ‘flower work. With the simplest of tools, a needle, a silk thread and a high degree of
skill the Punjabi’s are able to create the most amazing flowery surface designs. Phulkari pattern revolves around a solitary
stitch.
•LEPCHA
•The lepcha is among the indigenous peoples of Sikkim.
•Muted harmonious colors are a feature of Lepcha waving.
•The cloth woven by the women on bavk-strap loin-looms is traditionally used for womens coat material.
•The base of the material is prepared with cotton yarn and the main body is woven with woolen yarn using different
yarn using different colored yarns.
•The weaving is very tight .
•Now used in making accessories and bags.

In ancient times, the Lepcha’s of Sikkim were said to use yarn spun out of stinging nettle (sisnu) plant to weave
clothes. Today cotton and woollen yarn are used with vegetable dyes and synthetic colours. The colors used are
white, red, black, yellow and green.
•KUNBI
•This is almost extinct traditional saree that used to be worn by the goas tribal Kunbi wo,em before the advent of
the Portuguses in the 16th century.
•The fabric was recently revived by designer Wendell Rodricks.
•This red and white drape of kunbi tribals has dissappered due to caste discrimination.
•Only symbol of Goas weavimg heritage.

Kunbi is a cotton chequered sari in red and white with a sturdy weave good enough to be worn for farming. It has
dobby border, which is essentially a silken flat inset. Recently, designer Wendel Rodricks promoted the fabric in a
Fashion Week.
•PANJA
•Haryana boasts of a robust handloom tradition,especially in Panipat –a major textile town of India ,famous for
its rugs and upholstery fabric
•Trditionally wven by women
•Panja gets its name from from the metallic claw- like tool called panja used to beat and set the threads in warp.
SAMBALPURI SILK
Sambalpuri is a traditional handwoven ikat wherein the warp and the weft are tie-dyed before weaving. The fabric
incorporates of traditional motifs like shankha (shell), chakra (wheel), phula (flower). In this technique, the threads
are first tie-dyed and later woven into a fabric, with the entire process taking many weeks.
PATOLA FABRIC- Patan, Gujarat
Patola is a double ikat woven fabric, usually made from silk. Patola means “Queen of Silks” are woven with great
clarity and precision. Expensive due to their labour intensiveness, each patola sari may take from six months to one
year to be made.
KANJIVARAM — Kanchipuram, Tamil Nadu
Kanjivaram is woven from pure mulberry silk with three ply, using thick zari forming unique and intricate designs in the
sari. Weavers use Korvai method of weaving in which different colored yarn for body and border are interlinked.
KINNAURI SHAWLS — KULLU, HIMANCHAL
Their geometrical patterns have religious meaning and the colors of the thread used for embroidery represent the
elements of nature — water (white), air (green), earth (yellow), ether (blue) and fire (red). Frame looms are mainly
used to weave the shawls and the embroidery is done by hand. The raw material that is used is Merino wool, local
sheep wool and Pashmina wool.
PHANEK
The costumes of this state carry with itself a uniqueness and charisma that showcase the exuberant face of India all in
one. Manipuri costumes are hassle free and easy to don at any occasion. The long established and basic costume for
women include a shawl called Innaphi, a Phanek and a wrap around skirt called sarong, while the men wear a dhoti,
a jacket and a turban.
In Manipur, handloom weaving was an intrinsic part of each
Manipuri family and was a way in which different tribes
bonded with each other. Weaving was taken as a part of their
domestic chores. In some of the tribes of Manipur it is
believed that the weaving of textile appears as a replica of
the cosmic process.
PLACE FABRIC MATERIAL TYPE COMPLETITIO

ASSAM MUGA SILK SILK WEAVING 10 DAYS

WEST JAMDHANI COTTON WEAVING 10 DAYS(PAIR)

BENGAL

TAMIL NADU KANJEEVARAM SILK WEAVING 10-20 DAYS

SILK
MANIPUR PHANEK COTTON WEAVING

ANDHRA KALAMKARI COTTON & HAND 10-30 DAYS

PRADESH SILK PAINTING /
PRINTING
TRIPURA PACHRA COTTON WEAVING 7 TO 15 DAYS

UTTAR CHIKANKARI COTTON,SILK, EMBROIDERY 5 TO 10 DAYS

PRADESH MUSLIN
NAGALAND NAGA SHAWLS WOOL WEAVING

ORISSA SAMBALPURI SILK WEAVING 15 DAYS

SILK
MIZORAM PHUANS COTTON WEAVING 7 TO 15 DAYS

KARNATAKA MYSORE SILK SILK WEAVING 1 TO 2 DAYS

ARUNACHAL APATANI COTTON & SILK WEAVING

PRADESH
BIHAR BHAGALPURI SILK WEAVING 3 TO 10 DAYS
SILK
RAJASTHAN SHEESHA COTTON,SILK,S EMBROIDERY
HIFFON,
GEORGETTE
JAMMU&KASH PASHMINA WOOL WEAVING 3 TO 4 DAYS
MIR
JHARKHAND KUCHAI SILK SILK WEAVING 5 TO 7 DAYS