Luxury Brand Management

LUXURY PRODUCTS
Luxury products have more than necessary and ordinary characteristics compared to other
products of their category, which include their relatively high level of price, quality, aesthetics,
rarity, extraordinariness, and symbolic meaning.
THE MAJOR CHARACTERISTICS OF LUXURY PRODUCTS
Figure 1 Characteristics of Luxury products
TYPES OF LUXURY PRODUCTS
 PERSONAL VS IMPERSONAL LUXURY PRODUCTS - Product categories are especially suitable

for a luxury strategy in a context where consumers employ luxury products to manage their
self-image and where they increasingly build up a personal connection with these products.
In contrast to products such as hedge shears and kerbsides, "people related items" such as
apparel, glasses, and wristwatches are therefore especially suitable as luxury products.
Within the luxury segment there is a continuum that ranges from these very personal to
relatively impersonal products, such as bathroom equipment and garden furnishing.
1 LUXURY PRODUCTS OF INDIA

 PUBLICELY VS PRIVATELY CONSUMED LUXURY PRODUCTS - These types of luxury products
are differentiated by the social setting of consumption. While publicly consumed products
such as cars are seen by others, privately consumed products such as kitchen appliances are
not usually seen by many others.
 ACCESSIBLE VS EXCEPTIONAL LUXURY PRODUCTS - Distinguishing between accessible and

exceptional luxury products on the basis of an inter-categorical comparison of their selling
price, which also impacts their diffusion level and repurchase rate. While accessible luxury
products such as perfumes are affordable for most people at least from time-to-time,
exceptional luxury products such as private jets are only affordable for very few people
(inaccessible for most people). They are usually bought by wealthy people, in contrast to
private jets; they are still within reach for many people.
Luxury products can also be differentiated by their exclusivity and production into the following
categories:
 UNIQUE PIECES - This top category typifies the ideal of the luxury segment and is more
accurately described by the French word "Griffe", which refers to the clutch of an inspired
creator, who is obsessed by the idea of forming a unique masterpiece that is truly
unsurpassable in its perfection.
 LIMITED EDITIONS - Still very close to the ideal of the Griffe are products made in highly
limited editions.
 LIMITED-DIFFUSION PRODUCTS - The high rarity of these luxury products relies on
their manufacturing complexity which requires a high degree of handwork and
craftsmanship.
 EXPANDED-DIFFUSION PRODUCTS - Although their production volume is still relatively
limited in comparison to mass-market products, their production process resembles mass-
market serial production. (Upmarkit.com, 2015)

KOLHAPUR
Kolhapur is mainly located in the South Western of Maharashtra at 160 25'N740 08'E16.410N
74.130E.
It is an island city located in South-West Maharashtra state, 288 Km south of Pune, 615 km North
West of Bangalore and 530 Km west of Hyderabad. Kolhapur has an 11 of 569 meters (1867 ft.)
which is higher than the Pune. Therefore the climate of Kolhapur is usually pleasant. It lies in the
Sahayadri Mountains in the Western Ghats. Kolhapur is south side of Pune and 230 km by road and
615 km. north west of Bangalore and 530 km. west side of Hyderabad Kolhapur district has 12
talukas. The adjacent cities and towns around 100 km. areas are Kagal (17 km), Sangli (50 km), and
Miraj (45 km).
KOLHAPURI CHAPPAL MAKING

The patronage of all the crafts of Kolhapur, including the leather craft can be traced back to the
royal family. The crafts present in Kolhapur where given great impetus under the reason of
Chatrapati shahuji Maharaj. Among leather crafts, Kolhapuri chappals which are deeply rooted in
the tradition of Kolhapur, were the first once be produced. Other items made of leather like bags
and wallets were produced much later in Kolhapur. Making of Kolhapuri chappals started even
before the time of Chhatrapati Shahuji Maharaj but exact time period of its origin is not known.
Kolhapuri chappals where locally tanned using vegetable dyes.
Figure 2 Kolhapuri Chappals
Charmkars/Chambhars are a dalit subcaste which engaged in making leather articles. Tanning was
initially done at Bindu Chowk which became the centre of the city as the city expanded and started
creating problems for the residents, so the Chambhars were provided a free plot by the king
outside the city because they were considered untouchables by the high class Brahmins.

Because of this reason, people of untouchable community where not only is allowed to touch them
but also they had to stay at a specific distance from the upper caste people.
On an average, every village had one or two Dhor families engaged in the traditional job of tanning.
In addition, a few families of Chambhars were involved in making chappals. Chhatrapati Shahuji
Maharaj was the main promoter of this craft. It provided full time employment to these people.
EVOLUTION
The Kolhapuri chappals are world famous because of its special features. But now-a-days due to
insufficient capital, lack of modern techniques, lack of marketing facilities and intelligence, the
extreme necessity of agents to sell the products and indebtedness of the artisans etc., leather
industry has remained undeveloped in Kolhapur district. Some other reasons are also affect this
industry such as negligence, lack of forsight, political ignorance etc. Due to these reasons they are
only minor changes that have happened in this industry. Big drums are used instead of tanks are
used to enable tanning on a large scale. Similarly, some tanners introduced machine to break the
raw materials.
PRE INDEPENDENCE PERIOD

The Kolhapur leather industry was protected encouraged and had the royal blessing of Hon'ble
Chhatrapati Shahu Maharaj. The leather industry was entirely manned by tanner and cobbler and
scheduled caste community. His Highness Shri Chhatrapati Shahu Maharaj, in his period of his rule
(1884 to1922) paid a keen attention to the social and economic upliftment of the untouchables as
well Charmkars and offered social-economic and moral support to them. Chambhars made shoes
and other leather footwear.
During the 1980's besides making shoes, chappals, Mote (bring water from well), Pakhals (bag of
bring water on he-buffalo) and lagam also started being produced.
By the 1920's in Kolhapur state tanning units were running in the large number of places and
tanning was done on a large scale.
POST- INDEPENDENT PERIOD

The technological progress can be beneficial only to those who are well informed leather
manufacturers. Progress of any industry without such information is impossible. Use of modern
technology and techniques for tanning and Leather activities has been shown increasing trend after
the independence period.
During 1950's leather artisan cooperative societies started coming up. During the year 1954, the
leather industry of Kolhapur district suffered tremendous loss due to non availability of
infrastructural facilities so leather artisans initially switch out of leather into synthetics.

Under the leadership of Pandit Jawaharlal Nehru, a number of progressive laws where adopted
such as laws to curb atrocities on SCs, laws giving rights to women and children, laws to ensure
Social justice and equality etc, which were beneficial for the these artisans.
LIDCOM (LEATHER INDUSTRIAL DEVELOPMENT COOPERATION OF MAHARASHTRA)

For the development of leather industry in Kolhapur District LIDCOM (old name Sant Rohidas
Charmodyog and Charmakar Vikas Mahamandal) opened its branch on 1st May 1974. LIDCOM runs
several attractive schemes for the empowerment of leather industry. But in fact, the authority of
the LIDCOM branch Kolhapur does not know how to develop and perform this industry in Kolhapur
District.
Till the year 1979-80 Kolhapur leather industry had been exporting wet blue leather I.e. Semi-
finished leather to various foreign countries and importing the finished leather for manufacturing
the footwear's and other goods.
2000-PRESENT
Economic reforms and globalization affected whole economy last two decades. Now, Kolhapur
leather cluster is facing several challenges of upgrading Kolhapuri chappal quality, access to wider
market, advanced skilled labor, accessing credit and adequate business infrastructure and
protecting the environment. Apart from the old traditional design of Kolhapuri chappal, artisans
units have tried out major innovations in chappal designs and increase the export percentage to the
abroad countries.
PRODUCT RANGE
It is the world's famous handicraft footwear made of Buffalo leather which are tagged using
vegetable oil.
 The original Kolhapuri is made from 100% cow or buffalo leather & it mainly available in 3
colours natural oil, and, polish.
 The hand crafted footwear dyed with vegetable dyes initially came out to the market in the
style of an open-toed and a T-strap sandal
 The original traditional Kolhapuri is made of buffalo hide and thread had thick sole and
weighed upto 2 kgs and was able to withstand even high degree of heat and hard mountain
terrain.
 Kolhapuri chappals are exquisitely designed and embellished. Intricately hand crafted with
gold zari, pom-poms, gota, etc.

Figure 3 Kolhapuri Chappals
Though people still prefer the traditional Kolhapuris with modernization, there are also other young
crowds which look for the latest trend in them there have been updated in the chappal with being
available in more brighter and vibrant colours.
With time the original products are not matching to the needs of the contemporary market, thus
the craftsman on the brink of extinction is forced to create varied styles and new varieties of this
product.
The latest pattern of Kolhapuris is available in bright colours ranging from violet to electric green,
silver to golden colours. They are also beautified by works like gota, Kinari, stone work and delicate
hand work. All these latest updates have given the Kolhapuri a modern outlook and versatility.
SIZE OF THE CRAFT

Overall sales and total production Kolhapur has associated to leather craft for years. Majority a
small scale cottage industry, the products they churn out in the endlessly are popular worldwide.
Every member of a leather artisan family contributes to the process of manufacturing, here the
Kolhapuri chappal. They are involved in various different activities i.e, cutting the leather mainly
stitching the 'Patta' (strap/belt) or to weaving the 'veni' (braid). The manufacturing process of is
fully divided into the artisan's family with the generally gents doing the leather cutting and the
ladies doing the upper and lower sole stitching work. While school age children weave the 'veni'
(braid). The whole family looks laboriously and they usually manufacture around 35 to 40 pairs of
chappals in a week. These chappals are mainly sold either to wholesale dealers or shopekrepers
who are in the Kolhapur city with the artisans earning about Rs. 180-220 and Rs. 700-1000 per pair
minimum which depends upon the quality or leather used.

Presently, almost 10,000 artisans are engaged in leather manufacturing units in Kolhapur district.
Nearly 80 percent of the leather artisans manufacture Kolhapuri chappals for the middlemen who
supply raw materials to them. The leather artisans work for the dealers or middlemen on wage
basis, which provides required raw materials to manufacturing units. The male artisans undertake
the job of leather cutting, seasoning of leather and fitting and final finishing whereas the women
artisans work 13 of making upper belts, designs and sole-stitching during the spare time as well
after home work.
 Kolhapuri Chappal making in Kolhapur district has remained a cottage industry for a long
period. Even today out of the total production of Kolhapuri Chappal which is in 2012 was
2.80 lakh pairs nearly 80 percent was from the cottage industries.
 It is found that most of the craftsmen work almost 10 hours every day.
 The current cost of production raw material prices. Hence, a higher investment is required.
Most craftsmen invest roughly between Rs. 5000-10000 in the leather occupation. One
fourth of the craftsmen invested as much as Rs. 30000.
 The available market centers for hides and skins in the Kolhapur district has reduced from
36 tannin units to a measly 12. It shows negative growth of tanning industry in Kolhapur
district.
 It has been observed that there were 208 small units and only 10 big units who were
engaged in manufacturing Kolhapuri chappals. These units manufacture different type of
products which include the fancy and export oriented Kolhapuri Chappals.
 Most of the manufacturers of Kolhapuri Chappal sell their products through retailers.
 There is an absence of cooperative transaction in tanning and marketing of tanning leather
in Kolhapur district. In 1957 there were leather eight leather artisan co-operative
transaction in tanning and marketing of tanned leather in Kolhapur district. In 1957, there
were 8 leather artisan's co-operative societies exists which also did bot function perfectly.
 General cost of production of Kolhapuri chappals is Rs.215 for male and Rs. 200 for female
chappals. The minimum margin for male chappals is usually Rs. 15-35 and for female
chappals is Rs. 20-40. The cost of production is changeable and depends upon the type of
raw material used and its variety. The price range of the Kolhapuri chappal is between Rs.
350-400, Rs 700-1000 and Rs. 5000-10000 depending on the design and material used.
 Majority of the craft men manufacturer roughly 21 to 40 pairs of chappals per week.
 There is a trend of new models of Kolhapuri chappals being manufactured with various
names such as Sangram, Devayani or TV serials in order to attract customers has increased.
EXPORT
The Council for leather Exports (CLE) has stated that The Indian leather industry takes position of a
prestigious place in the whole economy. India's leather and leather products exports in 2009-10
were US$ 3.40 billion. India's export of leather and leather goods during the first six months of the
year 2010-11 Touched US$ 1864. 27 million. Leather footwear alone contributes to a big share of
44. 67 % and in India's total leather products export trade.

USP
All the Kolhapuri chappals are handicraft and dyed with vegetable dyes. It is processed by
performing a series of mechanical operations in order to preserve it where the hides of buffalo are
processed and grazed. As they are grazed, the leather becomes hard enough and thereby durable.
They are also very chunky and rugged. Very suitable for daily use, this footwear is available in
vibrant colors, different sizes and patterns.
MATERIALS USED
The following raw materials are used for making Kolhapuri chappals:-
 (MHASADI) SHE & HE BUFFALO LEATHER: It is the foremost raw material for making
Kolhapuri chappal and is used for preparation of lower sole.
 BALADI (LEATHE OF COW & BULLOCK HIDE): It is used for upper sole making
 Gabi (Calf leather): used for making belts.
 SHEPATI (LEATHER OF TAILS OF CATTLES): For making thread for sewing upper and lower
sole.
 COTTON & NYLON THREADS: It is used to stitch the chappal according to the customers
demand.
 RUBBER POWDER: Rubber powder is used for sticking the leather.
 SISAL LEAF (CACTUS): Sisal leaves are used to stitch the skin of the buffalo/cow during bag
tanning process.
 SEEDS (VINCHU TREE): A particular type of seeds is kept in between two layers of sole, to
make sound while walking.
 CHUNNA (LIME STONE): Chunna are used for smoothening the leather in bag tanning
process.
 VEGETABLES: Used for making dyes.
 RED COLOUR FLOWERS: It is used to adorn the chappal.
TRIMS AND ACCESSORIES USED: A red flower on the strap adorns the chappal. The chappals are
sometimes intricately crafted with gold chord Zari strips, Pom poms or gota etc. which can be worn
on occasions like weddings. Apart from the traditional Kolhapuri designs the designs are also
inspired by neighbouring states of Gujarat and Rajasthan.
SKILLS AND MANPOWER: Elaborate hand skills are required for making Kolhapuri chappals. The
rough surface of leather is shaved till the smooth surface is obtained and as per the form of the
slipper size of the tanned leather is cut. Soul and the cut pattern pieces are stuck with the local
adhesive (rubber solution) to stick with each part of the soul. The marker has to work in Harsh
sunlight as the chappals are then dried in sunlight. The side patti's of the chappal goat leather is
preferred as it can be curved to any shape. The skin of of the ship are further cut into thin strips and
plaited which is letter fixed on the side strap and kept aside for drying. Base of the chappal is

usually stitched with skin part (hide of the buffalo or cow) of the tail, nowadays it is stitched with
nylon threads.
TOOLS USED
 COUNTRY HAMMER- It is used for thumping the sole and foot-bed.

 RAPPI (KNIFE) - The leather are cut according to the required designs by using knife.
 ASTI (HAMMER) - Metal hammer used for beating the leather.
Figure 4 Raw materials and Tools
 KURPA (HASIYA) AND SETALL (AARI) - These are also used as a knife for cutting leather.
 PUNCHES - Punches for punching design and numbers.
 STAMPS - Stamps for stamping logo.
 MACHINE - Machine for cutting bubble or hirda.
 SEWING MACHINE - It is used to stitch the braided parts on the patti's of the chappal.
 CHANDINI PUNCH (STAR POGAR) - It is used to make a design.
 THODAPAEKAPATHI -- It is used to give wave effect of zigzag type of designs patterns.
 GRINDER - These are used for smoothing the leather for finishing raw materials.
 PALAGANA (KARGOTI STONE) - It helps to remove the outer hair of buffalo or cow hide.
 ROBERT POWER - Rubber power is used for sticking the letter.
 WOODEN SPONGE - The wooden sponge are deeped into the rubber solution and applied
on the letter for pasting.

PROCESS
1. Sharpening stone and sharpened the edge of the rapi (knife).
2. After hammering the goat skin which is used for the top of the chappals owing to their soft
quality, then it traced on the stencil's outline onto it and deftly cut it with the rapi.
3. Then the thinner cut pieces which were called the kaan and would be used on the sides to
attach the strap. Then the buffalo skin which is used for the heel due to its slight roughness
was hammered and the shape was quickly traced onto it.
4. Cutting the heel took added focus and pre-season usually modern craft men use machines
for this part of the process. Hand cutting the hill is more precise however it does cause back
and shoulder pain.
5. The tools are repeated sharpened and using bees wax and a small stone.
6. Then white liquid chemical solution applied to it and it acts as a very strong adhesive.
7. After this squarish thick block of Buffalo leather are cut for the heel. These species are term
tapis locally.
8. The tapis is levelled well and stuck to the buffalo leather pieces using solution. The shape of
the Chappals is reinforced after all the sticking is over.
9. The top of the buffalo skin is then buffed to ensure the goat skin has a grip to stick to.
10. Buffing is done using a grinder. Machines have now made the grinding process also quicker.
11. Small pieces of goat leather are inserted in between where the arch of the foot would be
for added comfort. This is followed by more solution where the goat skin soul is finally stuck
to the buffalo skin heel. The pieces are hammered together using hammer.
SWOT
An analysis of the strength weaknesses opportunities and threats to the Kolhapur leather industry
will help to assess its true potential it is a brief and targeted way of summarizing the given
discussion.
STRENGTH
 EASY AVAILABILITY OF SKILLED AND LOW COST LABOUR - The craftsman are highly skilled
as the craft has been an ancestral one. Children pickup the skill at a young age and it is is
honed over time. These craft men work for low cost as well.
 HANDMADE PRODUCT NICHE - Kolhapuri chappals are handmade artefact. This reduces the
number of competitors greatly.
 LOW CAPITAL INVESTMENT - The capital required for the craft is low as compared to the
return incurred.
 SUPPORT FROM GOVERNMENT ASSOCIATION AND THE INSTITUTE - The central leather
Research Institute provides (CLRI) provides support for design and product development.
Grants and policies by the Leather Industries Development Corporation of Maharashtra
(LIDCOM) also helps you further the growth of this craft.

WEAKNESS
 LOW LABOUR PRODUCTIVITY DUE TO LACK OF FORMAL TRAINING - While the craftsmen
are skilled, there efficiency could be vastly improved with formal training which would
increase productivity.
 Slow up gradation and integration of technology the craftsman tend to stick to the old ways
of the craft and are uncertain about using machines to help make the process easier and
faster. They also do not have easy access to technology along with a lack of knowledge on
how to use it.
 LOW NUMBER OF ORGANIZED PRODUCT MANUFACTURERS - The number of units that
have a well organized team of craft man is very low. This not only leads to a significant
decrease in productivity; it also help the middle men cheat the craftsmen out of the income
they deserve.
 INADEQUATE MARKET STUDY AND MARKETING STRATEGY- The craft itself has potential to
grow in terms of target audience and product categories. A detailed market study will help
the craft stay relevant and keep up with the quick changing trends.
OPPORTUNITIES
 GROWING INTERNATIONAL AND DOMESTIC MARKET- The constantly growing markets

have a vast potential for the growth of the Indian leather industry.
 FAST CHANGING FASHION TRENDS - It is essential that the craft accepts modern technology
to increase productivity which will enable them to stay relevant in an ever evolving market.
 Need to open shops all across the country while they already sell their products in a few
major cities, the domestic market has huge potential for the craft. Product diversification
Leather product apart from chappals needs to be explored. There is a huge market for
leather bags, belts and other accessories.
THREATS
 INCREASING LABOR COST - With the increase in education and migration to cities, the
number of craftsmen is decreasing rapidly as the younger generation aren't as interested in
continuing the craft. This has led to an increase in the limited labour costs.
 ENTRY OF MULTINATIONALS IN THE DOMESTIC MARKET - This has increased the
competition that the craft faces.
 STILL COMPETITION FROM THE COUNTRIES - Countries like China, Indonesia, Thailand,
Vietnam, and Brazil have a better global performance than India in the global leather and
Leather products market.

SUGGESTIONS
Kolhapuri chappal craft has a lot of potential to grow in a future in the domestic as well as the
international market. The craft is facing major threats in the current atmosphere due to a lot of
factors there is an added competition in the entire leather market due to the emergence of
multinationals and international imports. Animal activities also are a hurdle that the craft must
overcome the traditional use of animal leather is not ideal for the current politically correct climate.
Another major threat is the artisan’s refusal to learn and adopt to new technologies developments
this reduces their efficiency and makes them lag in the market. The craft is also facing steady
declined due to lack of innovation. The artisans only focus on the chappals and that does not have
the craft's relevance.
Experimenting and branching out into other products will not only increase their target audience
but will also capture the audience’s attention in a whole new way. A few products that it would be
a great addition would be belts, bags, including but not limited to wallets, sling bags, and laptop
sleeves. A whole range of accessories could be introduced as well, such as such as jeweller like
earring and chokers or watch straps and even clip on bow ties. Another untapped market is
stationary. Leather covered books and journals and even passport covers with traditional designs
are very appealing to a whole range of young audience who look for minimal ways to add the Indian
culture to their aesthetic. While the government Association LIDCOM already has a number of
schemes in place for the betterment of the craft and upliftment of the artisans, a lot more can be
done upon interaction with the artisans. The e-commerce sites like Amazon and eBay often cheat
this small cottage industry. In which government association should keep up with the growing
digital scenario and set up an E-Commerce site for the same for the craft.

ARANMULA KANNADI
Figure 5 Aranmula Mirror
Aranmula, a village in the district of Pathanamthitta is well known for its ancient temple
dedicated to Lord Krishna also known as Parthasarathy. Here, among its many attractions like
the holy river Pamba, the annual regatta of snake boats during the festival of Onam, a
traditional know-how continues to amaze the rest of the world. And it is the fine metallurgical
art of making metal mirrors or the Aranmula Kannadi.
As per local belief the handmade Aranmula Kannadi is considered as an auspicious object kept
in households for bringing prosperity, luck and wealth. As per tradition in Kerala, Aranmula
metal mirror forms part of the ashtamangalya set - one of the eight auspicious items that is
usually arranged and displayed at functions like marriage. There is a prescribed method to
wipe the mirror to remove finger stains and other marks on it. The wiping movement is
restricted to a particular direction and not in all.
Noted for outstanding beauty and shrouded in secrecy, the Aranmula Kannadi is considered a
medieval marvel in the annals of metallurgy. It was in use much before the appearance of
modern-day glass mirrors. The technical know-how behind the making of this unique metal
mirror is confined to only some households of master craftsmen in Aranmula.
A special alloy is used to manufacture the Aranmula Kannadi. The metal mirror manufactured
in Aranmula is a front surface reflection mirror, which eliminates secondary reflections and
aberrations typical of back surface mirrors. The exact metals that form the alloy are said to be

a combination of copper and tin. Besides making the right combination of the alloy, the
craftsmen get involved in intensive polishing sessions, which would go on for several days to
obtain the desired reflective surface. Even today, craftsmen use traditional, indigenous
methods and materials to produce the reflecting wonder called Aranmula Kannadi. It takes
great practice and tremendous amount of focus and patience to produce a perfect mirror
piece.(home, n.d.)
HISTORY OF ARANMULA KANNADI

The origins of the Aranmula Kannadi are linked to the Aranmula Parthasarathy Temple. The
legend says that some centuries ago, eight families of experts in temple arts and craft were
brought to Aranmula from Thirunelveli in Tamil Nadu. They were given the task of undertaking
works in the Parthasarathy Temple. While working with bronze to make a crown for the
presiding deity of the temple - Lord Parthasarathy, they accidentally stumbled upon a unique
reflective property of one alloy comprising copper and tin. The craftsmen later tried different
compositions, which eventually led to the standards of making the metal mirror, which are still
kept as a guarded secret.(home, n.d.)
MANUFACTURING PROCESS
The making of this mirror embeds multiple process that requires lots of patience and
persistence. Firstly the metal alloy is prepared of ‘tin and copper’ and tested for the proper
proportion and quality. This metal alloy is a binary copper-tin alloy with 30-34% of tin, this
proportion is closely related to bronze metal alloy.
Figure 6 Manufacturing process

Later it is broken into small chunks for casting. The mould is prepared with the mud clay from
the nearby paddy fields by powdering and refining them. The clay is mixed in proper
consistency in order to make two flat surfaces like slabs. Later the slabs are dried under the
sun and baked to make it hard.
Once the baked mud slabs are ready the coal is applied by rubbing it over its one side surface
with water to give it a smooth finish. Two baked mud slabs are covered with a coat of coal
onto the surface of either one side of them.

The slabs are placed one onto one, the coal coated are facing each other. A gap will be made
between two slabs with a small piece of wax protruding outside the mould to make an opening
for pouring metal and small alloy pieces in order to acquire the required thickness. The baked
slabs are packed with the mud clay mixture completely around it which holds the slabs
together and seals the openings. The slabs are packed with two to three layers of clay mixture
and small clamps are stuck three sides of the mould to make the mould strong except the wax
side. The place of the wax is noticed and a cup out of clay is stuck onto the mould and two
holes are made inside the cup one on the wax, other towards the side of the cup for air flow
vent. The mould is kept for dry under the sun for a day and it is then dusted from inside of the
cup to make the casting easy.

The mould looks similar to one of that desert water canteen or a hot water bag. The cup is
filled with the metal alloy chunks completely and a wet paper or cloth is covered over the cup
in order to avoid dust particles mix with metal. Clay mixture is packed over the cup and it left
for drying under the sun. The cup enacts like the crucible. Once the complete mould is dried
the casting process begins.
The furnace is kept ready for melting the metal by placing the moulds filled with metal inside
the furnace, the cup side is downward and the slab’s side is upward. Multiple moulds are
placed inside align to each other and coal is filled to the half upon which coconut coir is put.
The fire is ignited and it is heated to about 745 to 760 degree Celsius.The metal inside would
have melted and ready for casting. There are two processes happening at the same time one is
melting the metal other one is pre heating the mould before casting. Once the required heat is
obtained the mould is picked up by the lifting tongs carefully and tilted it carefully upside
down, so that the molten metal is poured into the mould from the opposite side of the air vent
hole. The mould is kept in a place to cool down the temperature.

The clay cup and the sealing are broken with the help of hammer. The slabs are separated and
the metal cast is removed carefully. The metal cast is dusted tenderly and consciously. The
metal cast is cut into the desired size with the help of hack saw blade and ruler. After cutting
the edges of the metal mirror plate to the required size and form the metal is stuck on a thick
rectangular wooden polishing block along a rear handle with natural adhesive beeswax.
The thick rectangular wooden polishing block is made according to the size of the mirrors. The
block is embossed by half a centimetre in the middle in a circular form. The wax is placed on
the top of embossed wooden block and a knife is heated to settle the wax flat. After the
application of wax, the metal is pre heated with very little heat and mounted on the wax. Later
on the metal mounted on the block is left to cool down; wax turns harder after the cool down
and creates a strong bond between the block and metal. The metal is rubbed and lapped up to
a certain time with the consciousness of heat produced by giving gaps between the rubb ing
processes, letting the metal cool down in regular intervals. The metal has to be in room
temperature because the sustainability of heat is less. Thus the artisan keeps three to five
mirrors for polishing were each one is rubbed alternatively once its surface turns cool. The
metal is then rubbed and polished several times with various materials to attain the mirror
appearance. Firstly the metal is scrubbed thoroughly with emery paper and water for
debarring, corrosion removal and polishing. The grades of the emery paper reduce gradually
when the mirror attains smoothness. After the repetitive process of emery paper lapping for
two days. The metal mirror would have acquired a bit of illustriousness and reflectivity. Then
the metal mirror is given to master artisan for more refine work and polishing. The master
artisan rubs the metal mirror on three different cloth materials to acquire the high quality
reflective surface. The jute cloth, velvet cloth and soft cotton cloth are used in the process of
polishing. Firstly the mirror is oiled on top, with coconut oil and rubbed over the soft jute
cloth, then it is oiled again and rubbed over the velvet cloth finally it is oiled and rubbed over
the soft cotton cloth. Final lapping is done with finely crushed red oxide (hematite). Red oxide
is also used in cleaning the mirror when it tarnishes. After several turns of lapping process the
metal mirror acquires the characteristics of the mirror. The mirror is then detached from the

block by melting the wax. The mirror is then fitted to the frame accordingly with the support of
the wax or the brass ring. To avoid the tarnishing of the mirror, it has to be polished with red
oxide or vermilion occasionally and to eradicate the grease on the mirror the solidified coconut
oil has to be rubbed over. The mirror is supposed to be polished in a vertical motion. (making
process, n.d.)
MANUFACTURING PROCESS OF FRAME
Figure 13 Aranmula Kannadi frame
The brass mirror frame is made through box casting process. The frames are made in very
interesting different themes and designs. The designs depend on the customary willingness.
Firstly the frame is made in a wax or a thick Maida paste. The article made is dried and kept.
The box moulds are taken and a fine clay mud mixture is made, and then filled onto the first
box tightly. Later the article made is taken and placed in the right place as well as pressed
tightly so that the half of the article’s impression is acquired. The box frame is placed on the
top and chalk powder is slightly spread along the frame in order to bifurcate easily the layers
while removing. Later on the clay mud mixture is taken and filled completely up to the end of
second box frame and pressed it with a wooden plank. After a certain time the upper box
frame is removed carefully and the impressions are attested. Later the second box frame is
taken out and the metal frame article is removed. The artisan attests the impressions on both
the box frames obtained and dig two channels connecting the impression. The channels are
made to pour the liquid metal and to release the air out. Further the mould boxes are put
together like previously and join it with the clay around the frames to ensure the leak proof. In
coal furnace, coal is been burnt to obtain high amount of heat which helps in melting the br ass
metal in crucible. With the help of Gas propane and torch the furnace is ignited. The artisan
ensures that the metal is pure by removing the dust particles with the help the rake. Once the
metal is melt, artisan picks up the Crucible with the help of the furnace lifting tongs. With the

help of the other tongs the crucible is slanted towards a channel hole to pour the liquid metal
into the box mould. Once the metal flows out from the other channel hole (also called as gate)
the artisan stops pouring the metal. After a while artisan ensures with the casted metal, to
check with the obtained solidness. Both the box frames are released from the cast. The cast is
cooled down by putting it in the water. Artisan removes the channels in the cast by hammering
it. The cast is dusted; filled, buffed and final shaping is given by the skilled artisan with various
Chisel tools. Cast is washed with diluted nitric acid to get bronze glaze on the frame, which
later is washed in tamarind pulp to give a lustrous look and brushed with clean water to get
the shinning brass frame.(making process, n.d.)
TOOLS AND RAW MATERIALS

Clay is used in making the mould for the metal casting.
 Baked clay slabs are used like a base for the mould building.
 Copper and tin are the two important alloys used in making the metal mirror.
 Coal is used for firing in furnace and also as a softening agent to get smooth finish of
the mirror.
 Coconut coir is used in the furnace for firing the mould and in melting the metal.
 Beeswax is used in making the channel in mould for easy casting.
 Furnace is used melting the metal and baking the clay.
 Wooden slab with a handle is used as a holder for the metal mirror in the process of
polishing.
 Emery paper is one of the initial polishing apparatus of the mirror.
 Velvet cloth is used in the process of polishing.
 Soft cotton cloth like banyan (Men innerwear) is used in the process of final polishing.
 Chisels are used in engraving and embellishing the brass mirror frame.
 Hack saw blade is used in cutting and shaping of the mirror.
 Grinding machine is used in buffing and grinding the brass mirror frame.
 Foundry moulding boxes are used in box moulding the brass metal frame.
 Hammer is used in hitting the chisels.
 Stone platform is used like the base in the process of grinding the mud.
 Coconut oil is used in polishing the mirror.
 Water is used in multiple processes while making the mirror.
 Adhesive is used in sticking the mirror to the frame.
 Brass ring is used in sealing the mirror to the frame.(tools and raw materials, n.d.)
GEOGRAPHICAL INDICATION (GI) TAG

A geographical indication indicates that particular goods originate from a country, region or
locality and has some special characteristics, qualities or reputation, which is attributable to its
place of origin. Geographical indications are part and place of the cultures and traditions of a

country. They are of considerable importance for countries, both developed and developing
therefore, geographical indications the goods being produced there are human efforts,
resources, and environment of particular regions. GI have features that respond to the needs
of indigenous and local communities. These are based on cultural traditions and collective
decision-making process. Reward traditions while allowing for continued evolution and
emphasize the relationship between human efforts, culture, and resources and environment.
They are not freely transferable from one own erto another. The name Aranmula Kannadi has
been accepted for registration as a geographical indication under the Indian Geographical
Indication of Goods Registration and Protection Act 1999 and published in the Geographical
Indication Journal No. 3 dated 1 November 2004. According to the description Forming part of
the published extract, the origin of the Aranmula mirror is as follows, this peculiar mirror is
made out of copper and tin in a precise ration of casting.
LUXURY
Aranmula Kannadi (Aranmula metal mirrors), the only metal mirror available in the world,
popular is its secretive construction method. Members of eight families with traditional skilled
artisanship alone know about the manufacturing process of this object of wonder. As this is
kept as a family secret there is no possibility of duplicating the product.
The secret behind Aranmula Kannadi is its method of making itself. The process itself is very
sophisticated and time consuming and it requires utmost accuracy and expertise. That’s why
still the making of aranmula kanndi is considered as one of the very complex processes.
Also if you take two Aranmula Kannadi of same model, you can see lot of differences between
them, the two original Aranmula Kannadi won’t looks alike. The size, weight, designs some or
other will vary from each of them with other. That’s why each Aranmula Kanandi is unique,
and there won’t be any similar one in the entire world. Means you own the most unique thing,
so that there is only one copy of it’s in the entire world.(home, n.d.)
PRICE RANGE
Rs.8000 to 1 Lakh
ROLE OF PROMOTIONAL AGENCIES

Kerala handicraft Development Corporation is one of the promoting agencies, which place
orders for these mirrors to be gifted to dignitaries. Apart from this, Apex Society a semi
government organization is also actively involved in promoting this craft. An article in
Malayalam Manorama in 1982 helped greatly in promoting this craft. A lot of other
newspapers and journals followed the same. I.R.D.P held an exhibition in Ernakulum in 1983
exhibiting a variety of crafts in which Aranmula Kannadi became the main attraction for the
visitors.

The following year the Handicraft Handloom Development Authority of India invited the
craftsmen to Delhi to demonstrate the craft in Pragati Maidan. The major breakthrough came
in 1985 in Surajkund mela near Delhi. This exhibition made it popular in north India and
subsequently increased its sales.
Later video vision, Surabhi, turning point and other national programs promoted it across the
country. An article in Pennsylvania University, U.S.A gave it a lot of internationalpublicity. In
effectmany foreigners and NRI’senquired and placed their orders. In 14th October 2017. There
was a video about Aranmula Kannadi in ‘Uden Panam' Program. There was an article about it
in Malayalam Manorama newspaper. They used to be the part of Khadi exhibitions which is
held in Trivandnam. Asianet had a documentary about the metal mirrors in ‘Endea Keralam
Program’. As Aranmula has been selected among thirty two villages for the two year
Endogenous Tourism Project (ETP), jointly sponsored by the United Nations Development
Program (UNDP) and the Government of India, tourism has brought the arts and crafts of
Aranmula to great heights.
WORLD RECOGNITIONS
A few years back the Olympics Committee selected Aranmula mirror in the list of gifts to be
presented to those participated in Olympics. But that could not be materialized because the
artisans did not want to suffer quality due to shortage of time. The Government is trying to
promote Aranmula mirror in the international market.

BHADOHI CARPET
Figure 14 Bhadohi Carpet
INTRODUCTION
Beautifying one’s house has been an ancient tradition since ages; the rich do it with expensive
materials while the lower income households too decorate their homes in their own creative ways.
When it comes to decoration, carpets are one of the highly listed priorities in Indian homes with
their stupefying designs. Carpet weaving continues to be a source of livelihood for many artisans in
India. The carpet weaving industry in India, is highly labour intensive and it forms a considerable
chunk of the handloom industry. It has been providing a huge boost to India’s export and has been
contributing significantly to Indian economy. The industry provides livelihood to approximately 2.5
million artisans and earns significant foreign exchange for the country. Export earnings from carpet
industry have been increasing over the years especially from 1996 onwards and touching over USD
621 million during 2005-06. Presently, India exports carpets worth over Rupees 2600 crores. A
major part of arts and handicrafts, this profession continues to be very popular in the region of
Uttar Pradesh, Rajasthan and Kashmir. Major centres of production are Bhadohi, Agra, Jaipur and
Kashmir. During the last few decades, hand-tufted carpets have emerged as one of the major
categories apart from hand knotted woollen carpets. The different types of carpets include tufted
woollen carpets, GABBE woollen carpets, handmade woollen durries, pure silk carpets, staple or
synthetic carpets and chain stitch rugs. Due to proximity to home furnishing products, Panipat has
emerged as another major centre for carpet manufacturing. The domestic market size is about Rs
200 crores. Many Industry players think that Indian market will expand rapidly based on current
retail boom. Over the years carpet weaving centre has emerged across India. Each has its own
distinct competitiveness. These centres employ millions of people. (D source, 2019)

BHADOHI
Bhadohi, famous as a carpet-weaving centre, gets its name from Bhar Raj of the region, which had
Bhadohi as its capital. Traces of its origin can be found in the names of ruined mounds and old
tanks named after the Bhar rulers who were part of the Kannauj kingdom. The Bhadohi district is
the biggest carpet-manufacturing centre in India, mostly known for its hand-knotted carpet. Known
as the ‘Carpet City’, the Mirzapur-Bhadohi region is the largest handmade carpet-weaving cluster,
engaging around 3.2 million people in the industry. Bhadohi alone employs 22 lakh rural artisans in
its 100 percent export-oriented industry, which accounts for about 75 per cent of the Rs 4,400
crore total carpet exports from India, exporting carpets worth Rs 2,500 crore (approx) in 2010.
Carpet weaving in the region dates back to the 16th century, during the reign of Mughal Emperor
Akbar. It is believed that weaving in this region was established centuries ago by Iranian master
weavers while travelling in India, stopped at Madhosingh village, near Khamaria, in Bhadohi and set
up looms here. Each manufacturing region across India has its own specialty in carpet designing.
Kashmir specializes in weaving elegant hand-knotted silk and woolen carpets. Agra specializes in
producing high quality hand-knotted Persian, Turkish carpets using natural dyes. The Bhadohi-
Mirzapur belt in the state of Uttar Pradesh produces maximum number of carpets in India. This
region also produces carpets of all designs and quality. Majority of the carpet weavers are
established in this area. Bhadohi - Mirzapur, Panipat, Jaipur and Agra form the prime carpet
manufacturing areas in recent times. The growth and the spread of this industry are partially
attributed to the caste and village system unique in rural India. This industry is primarily rural in
nature with minimal requirements. From the early times, carpet weaving had been traditionally
done by the Muslim community and was practiced besides agriculture. The households had a loom
at its disposal where in the family members tried their hands whenever they were left with spare
time. With passage of time, this industry has modernized itself with the introduction of technology
and discarding the primitive handmade tools, which used to absorb a lot of time and labour. In
2010, the carpets of the UP region received the Geographical Indication (GI) tag, which means
carpets manufactured in nine districts of the region, Bhadohi, Mirzapur, Varanasi, Ghazipur,
Sonebhadra, Kaushambi, Allahabad, Jaunpur and Chandauli would be tagged with ‘handmade
carpet of Bhadohi’. The production of the Bhadohi carpets is aimed at exporting to foreign
countries.
Bhadohi, famous as a carpet-weaving centre, gets its name from Bhar Raj of the region, which had
Bhadohi as its capital. Traces of its origin can be found in the names of ruined mounds and old
tanks named after the Bhar rulers who were part of the Kannauj kingdom. The Bhadohi district is
the biggest carpet-manufacturing centre in India, mostly known for its hand-knotted carpet. Known
as the ‘Carpet City’, the Mirzapur-Bhadohi region is the largest handmade carpet-weaving cluster,
engaging around 3.2 million people in the industry. Bhadohi alone employs 22 lakh rural artisans in
its 100 percent export-oriented industry, which accounts for about 75 per cent of the Rs 4,400
crore total carpet exports from India, exporting carpets worth Rs 2,500 crore (approx) in 2010.

Carpet weaving in the region dates back to the 16th century, during the reign of Mughal Emperor
Akbar. It is believed that weaving in this region was established centuries ago by Iranian master
weavers while travelling in India, stopped at Madhosingh village, near Khamaria, in Bhadohi and set
up looms here.
Figure 15 Bhadohi Carpet

MACHINERY AND HAND TOOLS:
The type of machinery & equipment used in the production process are hand looms, broad looms,
dyeing machine, Finishing Machine, Washing Equipments like scrapping machine. Loom is a
wooden frame supporting the warp on which weaving of the carpet is done. Various types of hand
tools like knife for cutting the yarn while tying the knots, a comb like tool for packing down the
knots of weft while weaving, a pair of shears for trimming the yarn, tufting machine which
resembles a large scissor are required for the process of carpet making. Majority of the machinery
suppliers exist outside the cluster.
WOOL:
The major raw material used for the carpet making is the yarn which is made of wool. Yarn is either
procured from local spinning mills or from Bikaner and Surat through traders. The Tibetan wool has
a strong, good fibre length, good luster and a high resilient value. The New Zealand wool is of 36
micron, 100 mm barb length and is identified as type 128. British wool meeting regulatory
standards have also started being made available in the market. More than 90% of the yarn is
purchased, dyed and supplied to weavers/tiny manufacturers by Merchant Export Firms (MEFs) and
Manufacturing Export Firms (MAFs).

DYES AND CHEMICALS:
Dyes used for the dyeing of wool also forms one of the important raw materials. Nowadays,
weavers make use of synthetic dyes like mordant dyes, vat dyes etc. and vegetable dyes. But, in
earlier times weavers used natural dyes derived from indigo plant, cochineal insects, wild roses,
fruits. Wool can be dyed in mechanized dyeing plants or manually by soaking in dyes and then
steaming. Chemicals used in chemical and mechanical finishing are supplied through dealers and
distributors operating in the cluster.
Figure 16 Tools used in making Bhadohi carpet

PROCESS
The process of carpet weaving goes through following stages

Figure 18 Warping to trimming Figure 19 Chemical finishing or washing
Figure 20 Latexing and finishing Figure 21 Quality and making
PRODUCTION PROCESS
The production follows these following steps.
DESIGNING: It’s the first step toward a beautiful and elegant looking carpet. It’s little bit high
paying job as compare other labour intensive job in this industry. The designer is called nakshakar.
The nakshakar expresses his imagination in a hard paper sheet or cloth piece. The weaver will
follow the design to weave.
DYEING: The dyeing of wool is a delicate process which varies according to the dyestuff used and
the color desired. Commercially this process is directed by a master dyer, who is highly skilled and
respected craftsman in a profession that demands accuracy as well as skill. This process is
accomplished in hot chamber for even dyeing of wools. And then the wools are dried in open space
under the sun.

PROCESS OF WEAVING: The weaver then gets the mixed up and cross puzzled wool bundle
measured in kilogram from a contractor. Then they employ themselves or women or children of the
family to open them up to proper threads of desired thickness and strands. Then they weave the
carpet using the Kath arrangement.
WASHING: After the weaving process is completed the contractor takes the carpet back again
measured in kilogram. Then the carpet is being washed thoroughly to wash out the dusts and extra
cotton and wool micro-particles.
FINISHING AND PACKAGING: Then the carpet is further subjected to inspection for texture and
colour evenness of design. After they do some manual adjustment it proceeds for packing and
shipping.
Carpet manufacturing involves a good deal of specialization. The whole organization opens up
employment opportunities to a large number of workers, and represents a tightly knit nexus of
interrelationships among the people engaged in the industry at different levels. The carpet
manufactured in Bhadohi is not all woollen. The warp is made of cotton twisted thread and knots of
from different parts of the country such as Jhansi, Agra, Kanpur, Fatehpur, Rajasthan, Punjab, and
Gwalior. The local names of the cotton thread and woollen yarn are soot and aanga, respectively.
The different processes in carpet manufacture include picking and sorting of wool, carding,
spinning, dyeing, weaving, trimming and washing. The tasks of picking and sorting of wool, and
carding and spinning, are not much in vogue today. Some people still do this work in their own
homes. A rough quality of yarn is supplied to the small manufacturers. The manufacturers are
supplied with ready-made woollen yarn by different woollen mills also. Woollen yarn is dyed in
different colours as required in the design of the carpet. Previously, wool was dyed by indigenous
methods but nowadays it is done through mechanized dyeing plants as well as kilns also. A major
part of carpet manufacture is weaving. Carpet weaving is carried out on looms by weavers in their
own homes. In the Bhadohi carpet industry alone about 25 thousand rural artisans are employed.
Most weavers have their own looms. Only a few do not own their looms and weave on looms
owned by master-weavers or commission agents. Usually, commission agents or manufactures
advance some money to weavers to install looms. Such weavers are contractually bound to weave
the carpet for those, who have given them the money in advance. This contract is only socially
sanctioned and there is no formal legal agreement. The loom on which the woollen carpet is woven

is of a vertical type consisting of two rollers-one for rolling the woven carpets and the other for
holding the warps. In Bhadohi, the lower roller is generally place in a trench, half a foot or so, in the
ground. The length of the trench varies with the length of the roller which also depends on the size
of the carpet. The weavers hand over the woven carpet to the manufacturer who gets it trimmed or
clipped by the clippers. (udyog bandhu, 2012)
LABOUR LIFE IN CARPET INDUSTRY, BHADOHI
EXPORTER
CONTRACTOR
WEAVE LABOURER
Figure 22 Labour life
WORK FLOW: The carpet industry has employed a wide range people with respect to age, gender
and caste. The backward classes are employed as the skilled and semi-skilled labourer in most of
the cases. The upper-class people predominantly male are employed as the middle man, designer
or the business entity holder. So there always exists a caste disparity in the village level of the
carpet industry hierarchy. In general, the exporter got the purchase order from a customer and got
approved with the design of the carpet from them. Then they choose a middle man (Contractor) to
get the work done from ground level workers. They provide the contract of manufacturing to the
contractor with required amount of dyed wool, yarns, transportation charge and fund for wages
and his own cut.
The contractor gives them the mixed of yarn and wool. Then the weaver employs some persons to
untie these raw materials (Kati) into threads suitable for weaving, especially women of the
households do this job. After they get the thread, they mount yarn and wool as required to the

kath. The weaver also hires some labourer to work with him and some family members also got
associated with it.
Wage: The amount the weaver gets is on the basic of amount carpet being prepared. And for
unwrapping and untying of yarn the labourer get wage according to weight of thread resulted.
While the weavers get 1200-1800 INR for 1 Foot*9Feet depending the quality of the carpet, the
women work for untying on an average 60-70 INR per day depending upon the contactor fund
availability. A full carpet is of dimension 6.5Feet * 9Feet.
Types of labour Earnings/day
1. Skilled Normally work for company ₹200-350

&contractors
2. Semi-skilled Work at their home/ near by ₹100-150
premises
3. Unskilled Work for untying the wools and Paid very less amount
transportation workers
SKILLED LABOUR WAGE: The weavers, who are skilled with working using Tufted guns earns bit
more per day as they could do more work in one day with respect to the manual weaver. They earn
in a range of 200-350 INR per day depending upon the thickness of carpet they are working with.
They normally work for companies directly and contractors also.
SEMI-SKILLED LABOUR WAGE: They generally work at their home and nearby premises. They could
earn as much as 100-150 INR per day. They do all work by hand, so too much slow to complete the
full carpet. They take as much as 30-40 days to complete a full carpet.
UNSKILLED LABOURER: These are the labourer who works for untying the wools and transportation
worker. They are paid very less amount. They don’t have any contract, rather they work on
demand.
MIGRATION
Out bound migration is happening of youths.
1. Low wages in hand-made carpet industry

2. Unable to generate sufficient job with growing population
3. Wage exploitation by the contractors
4. No job security available

LOW WAGE: In the condition where price of every day to day use commodity is increasing, the
wage to work in the handmade carpet has not been increased as par. It’s difficult to feed and
educate children and also to sustain family.
LESS JOB GENERATION: The family size is increasing day by day; more youth are coming out to the
job market. But the carpet industry has not generated much job to accommodate these new
comers. Also, utilization of machines has also further squeezed the new job generation.
WAGE EXPLOITATION: The weavers get money when they complete the job as per the condition
with the contractor. But the irony is when it’s the time to pay the wage to the weaver the
contractor also plays many times. Either they give less than they promised or they delay the
payment so much that it’s become really hard to sustain family unless they have and alternative
livelihood options.
JOB SECURITY: This industry does not provide job security, employee benefit scheme and medical
finance assistance to the weavers and ground level labourer. Thus, new generation youth are not
willing to work with this industry at the village level. They are willing to do private job at some
companies at Mumbai or Delhi peripheral areas.
SUGGESTIONS:
In the purview of the above scenario there are few suggestions on which organization can plan its
intervention.
CONCEPT OF COOPERATIVE
A cooperative is “an autonomous association of persons united voluntarily to meet their common
economic, social, and cultural needs and aspirations through a jointly-owned and democratically
controlled enterprise”.
The organization could mobilize weavers to form their own company completed managed by the
stakeholders i.e. the weavers. For the first few years the organization intervening have to stay
attached to the weavers’ cooperative and help them hire marketing and technology professional.
For funding the organization could help the cooperative secure loan from bank of micro financing
agency in a joint liability mode.

ADVANTAGES
In this mode of working the weaver and labourer will get proper wage and also the profit of their
work will be shared among themselves. They can further expand their business and employ more
people depending upon the requirement and finance available to pay the employee.
DISADVANTAGES
This model may fail if the intervening organization withdraws them prematurely. The weavers are
normally not so much to run a company. It will take generation to train them to do businesses.
Their next generation may not be interested to work in this sector. To convince the people to form
a cooperative is hard.

KANCHIPURAM SILK
INTRODUCTION
Silk is a symbol of luxury and class where no other fabric can match it in glow and elegance. India
has a glorious silk tradition of its own, which no other country in the world can share. Tamil Nadu
occupies fourth position in silk production in the country. Kanchipuram saris are hand-woven silk
saris of rich colours, lustre and finishing. Kanchipuram is a town which has been established and
flourished during the reign of Krishnadevaraya. It is one of the India’s seven sacred cities which was
the historical capital of the Pallavas and Cholas. It is also known as ‘Silk City’ because the main
profession of the people living in and around the city is, weaving silk saris. The silk weavers settled
here for more than 400 years, have given it an inevitable reputation as the best silk saris in the
country. 75% of population in the city are dependent on the silk sari weaving either directly or
indirectly. In those days weaving silk clothes and wearing it was a sign of custom and tradition,
which is continued even today. Kanchipuram is called as temple city which is known for its rich
heritage and weaving industry. The saris wove in this town famously came to be known as
Kanchipuram saris, which is called as “Queen of all saris” in India and all over the world. It is an
extraordinary type of sari with the rich and traditional look. It is also expensive, because of its
superior manufacturing quality and glow.
Figure 23 Silk

ABOUT KANCHIPURAM SILK
Kanchipuram (also spelled as Conjeevaram, Kanjeevarum, Kanjiwaram, Kanjivaram) is traditionally
woven silk from the village called Kanchipuram in Tamil Nadu, India. These are the mark of culture
for every south Indian wedding, ceremony or occasion. The shine and durability of the fabric have
made these saris popular attire among women across the globe. The rich quality combined with an
amazing finish make them last longer. Pure kanchi sarees are produced only in Kanchipuram.
Government of Tamil Nadu has given Geographical Identification for these saris, which has given
the global significance for these products. Therefore Kanchipuram is rightly called as ‘SILK
PARADISE OF SOUTH INDIA’. Kanjeevaram silk sari is a magnificent creation of the craftsmen living
in a small town, Kanchi (Kanchipuram), situated near the Bangalore city of South India. The sari has
been named after the town in which it is produced. The silk used in the creation of Kanjivaram sari
is extremely fine as well as durable and is one of the most popular forms of silk in the state of Tamil
Nadu. The bold and bright colour of the sari is very much preferred by the South Indian women.
Kanjivaram saris of India make use of a combination of numerous coloured threads. Adding to the
attraction of the saris is the exquisite and elaborate zari (a form of embroidery) work. The motifs
used in an Indian Kanchipuram sari are heavily based on the Pallava temples, palaces and paintings.
Figure 24 Kanchipuram Sari
The sheer magnitude of textures, colours and designs of Kanjivaram silk saris of India is incredible.
Simple saris can be prepared in about 10 to 12 days and decorative ones require up to 20 days.
(Srikanth, 2010)
HISTORY AND ORIGIN

Famous king of the Chola dynasty ruled Kanchipuram between the years 985 and 1014, who took
an initiative of silk trade. It was during the reign of Krishna-Deva Raya, when the famous weaving
communities of Andhra Pradesh, the Devangas and Saligars, migrated to Kanchipuram. The two
weaving communities were exclusively acknowledged for their skills at weaving silk. The weaving
industry was temporarily halted during the French invasion in the 17th century. It rejuvenated and
revamped its style in the 18th century. Today, it ranks among the most popular silks in the world.
(Indianmirror.com, 2011)
SCENARIO PRIOR TO THE COMPUTERIZATION PROCESS

The process of weaving is a long and tiring process. It takes five years to master the art of weaving.
The weaving process starts with the first and the most important step of selecting the ideal thread
for weaving. Kora silk threads are mostly used in the process. The threads are then dyed in a variety
of colours and are left out in the sun to dry for about three days. After that they are dipped in Kanji
(rice water) for making the thread stronger and easier to weave. Extreme care is taken to dip each
colour separately. The threads are dried again and tied on the looms from one end to the other.
The actual process of weaving involves using Tar for the process of weaving the thread. According
to the nature of the design, it takes about 30 days to complete a sari.
Features Before Computerization After Computerization

Number of designs 500 3872
Time required (to complete a 1 month 15-20 days
sari)
Time required (to complete a 5 hours 1 hour
design)
Exports Rs. 7 million Rs. 2.6 crore
Effort required (to produce a 100% 40%
good design)
Market acceptability 35% 70%
Weavers in Kanchipuram are divided into two broad groups:-
1. COOPERATIVE FOLD- Some weavers have come together to form cooperative societies, called
the Weavers Cooperative Societies. There are 23 such cooperative societies in Kanchipuram town
providing employment to more than 30,000 silk weavers. These cooperative societies supply raw
materials to the weavers and also arrange for the sale of the saris produced by them. The weavers
service centre at Kanchipuram was established in 1956 who monitors the activities of these
cooperative societies. This centre is a collection of technocrats, skilled crafty persons and designers
catering to the needs of the whole handloom industry. The three different sections of the Centre
viz. Art Section, Weaving Section and Dyeing Section form the core departments of the centre.
2. PRIVATE SECTOR- Large wholesalers and retailers of silk saris supply the raw material required
for the master weavers and pay them wages for the work done. These retailers form their own
small medium firms and sell the saris at a profit. This is a flourishing business and has gained lot of
mileage due to improvisation in design making. This business is reaching greater heights with more
and more firms coming into the industry. The market for these saris is expanding at a rapid pace as

a result of computerization. Today, nearly 40,000 weavers are engaged in the handloom industry in
the private sector. (Bowonder, 2019)
TRADITIONAL DESIGN PROCESS

Initially, a design was drawn using a trace paper or a graph sheet. It was then rubbed and float
checked. The same design used to appear on the sari but in a reduced format when compared with
the graph sheet. The design was then punched and the punch card prepared. The punch card was
made manually and this was the most difficult part of this process. The punch card or the design
pattern was then given to the weaves for the sari to be woven. The whole process used to take
around 5 hrs and was very complex and tedious.
Figure 25 Manual designing process
THE NEW COMPUTERIZED DESIGN PROCESS

Most of the weavers that Kanchipuram had were trained in the 1970s and were getting too old to
carry out this work effectively. So, there arose the need and the whole process has now been
automated. The process of designing now starts with the scanning of the image or picture onto the

computer. The scanned design is now traced and filled with bitmaps. The image is then transferred
to the punching card software known as “Techmen”. The punch card gets ready here and then put
in the Jacquard Machine by the weaver to weave the sari.
Figure 26 CAD process
ORIGIN OF THE PROJECT IDEA

This project originated with an idea to help the traditional craft of weaving Kancheepuram sari to
survive and face the growing demand. Also, the designers and the weavers were not equipped with
the modern tools to provide more choice to the customer. Hence, the need was felt to use the
power of computerized tools to develop innovative designs.

Some of the problems faced by the industry were:
 The cumbersome process of designing took a toll on productivity in terms of the time and
cost that went to into it. The need was to reduce the amount of time and cost.
 Competition was heating up because of high competitive nature of other traditional
industries and customers started looking for more variety and design. Customer had enough
to choose from other saris and as a result Kanchipuram saris were facing threat from
substitutes.
 The manufacturers and the retailers of the sari realized that they had to serve the
customers in order to survive. They could do this only by providing the customers with the
designs they preferred.
 Most important was the motive to keep alive the traditional art of weaving Kanchipuram
saris. Only selling more saris could do this and this required perfect understanding of
customer’s tastes and choices.
IMPLEMENTATION OF THE PROJECT

The need for adding more variety led to the automation of the designing process. The unique
feature of this process is that it is an indigenously designed process. This project is a wonderful case
of an endeavour that started more as an experiment and reached the pinnacle of success in a very
short span of 5yrs. There wasn’t any technical performance that was envisaged in the beginning
and this is another unique feature of this. People were sure of the success of this project but the
magnitude of the success was an unprecedented achievement. This was the reason for no
predetermined goals that were set up implementing the project for the first time.
ICT PLATFORM CREATION

ICT platform endows a number of features to any industry and enhances its competitiveness. The
digitization of processes helps in reducing interface problems and endows interactivity. ICT also
allows collaborative business processes and provide market access with marginal investments. Also,
the ICT platform helped in improving the business processes, improving the design productivity,
enhancing the market access, and making the design interactive. There has been substantial
increase in customer satisfaction and improvement as well as customer acceptance.
BENEFITS OF ICT IMPLEMENTATION

This project mainly aimed at improving the designing part of the saree. So, most of the benefits that
came about were in this area. Computerization in the designing field has been helpful in many
ways. Some of them are as follows:
 NUMBER OF DESIGNS - The most noticeable benefit that came out of the project was the
number of designs that were produced during a year. The number of designs produced
increased from a meagre 500 per year to a whopping 3900 per year. It takes nearly one

month to complete a sari, if the conventional process is used. The developments have
helped in reducing this time to 15 to 20 days.
 TYPES OF DESIGNS - The other benefit is that weavers are now able to weave better and
complicated designs with the same effort. A weaver in Kanchipuram is paid on an average
Rs.700 for a simple design and Rs.3,000 for a complicated design. Weavers are now in a
position to weave good and complicated designs in the same time and in turn earn more
money every month. These new designs have caught the fancy of customers all over the
world.
 TIME - Reduced production time was a major reason for such a massive increase in the
production of designs. The cycle time for production of design came down from 5 hrs to 1
hour.
 COST - The punch card that cost around Rs.5 started costing only Rs. 1.40 on an average.
 PROJECT EVALUATION SYSTEMS - The “Techmen”, the punch card provides an option to
check the distance between the grid points in a punch card which helps the ‘zari’ in staying
intact. It also has made the designs more accurate and durable by eliminating most of the
problems that arise in the course of making these designs manually.
CRITICAL SUCCESS FACTORS

The computerization of designing process has not only enhanced the speed of the process but also
helped in variety to the designs. The designs can now be changed as per the requirements of the
customers. The designs can now be tested for colour, size and shape before they are finalized and
brought out in the form of a punch card. The use of technology has added more competitive
strength to the firms that sell and market Kanchipuram saris. The customers who buy these saris
can now look forward to more customized saris with excellent colours and designs. This technology
has given up tremendous scope for innovation in every aspect that goes into making a design. Some
small and medium firms in Kanchipuram have adopted this technology. One such firm is
"Shreenivas silks" which has pioneered this technology under the leadership of Mr.Varadan. He
was the first person to buy this unproven technology and bring it into limelight.
The firms that use this technology in sari making have gained an edge over their competitors in
terms of the quality, design and sale of the Kanchipuram saris. (Bowonder, 2019)

Interactivity
in design
Increased
information
Better
levels
quality
Customized Benefits Reduced

saris cycle time
Increased New
Market designs
acceptability
Increased
variety
Figure 27 Benefits of ITC

TOOLS AND MATERIALS
Different types of tools and raw materials used are -
 MULBERRY SILK - The basic raw material used for the production of saris is silk. Finely
processed silk is purchased from Karnataka. The tough silk which comes from Karnataka
grants lustres and smooth finish to the Kanchi sari.
 ZARI - Golden thread is imported from Surat. Pure silver and gold is used to make zari
thread. Recently, the artisans of Kanchipuram started zari unit to produce zari thread locally.
This thread is especially used for borders and pallu of sari.
 DYE COLOR - Different colours of dye colour powders purchased from local markets. The
colour powder is mixed in boiling water while dyeing the silk yarn.
 COPPER CONTAINERS - Huge copper containers are used in dying process. These containers
are used to dye the boiling solution.
 RICE STARCH - Starch is extracted by boiling rice. The extracted solution is locally called as
Kanji. Yarn is dipped in the kanji to obtain stiffness.
 SPINNING WHEEL - This is a hand cranking spinning wheel which is locally called as ‘Mara
Ratinam’. It is used to spin the silk yarn to spools and spindles. These spindles are used in
weaving process for weft weaving.
 FLY-SHUTTLE - It is mainly used to process the weft. The spools are inserted in fly-shuttle
while weaving. These shuttles are made of whole bamboo pole.
 WARP BEAM - The length of yarn is wound on warp beam which is later loaded into the
loom.
 JACQUARD MACHINE - The improvised equipments such as jala and jacquard are used to
produce the designs for borders and pallu.
 WARPING MACHINE - This is used to draw the length of the yarn from the spools.
 HANDLOOM - Looms of Kanchipuram ranging from traditional to modern. Traditional looms
can be operated manually. Modern looms are upgraded with motor pedals.
 PUNCH CARDS - The design is punched on the punch cards. The cards are loaded into
jacquard machine. (Srikanth, 2010)

Figure 28 Coloured Silk Figure 29 Warping machine used to prepare warp beam
Figure 30 Traditional method of dyeing Figure 31 Dye colour powders are measured with weighting
machine
Figure 32 Kanji-Rice starch Figure 33 Handloom

Figure 34 Punch cards are loaded into Jacquard for getting design Figure 35 Design reference used while making punch cards
in the sari
Figure 36 Floral design reference Figure 37 Parivattam - Bamboo spool used to wind the yarn to
form silk bundles
DYEING PROCESS
The length of raw silk is first divided in to 3 segments using rubber tube to make 3-saris. These silk
segments are coloured separately as per the requirements. The border and pallu of a silk sari are
dyed in single colour. But the body of the sari is dyed in contrast colour of border and pallu.
For dyeing process, water is boiled in a huge copper container. Once water is boiled at high
temperature, the dye materials–washing soda, soap oil, dye colour are added to the boiling water.
The off-white silk yarn is dipped into the coloured boiling solution. After dyeing, the coloured yarn
is immersed normal water to remove excess colour. The yarn is taken out from the container and it
is allowed to dry for 2 to 3 days. Red, green, blue and mustard are the popular colours used in dying
process.

Figure 38 Cotton cloth used to wipe the excess gum Figure 39 Raw silk is dipped in the colour solution
Figure 40 Silk is partially coloured Figure 41 The yarn is hanged between two iron rods to rotate
continuously while colouring
Figure 42 The dyed colour is washed in normal water

TRADITIONAL SPINNING PROCESS
The coloured silk is brought for spinning process. The yarn bundle is first spun onto a traditional
bamboo spool locally called as Parivattam. Then, the yarn from these spools is again spun onto
spindles with the help of spinning wheel. Silk strand is reeled to spindle and the spinning wheel is
operated. The yarn from bamboo spool is transferred into spindles. These spindles are used to
insert into fly-shuttle which is used while weaving to weave the weft. The spinning process is done
to avoid entangles in the yarn and to ensure the easy weaving. (Srikanth, 2010)
Figure 43 Coloured yarn is ready for spinning process Figure 44 Silk bundle is reeled onto traditional bamboo
spool
Figure 45 Entangles and breaks are cleared in spinning process

Figure 46 Silk is again spun to make spindles

WARPING PROCESS
The length of silk yarn after dyeing is brought simultaneously winding process. The warping is
carried out in streets preferably in the early morning, so that the colour of the silk yarn would not
be sun-bleached. The length of the yarn is tied between the two poles and the warp is stretched.
A cotton thread is laced into the warp as it helps to trace the entangled silk threads. Once the
warping is completed, the yarn is dipped in rice starch solution to obtain more shine and lustre. The
yarn is loaded to warping machine to prepare warp beam. It is loaded into loom to start weaving
process. Nearly 3 to 5 artisans required to complete warping process. (Srikanth, 2010)
Figure 47 Initial stage of warping is in process Figure 48 Cotton thread is inserted into warp threads
Figure 49 Artisan making space to insert bamboo stick Figure 50 Thin bamboo stick is being inserted into warp
threads

Figure 51 Warp is stretched over bamboo stick to inspect breaks in Figure 52 After warping, the silk is dipped in rice starch
the silk threads
Figure 53 Excess starch is squeezed Figure 54 Starched yarn is again dried
Figure 55 Overview of warp making and environment Figure 56 Warp is being fixed to warping machine

WEAVING PROCESS
 WARP LOADING - The loom setting activity is done before weaving process. The yarn after
warping is prepared into warp sheets by rolling the length of yarn to an iron rod. The
process of transferring the warp sheet into weavers beam is called beaming. In this process
the strands of yarn passes through the reeds and healds. This is done by joining each silk
strand to the old warp threads manually. It takes nearly 2-3 days to complete the joining
process.
 PUNCH CARD MAKING AND LOADING - The image of the motif is first scanned and then it
is traced and filled with bitmaps. After that the image is transferred to the punch cards. The
punch cards are attached in the form of a chain and loaded into the jacquard machine to
start weaving. This automated process is simple and time saving.
 WEAVING IN HANDLOOMS - Weaving is done on the fly shuttle pit looms. The weaver
interlaces the silk threads of weft and warp. The shuttle passes through the opens formed
when the pedal is operated to interlock the threads of warp and the weft. Once the shuttle
is passed, the suspended rope from jacquard is pulled to form the weave. The proton of
woven cloth is wounded to the wooden beam which is in front of the weaver. After weaving
of 6 meters of weft, the portion of unwoven warp is intentionally left before and after the
sari weaving which is later knotted for fringe. Thus the weaving is completed and the
unwoven stands are cut out with a small metal blade.
It takes nearly 4 to 5 days to complete one sari. The length of 10 saris warp is loaded into
the loom at a time. The weaver may need 1 or 2 persons help while working.
Figure 57 Spindle is being inserted into fly-shuttle Figure 58 The thread of fly-shuttle is connected to warp threads

Figure 59 Shuttle passes through the opening of warp shed Figure 60 The shuttle is collected from other end
Figure 61 Pulley helps to lift the warp threads Figure 62 Weaver inspecting warp to ensure smooth weaving
Figure 63 Small beads are inserted to connect warp threads and Figure 64 Continuous pedal movement to operate handloom
jacquard threads

Figure 65 Gum is applied on the sari for stiffness Figure 66 Excess gum is removed
Figure 67 Woven sari which is rolled on weavers beam is cut and Figure 68 Sari is traditionally folded by skilled artisan
removed

PRODUCTS AND MOTIFS
The most popular motifs used in Kanchi saris are inspired by temples of Kanchipuram and around
environment. Other motif patterns include flowers, natural leaves, fruits etc. Traditional products
include saris and pattu langas skirts for teenage girls.
The border of the sari comprises of motifs from the temples, palaces and general paintings, and the
body includes pyramidal temple designs, checks, stripes and floral buttas. (Srikanth, 2010)
Figure 69 Brocade silk sari in combination of floral and geometrical Figure 70 Elephant Motif
forms
Figure 71 Saris

CURRENT STATE OF THE ART
Kanchipuram saris have been recognized as a Geographical Indication by the government since
2006. This can be considered as a mark of authenticity and has helped improve the sales of
Kanjeevaram silk saris. As of now there are about 5,000 families involved in the production and
there are 15 silk and cotton yard industries and 60 dyeing units in the region to aid the production
process.
A Tamil film titled Kanchivaram was also made in 2008, on the weavers, which helped get their
problems into mainstream media focus. The government has also introduced a policy to promote e-
marketing of local handlooms. Thirteen e-commerce entities have partnered with the office of the
Development Commissioner (Handlooms) to market handloom products from the weavers
themselves.
PRICE RANGE
An original sari with pure silk and pure zari can cost between Rs.7,000 to Rs.2,00,000.
MARKETING
Previously Kanchipuram saris were marketed only through co-operative societies. There are around
60,000 silk weavers in the city, out of them 50,000 weavers work under co-operative fold. Retailers
had to register themselves as the member of these societies and purchase only through these
societies. Kamatchi Amman, the first Kanchipuram Co-operative society was established in 1942 at
Kanchipuram and later extended its branches all over Tamilnadu, Andhra Pradesh and Karnataka. At
present 24 co-operative societies are working in India.
Slowly the trend changed and weavers started selling their products directly to wholesalers and
retailers which brought them reasonable profits. As the days passed, there are new trends in
marketing these silk saris i.e, online marketing, social media marketing etc. Worth of today’s
Kanchipuram industry is 20 million dollars. Silk showrooms also provide customisation of these
saris, by having their own artisans, who hand weave the sari of customer choice. It takes 15-20 days
of duration, to complete one single sari depending on intricate designs. On account of globalisation,
Kanchipuram saris are available all over the world. There are 60,000 looms in Kanchipuram and
Rs.200 crores turnover, with 3croresof exports. They are now shipped abroad to cater to the
overseas Indians.
CURRENT TREND
The changing consumer tastes, especially from traditional handlooms to fancy light saris are the
signals to the industry to reorient its production plans to suit the changing demand patterns.
Adoption of ICT (Information and Communication Technology) in production and marketing process
has increased both demand and supply. Implementation of Computer Aided Design (CAD) /
Computer Aided Motif (CAM) has given rise to exploration of new modern designs in borders and
pallu. Embroidery and crystal works are done on the traditional Kanchipuram saris. Due to the

demand in light weight Kanchi saris, weavers blend cotton and kora while weaving these saris. In
the modern world consumers prefer less costly, weightless, light colours and simple designs. To cut
down the heavy cost of sari and to make it available for all type of customers, weavers are
producing saris with single side border, which brings down the cost by half the price. (Crafts, 2017)
DIGITALLY EMPOWERING THE WEAVERS OF KANCHIPURAM

Nokia and DEF announced the launch of Kanchi Loom, a cluster development programme to
digitally empower the weaver community and connect them to technology and the marketplace in
three villages within Kanchipuram, Tamil Nadu. The project primarily involves the use of
Information Communication Technology (ICT) and other digital tools in critical aspects of cluster
development, thereby helping to ensure sustainable livelihood creation in the clusters. The project
aims to touch the lives of over 5,000 community members, including 500 handloom weavers who
are known for traditional hand-woven Kanchipuram silk saris but are exploited due to poor wages
and poor market access.
The ‘Kanchiloom’ initiative was launched at an event in Chennai on November 27, 2017 by DEF,
Nokia and the Government of Tamil Nadu. The project aims to develop the traditional skill-based
weaver community in these three villages — Kalakatoor, KSP Nagar and Kuruvimalai into an
integrated digitally enabled cluster for socio-economic prosperity. It will enable weavers to
embrace new technologies, designs, and scale-up traditional weaving methods by employing ICT
tools and digital connectivity for marketing and sales.
The Cluster Resource Centre (CRC) an integrated digital resource centre will allow weavers to access
advanced design software, combining the traditional designs with modern sensibilities to cater to
new markets. An e-Commerce portal would be set up to open access to direct market, for these
weavers reducing dependence upon middle-men, improving self-reliance and, eventually impacting
livelihood positively. CRC will also offer basic digital literacy, training in using advanced design
software, wireless networking workshops and digital information services to the local population. It
will serve as a cluster wireless network that will provide wireless broadband connectivity to schools,
health centres and Anganwadi Kendra for overall development of the community. (defindia.org,
2017)

SWOT ANALYSIS OF KANCHIPURAM
STRENGTH
• Most preferred sari for auspicious occasions
• Eco-friendly and natural product
• Entry of corporate and foreign investment in this industry
• Image of high quality high price product
WEAKNESS
• Usage of conventional rearing, reeling, throwing and dyeing technologies
• Fewer designs
• Number of skilled weavers coming down
• Unavailability of a suitable method for non- destructive testing of zari used in silk saris
OPPORTUNITIES
• Adoption of eco-parameters as identified by many European countries to ensure safety, reliability

and customer satisfaction
• Anti dumping duty on imported raw silk yarn
• Allowing liberal import of second hand power looms
• Reduced land allocation for sericulture practice in China and Korea
THREAT
• Large scale imports of pure silk fabrics from China
• Emergence of new synthetic fibres

CHIKANKARI EMBROIDERY
Chikankari is the embroidery work done with the white cotton thread on fine white cotton material.
Chikankari is also called as shadow work. The word 'Chikan' is basically derived from Persian word
'Chikeen'. In earlier days, the chikankari embroidery was traditionally done on mulmul- fine muslin
cotton. Due to non-availability of mulmul, now-a-days this work is done on cotton, wool, chiffon,
crepe, organde chiffon and silk clothes using contrast colour threads. The origin of chikankari is
initiated by the influence of intricate carving patterns of Mughal architecture during their period.
The chikan work in Lucknow is older than 200 years and later it is patronized by Nawabs. There are
5000 families involved in chikankari embroidery around villages of Lucknow. The artisans belong to
local muslim community. Nearly 90% of chikankari work is done by women professionally. Delhi,
Mumbai are the other centers for chikankari work. (Utsavpedia, 2016)
Figure 72 Chikankari work Figure 73 Chikankari work
ORIGIN AND HISTORY

The art of chikan embroidery in India is about 400 years old and this is a Persian Craft, which came
to India with Noorjahan, the queen of Jahangeer the Mughal Emperor. At that time it was designed
and practiced by her and other begams (wives) of Mughal Emperors. Chikankari flourished under
the patronage of the rulers of Awadh. Later when the capital of Awadh shifted to Lucknow from
Faizabad, in the year 1722, the knowledge of the craft came to Lucknow. It is informed that here
the Mughals found the Hand Block Printing skills that made it easier for them to practice this
embroidery, as earlier the tracing of design was very difficult. This availability of easy process of
drawing of base design encouraged them to teach this fine embroidery-work to their servants who
in turn taught it to their other family members and gradually this embroidery become a part time
earning source of many women of rural areas. The craft of Chikankari is quite distinctive and forms
an integral part of life in Lucknow. The fine needlework adorned the garments made from gossamer
silk fabrics and muslin for the ruling elite. The love and hard work of the artisans created delicate
designs on fabrics that were reminiscent of sheer grace.

SOURCES OF INSPIRATION
Due to the strong influence of Persian aesthetics on this craft, flowers have been a staple
in chikankari designs. The types of flowers (including their stems, buti, leaves) as well as their
stylizations have varied throughout time to keep up with fashion trends, but in general have
remained fairly intricate and delicate. (Utsavpedia, 2016)
CHIKANKARI ARTISANS
Since its conception, chikankari has been inspired by the intricate and beautiful patterns and the
linings on the marble jaali found during the Mughal era architecture. The Nawabs had their own
personal artisans and their families trained to design chikan Embroidery garments that suited the
royal stature. With utmost devotion and passion for their masters, these artisans worked on
angarkha and topi-palla creating delicate hand embroidery that was unmatched in style and charm.
With time however, the encouragement and the patronage gradually diminished and these artisans
were forced to look for other means of employment. With this, the art of chikankari was passed on
to the women of their community and till today, Lucknow chikan is the main source of income for
the Muslim women in and around the rural areas of Lucknow city. With around 2.5 lakh artisans
presently in the business, chikan Embroidery is by far the largest cluster of artisans in India.
Workers from the stitching block printing, cutting, washing, jaali work and textile printing also form
a part of this diverse cluster with all of them residing in or around Lucknow. It is surprising that this
beautiful craft of hand embroidery manufactured by hand within the 125 km radius of Lucknow and
adjoining districts. The districts covered are Unnao, Barabanki, Lakhimpur, Hardoi etc. Some other
villages where one can find few artisans of chikankari are in Raibareilly, Sultanpur and Faizabad. The
women are mostly housewives and in most cases this work is their only source of personal income.
chikan embroidery not only provides employment to about 250,000 artisans of different crafts, but
people from non-craft base also earn their livelihood by associating themselves with this craft.
Expected number of non-artisans earning their bread and butter from this craft is about one
million. They may be contractors, manufacturers, retailers, raw material providers or employees
with manufacturers. (Asthana, 2015)
PRODUCT RANGE – It starts from Rs. 500 and goes upto Rs. 70,000.
MARKET SCENARIO : FACTORS RESPONSIBLE FOR INCREASE IN DEMAND
 Large domestic market as well as increase in export opportunity

 High competitions among manufacturers
 Variety in availability of raw material
 Availability of designer work catalogue
 Garments are available in all price ranges
 Government support for promotion of craft

STYLE & VARIETY
Originally Chikan work was done on Muslin or sheer cotton cloth with white thread. Over time,
more colours have been incorporated including pastels and fluorescents. The fabrics used for this
craft must be soft as hand stitching is required. They include: Silk, Chiffon, Georgette, Net, Voile,
Kota, Doriya, Organza, Cotton and faux fabrics.
There is a huge variety of garments for men as well as women which includes long and
short kurtas, tunics, sarees, Anarkalis, palazzos and Capri pants to a range of accessories such as
shoes, bags, belts, lamp shades, table cloths and cushion covers. (Asthana, 2015)

LIST OF TOOLS
 Sui- needle is the important tool which plays a major role in chikankari work.
 A circular shaped frame is used to hold the cloth as it obtains tautness. These frames are
made with cloth as well as wood as per the need.
 Wooden blocks are used to print the design on plain cloth.
 A rectangular wooden table used as support during printing process.
 Containers are used while washing the cloth after completion of stitching work.
RAW MATERIALS
 Types of fabrics like cotton, silk, chiffon, crepe, georgette, wool, orange chiffon are used to
do the embroidery work.
 Cotton thread is traditionally used to create the design patterns over the cloth.
 Golden zari, silver zari, wool are the types of threads also used to do the Chikankari
embroidery.
 Indigo colour used in printing process.
 River water used to wash the clothes to clear the printing marks.
Figure 74 Different colours of silk threads Figure 75 Cloth frame, scissors and needle

Figure 76 Indigo colour used for printing Figure 77 Wooden Block used to print the big Buti
Figure 79 Block used to print borders

Figure 78 Big rectangular block used to print the series patterns
Figure 80 Plane cotton cloth used as basic raw material

MAKING PROCESS
Stages involved in making process are:
1. Block Printing
2. Embroidery work
3. Washing
BLOCK PRINTING - The wooden block is dipped in the color solution which is made by mixing glue
and indigo. Then it is printed on the fabric. There will be different blocks for butis, floral patterns
and borders.
Figure 81 The design to be stitched is block printed Figure 82 Separate blocks are used to create type of
motif work
EMBROIDERY WORK - The embroidery is done over the printed design pattern using needle and
thread. The artisan creates traditional patterns using different techniques. Different types of
stitches can be made in one product.
Figure 83 Polyester and Resham (silk) threads for embroidery Figure 84 A lady sorting the embroidery threads

Figure 85 Printed fabric being fitted into the frame Figure 86 Ulti-bakhiya stitch (zig-zag on the front side)
Figure 87 Sequins being stitched on the embroidered fabric Figure 88 Thread-cutting
WASHING - Washing is the final stage of production process. The fabric after embroidery work is
first soaked in water and then washed to remove the block printed blue colour. Then it is starched
and ironed to obtain stiffness. The final product is now ready for the market.
PRODUCTS
Beautiful and intricate designs are created with great artistic skill. The design patterns range from
small butis to elaborate floral motifs. Chikankari embroidery basically done on saris, suits, dress
materials, tops, lehenga, dupattas, sherwanis, chudidaars, salwars and skirts. Now-a-days,
chikankari work is not only restricted to Kurtas and saris it is also done on sofa covers, dining
covers, bed sheets. Most of the design motifs are inspired by flowers, leafs, buds, fruits and stems
of trees. The Jaali work is mainly influenced by Mughal architectures.

Figure 89 Georgette sari Figure 90 Kurti
Figure 91 Table mat in Chikankari work Figure 92 Table cloth with Crochet work
STITCHES
Chikankari embroidery consists of 40 different types of stiches. Among them, the five basic stiches
are Phanda-small circular dot, Jaali, tepchi-the running stich, murri and bakhia- the most common
and popular stich that gives the shadow effect. Dhoom, Gol-Murri, Janjeera, Keel, Kangan-bangle,
Dhania Patti, Murri lambi -the murri stich ends with sharp point, Karan Phool, Karan, Kapkapi, Bijli,
Ghas Patti, Rozan, Meharki, Kaj, Phool chameli, Chane ki patti, Balda, Jora, Penchni, Kauri. Sidhaul
jaali, Makra, Mandrazi, Bulbul Chashm, Phool Jaali and Tajmahal are the varieties of Jaali work.
Hathkati and bank jaali are the straight line Jaali works. (Kumar, 2016)

Figure 93 Bakhiya stitch Figure 94 Bakhiya stitch as seen from the back side
Figure 95 Ghass patti stitch Figure 96 Pechani stitch
Figure 97 Phanda and jaal work done on sari Figure 98 Bijli stitch

ISSUES FACED BY THE ARTISANS
 Highly under-paid
 Middlemen pay less
 No concept of incentives
 Low Standard of living
 Medical issues
 No medical insurance
 Illiteracy
 Unaware of any association where they can register their complaints
 Spare 7-8 hours of time
 Less time is left after completing all the household duties
 No vocational training or skill enhancement training
 No social security
PROBLEMS FACED BY THE ENTREPRENEURS
 A piece takes months to complete

 Chinese chikan
 Activities done in scattered locations
 No awareness campaigns and marketing tools as packaging
IMPACT OF FASHION ON SUSTAINABLE DEVELOPMENT OF CHIKANKARI

Innovation is basically defined as adding value or new feature to an already existing product. The
feature has to go in for mass production and should increase the product client spectrum. It should
give the product an edge over competitors. Effective innovation provides the solution to meeting
this growth demand. An innovation model provides the conceptual framework for identifying and
advancing the change ideas most likely to generate the value needed to create sustained growth.
Innovation research has come forward with some more models to overcome the deficiencies seen
in the linear model.
These are named as -
 Technology Push
 Market Pull
 The Phase Gate Model
Market Pull Model is more effective which states market need development production sales for
garments which are comfortable and stylish in today’s trends. Chikankari done on Suites, Saris and
Kurta Pajamas have less consumer demand than Kurtis, shot shirts, Formal shirts, Palazzos,
Anarkalies etc. Similarly more than cotton and muslin, georgette, crape, silk, tussars and chiffon are
in demand more as they are easy to wear and maintain. Seeing the need, manufactures developed

the garments accordingly as well as on textiles in demand in public. More detailing been done on
basic chikanwork in the form of zardozi and crystal work. Items as tablecloth napkins bedspreads
are also being made. Famous designers like Sabyasachi, Ritu Kumar, Manish Malhotra etc have
given chikankari important place in their assembles and shows so it is much more highlighted now a
days.
ANALYSIS OF BUSINESS OPERATIONS
 AVAILABILITY OF RAW MATERIAL - The basic raw material for manufacturing of chikan
embroidery products is cloth, which is easily available in India. Availability of various variety
of cloth in the market provides manufacturers with opportunities to produce many varieties
of products.
 SUBCONTRACTING OF PRODUCTION PROCESS - Job workers are hired on per piece basis
who then usually work from their own place and complete all the process of production
such as cutting, stitching, printing, embroidery and washing. Some manufacturers have also
started in-house process of manufacturing.
 NO DESIGN INPUT - Chikan embroidery dresses are now treated as fashion garments but
manufacturers do not use designers for product designing or for development of new
products. Very few i.e. just two or three manufacturers are making use of designers
expertise. All the designing work is carried out by the manufacturer himself, either by
copying designs from fashion catalogues or by ideas imparted by buyers. Lengthy
production time normally about 3-5 months time is required for production of chikan
embroidery products. Sometimes it even extends up to 7-8 months depending on the
intricacy of the design
 NO REGULAR WORK TO ARTISANS - The embroidery artisans are not directly related to the
manufacturers for work. One contractor of the area procures the work from the
manufacturers and distributes it to the artisans. Artisans are dependent on the contractor
who usually exploits them. Artisans do not get regular work and payment from the
contractor.
 VERY LESS WAGES TO ARTISANS - Due to the job distribution by the contractor, the artisans
who are the actual masters of the art do not get their due wages. The normal earning of an
artisan is just Rs. 15/- to 40/- per day. Very few artisans of high skills get Rs. 60/- to Rs. 80/-
per day.
 POOR WORK PLACE CONDITION OF ARTISANS - The workplace conditions of the artisans
are quite poor. Usually they do work at their home along with their regular household work.
 SPECIALIZATION IN PRODUCT MANUFACTURING - In this, usually manufacturer has
specialization in manufacturing one or two products. Some are only manufacturing Ladies
suits while some only produce saris. The manufacturers can also be differentiated as
producers of Low range, Medium range or High range products. (Chantia, 2017)

ROLES AND INITIATIVE TAKEN BY VARIOUS ORGANISATIONS FOR SUSTAINABLE
DEVELOPMENT OF CHIKANKARI CLUSTUR
 NON-GOVERNMENT ORGANIZATIONS - There are many NGOs working for welfare of

artisans in the cluster. They are implementing various schemes of Central or State
Government Departments. These NGOs have established Craft Development Centres in the
area, which directly helps the artisans. One very prominent NGO who has done significant
work in field of Chikan Embroidery is SEWA (Self Employed Women's Association).
 DISTRICT INDUSTRIES CENTER (DIC), LUCKNOW - This centre functions under the Director
& Commissioner Industries, Government of Uttar Pradesh, Kanpur. It is the main
coordinator between other Government offices and artisans. It recommends names of
enterprises for various exhibitions, bank-financing, State/National Awards for master
craftsmen. It also implements the Prime Minister Rozgar Yojana for benefit of unemployed
persons. The centre also provides Small Scale Handicraft (Chikan) Industry registration to
Manufacturers of the area.
 U P TRADE PROMOTIONS AUTHORITIES KANPUR - It was established under
Commissioner Director of Industries, Government of Uttar Pradesh (UP). The organization is
making efforts for promotion of trade from UP. It organizes fairs and exhibitions of different
product groups. It is also responsible for setting up the U.P. Pavilion of Pragati Maidan, New
Delhi for advertisement and marketing of products manufactured in the state. It also
participates in international fairs.
 EXPORT PROMOTION BUREAU LUCKNOW - In 1999, the Export Promotion Bureau
was formed under the Ministry of Small Scale Industries in U.P. The main functions of the
bureau are monitoring and policymaking. It also provides Marketing Development
Assistance to small exporters in form of grants under different schemes.
 U.P. TOURISM - The basic aim of this office of the Government of Uttar Pradesh is to
promote tourism of state but it also gives an exposure to the craft and culture of state
through organizing festivals, publicity catalogues and website.
 FINANCIAL INSTITUTIONS - There are many banks in the area but very negligible
amount has been given as finance to the manufacturers of chikan Embroidery goods. A total
Rs.5 Crores has been financed till now to about 300 manufacturers and that too mainly as a
working capital loan.
CHIKANKARI ETHNIC WEAR IN PRESENT SCENARIO

There are not many styles and trends in fashion that stand out and beat the passage of time.
Popularity of different designs or styles changes from one period to another. The ones prevailing
today will be upgraded and donned in a different manner tomorrow. Every generation adopts its
own fashion in terms of clothing that is related somewhat to the trends of the earlier generation.
This artistry originated as a court art during the Mughal period in the city of Lucknow but even after
centuries chikankari work remains a casual fashion trend as well donned as an ethnic wear by men

women and kids alike. Not only in India but across the globe in several countries and in
international fashion events, this stunning art of hand embroidery has shown its might. The
embroidery in coloured threads that are contrasting or that bring out the richness of the base
colour of the garment always make heads turn. The different life like patterns and designs and the
intricate details the artists capture in their work is just amazing. The Indian ethnic wear that has
ladies chikan work includes embroidered kurtas, embroidery kurtis clubbed with churidars and
salwar. For ladies chikan sari, chikan suits and chikan salwar kameez form an integral part of
fashion. For men as a casual fashion wear, men’s short kurta are very popular. These can be
accompanied with a nice pair of jeans, shorts or even trousers to give the perfect casual look. When
going out with friends or just to the market. Chikan embroidery for men is not limited to just kurtas.
It is also found on hand embroidery shirts as well. Chikan embroidery finds much likability among
kids these days than ever before. For girls and boys alike, there is such a wide range of collections
of chikan embroidery that are meant for every age group. In the recent years, home decor items
also have seen an increase in the chikan embroidered linens. Hand embroidered bed sheets have
never gone out of fashion. To create an ethnic look and feel for the bedroom, one chooses
embroidered linens. Bed sheets, pillow covers, bedspreads, table runners, curtains, etc., all come in
various embroidered patterns. With embroidery works one has to be careful about the kinds of
colour palette to engage in. Mixing and mashing too many styles of embroidery could be a
catastrophe.
CHANGE IN TRADITIONAL PRACTICE OF SUSTAINABILITY
 Printing done with synthetic indigo and emulsion of synthetic gum

 ‘Gerua’ a natural pigment that comes from earth was used for printing.
 Bleaching was done with Goat dung , Reetha and Rehu (acidic salt extracted from the earth).
DESIGNERS INTERVENTIONS
 Designers like Abu and Sandeep, Manish Malhotra , Ritu kumar, Tarun Tahiliani , Sabyasachi
added a new charm to this elegant embroidery.
 They opened new doors for the embroidery to come out of its restricted technique of
designing and develop a new and contemporary look.
 Introduced designs or motifs having a fashionable touch of value addition like sequins,
mirror work, zardozi etc, to satisfy fashionable crowd.
EXPORT OF CHIKANKARI OUTSIDE INDIA

Chikankari forms an integral part of the Indian ethnic wear. Chikan is adorned equally by both men
and women. Chikan has been accredited as a masterpiece not only in India but in other parts of the
world as well. Chikan embroidery has been famous as Indian embroidery in different countries.
Chikankari has registered and witnessed global acknowledgment and this has proved as a catalyst
for the export of not only embroidered apparel but also embroidered bed sheets, embroidered
table cloth, and embroidered cushion covers. Lucknow is the birthplace as well as the largest

exporter of this unique hand embroidery. Chikan apparel is a clear indication of the popularity the
Lucknow Chikan has outside the country. MLK Exports is the leading export company that is famous
for exporting product of this Hand Embroidery. Since 1975, this company has exported Chikan
embroidery products like dresses to global brands like Amina (Japan), Fashion Fuse (United States),
Ghora Tabela (Uruguay), Jackpot (Copenhagen), Betina Gers (Argentina), HHG (Spain), Coline
(French), etc. (Chantia, 2017)
SWOT ANALYSIS OF CHIKANKARI CLUSTER

STRENGTHS
 Large domestic market

 Traditional handicraft
 Huge artisan base
 Can be done on a variety of cloths
 Availability of skilled artisans
 High competition among manufacturers
 Low-price hand-made garments
 Available in all price ranges
 Customized products can be made
 Exemption of Excise Duty, Trade Tax
 A brand name in itself
 Easy availability of raw material
 Availability of transport facilities
WEAKNESS
 No technological up gradation
 Lengthy production time
 Over production of low quality goods
 Manufacturers do not have technical qualifications
 Very less export
 No association among manufacturers
 No fixed time for return of goods from embroidery
 Unorganized artisans cluster
 Very less fund flow from financial institutions
 Very less advertisement in Foreign markets
 Products mainly treated as seasonal summer garments
 Undercutting practiced among Manufacturers

OPPORTUNITIES
 Big scope in domestic market

 Big scope in foreign market
 Scope for development of new products
 Various Central and State government schemes for benefit of artisans
 Schemes for benefit of Artisans
 Implementation of Baba Saheb Ambedkar Hastshilp Vikas Yojna under Office of the
Development Commissioner (Handicrafts) for welfare of artisans
THREATS
 Competition with printed and machine embroidered items

 Globalization might bring Pakistani embroidery or other similar products in India
 Change in government policies such as imposition of excise duty and trade tax

REFERENCES
Asthana, A. (2015). Chikankari textile tales. Chikankari textile tales , 1.
Bowonder. (2019). Kancheepuram silk sari. Kancheepuram silk sari , 10.
Chantia, S. (2017). Sustainable Chikankari Art in Contemporary Indian. Sustainable Chikankari Art in
Contemporary Indian , 10.
Crafts, A. (2017). KANCHIPURAM SILK SAREES: EVERYTHING YOU WANTED TO KNOW ABOUT THE NINE-YARD
WONDER. KANCHIPURAM SILK SAREES: EVERYTHING YOU WANTED TO KNOW ABOUT THE NINE-YARD
WONDER , 2.
D source. (2019, 09 14). Retrieved 09 15, 2019, from carpet-weaving:

http://dsource.in/sites/default/files/resource/carpet-weaving-bhadohi/downloads/file/carpet-weaving-
bhadohi.pdf
defindia.org. (2017). Digitally empowering the weavers of Kanchipuram. Digitally empowering the weavers
of Kanchipuram , 1.
home. (n.d.). Retrieved from kerala tourism: https://www.keralatourism.org/kerala-article/mirror-

aranmula/13
Indianmirror.com. (2011). Kanchipuram silk saris. Kanchipuram silk saris , 1.
Kumar, A. (2016). Chikankari embroidery . Chikankari embroidery , 10.
making process. (n.d.). Retrieved from D'source: http://www.dsource.in/resource/aranmula-kannadi-

kerala/making-process
Srikanth. (2010). Kanchipuram silk saris. Silk weaving- Kanchipuram , 1.
tools and raw materials. (n.d.). Retrieved from D'source: http://www.dsource.in/resource/aranmula-

kannadi-kerala/tools-and-raw-materials
udyog bandhu. (2012, 03 14). Retrieved 09 saturday, 2019, from udyogbandhu.wordpress:

https://udyogbandhu.wordpress.com/2012/03/14/the-carpet-industry-of-bhadohi-sant-ravidas-nagar-an-
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Upmarkit.com. (2015). types of luxury products. types of luxury products , 1.
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LUXURY PRODUCTS

THE MAJOR CHARACTERISTICS OF LUXURY PRODUCTS

Figure 1 Characteristics of Luxury products

TYPES OF LUXURY PRODUCTS

 PERSONAL VS IMPERSONAL LUXURY PRODUCTS - Product categories are especially suitable

1 LUXURY PRODUCTS OF INDIA

 ACCESSIBLE VS EXCEPTIONAL LUXURY PRODUCTS - Distinguishing between accessible and

2 LUXURY PRODUCTS OF INDIA

KOLHAPURI CHAPPAL MAKING

Figure 2 Kolhapuri Chappals

4 LUXURY PRODUCTS OF INDIA

PRE INDEPENDENCE PERIOD

POST- INDEPENDENT PERIOD

5 LUXURY PRODUCTS OF INDIA

LIDCOM (LEATHER INDUSTRIAL DEVELOPMENT COOPERATION OF MAHARASHTRA)

6 LUXURY PRODUCTS OF INDIA

SIZE OF THE CRAFT

7 LUXURY PRODUCTS OF INDIA

8 LUXURY PRODUCTS OF INDIA

9 LUXURY PRODUCTS OF INDIA

 COUNTRY HAMMER- It is used for thumping the sole and foot-bed.

Figure 4 Raw materials and Tools

10 LUXURY PRODUCTS OF INDIA

11 LUXURY PRODUCTS OF INDIA

 GROWING INTERNATIONAL AND DOMESTIC MARKET- The constantly growing markets

12 LUXURY PRODUCTS OF INDIA

13 LUXURY PRODUCTS OF INDIA

Figure 5 Aranmula Mirror

14 LUXURY PRODUCTS OF INDIA

HISTORY OF ARANMULA KANNADI

Figure 6 Manufacturing process

15 LUXURY PRODUCTS OF INDIA

16 LUXURY PRODUCTS OF INDIA

Figure 9 Manufacturing process

17 LUXURY PRODUCTS OF INDIA

Figure 10 Manufacturing process

Figure 11 Manufacturing process

18 LUXURY PRODUCTS OF INDIA

Figure 12 Manufacturing process

19 LUXURY PRODUCTS OF INDIA

MANUFACTURING PROCESS OF FRAME

Figure 13 Aranmula Kannadi frame

20 LUXURY PRODUCTS OF INDIA

TOOLS AND RAW MATERIALS

GEOGRAPHICAL INDICATION (GI) TAG

21 LUXURY PRODUCTS OF INDIA

ROLE OF PROMOTIONAL AGENCIES

22 LUXURY PRODUCTS OF INDIA

23 LUXURY PRODUCTS OF INDIA

Figure 14 Bhadohi Carpet

24 LUXURY PRODUCTS OF INDIA

25 LUXURY PRODUCTS OF INDIA

Figure 15 Bhadohi Carpet

TOOLS AND RAW MATERIALS

26 LUXURY PRODUCTS OF INDIA

Figure 16 Tools used in making Bhadohi carpet

27 LUXURY PRODUCTS OF INDIA

The process of carpet weaving goes through following stages

Figure 17 Manufacturing process