Indian Textile

INDIAN TEXTILES

The Indian Textiles Industry has an overwhelming presence in the economic life of the country and is one of the leading textile industries in the world. Though was predominantly unorganized industry even a few years back, but the scenario started changing after the economic liberalization of Indian economy in 1991. The opening up of economy gave the much-needed thrust to the Indian textile industry, which has now successfully become one of the largest in the world. • • • • • • • •

Indian textile industry largely depends upon the textile manufacturing and export. It also plays a major role in the economy of the country. India earns about 27% of its total foreign exchange through textile exports. Further, the textile industry of India also contributes nearly 14% of the total industrial production of the country. It also contributes around 3% to the GDP of the country. Indian textile industry is also the largest in the country in terms of employment generation. It not only generates jobs in its own industry, but also opens up scope for the other ancillary sectors. Apart from providing one of the basic necessities of life, the industry also plays a vital role through its contribution to industrial output, employment generation, and the export earnings of the country.

• The Government of India has also promoted a number of export promotion policies for the textile sector in the Union Budget and the Foreign Trade Policy. • This scheme would cover all sub sectors of the textile sector such as textiles and apparel, handicraft, handlooms, jute and sericulture. • The industry attracted foreign direct investment (FDI) worth US$ 1.04 billion during April 2000 to November 2012. And the potential size of the Indian textiles industry is expected to reach US$ 220 billion by 2020. In order to match the increasing requirement of skilled personnel at all levels, CBSE has initiated to introduce “Textile Design” as a vocational course for Class XI and XII. The course aims to introduce students to Elements of Design, Fabric science, Woven textiles, Dyeing & Printing procedures and introduction to Indian traditional textiles. The course will equip school passing out students for jobs available in this sector as Assistants in technical setup and studios and will also prepare students for higher studies in the area of Textile Design.

Embroidered Textiles Embroidered Textiles of India • • • • • • • • • • • • •

Kashida Phulkari Chamba Rumal Embroidery from Gujarat Parsi Embroidery Chikankari Phool Patti ka Kaam Zardozi Kasuti Lambadi Embroidery Kantha Sujani Pipli Applique

Dyed Textiles • • • • •

Bandhani Bandhani of Gujarat Special Bandhani Textiles from Gujarat Bandhej & Lehariya of Rajasthan Special Tie-Dyed Textiles from Rajasthan

Ikat • Patola of Gujarat • Bandhas of Odisha Ikat Textiles of Andhra Pradesh • Telia Rumal • Pochampalli Ikats

Ikat Ikat, or ikkat, is a dyeing technique used to pattern textiles that employs  resist dyeing on the yarns prior to dyeing and weaving the fabric. In ikat the resist is formed by binding individual yarns or bundles of yarns with a tight wrapping applied in the desired pattern. The yarns are then dyed. The bindings may then be altered to create a new pattern and the yarns dyed again with another colour. This process may be repeated multiple times to produce elaborate, multicolored patterns. When the dyeing is finished all the bindings are removed and the yarns are woven into cloth. In other resistdyeing techniques such as tie-dye and batik the resist is applied to the woven cloth, whereas in ikat the resist is applied to the yarns before they are woven into cloth. Because the surface design is created in the yarns rather than on the finished cloth, in ikat both fabric faces are patterned.

Warp Ikat In warp ikat, the weft yarns are all dyed a solid colour and only the warp yarns are ikat dyed. Here, the pattern is clearly visible when the threads are wound on the loom, and weaving in the weft threads solidifies the colour and completes the fabric formation.

Weft Ikat In weft ikat, it is the weft threads that are ikat dyed. This type of weaving is more difficult than warp ikat, as the pattern will be formed only as the weaving progresses. This means that the weaver has to constantly centre and readjust the yarns to ensure the pattern is formed correctly.

Double Ikat The most complicated of the three, double ikat, is where both the warp and weft threads are resist-dyed prior to weaving. This technique requires advanced skill, takes time and hence is the most expensive. The Pochampally Sari and Puttapaka saris are native to India, and feature exquisite double ikat motifs on silk.

Combined ikat In combined ikat, both warp and weft yarns are tie dyed but they are present in selected areas of a textile, to create interesting patterns. The main production centres of ikat in India are gujarat, odisha and andhra Pradesh. The ikat of each region known by different names can be identified from the motifs and the patterns achieved on weaving the tie-dyed yarns. The ikat textiles of India can be classified into three categories on the basis of region as follows: • Patola of gujarat • Bandhas of odisha • Ikat textiles of andhra Pradesh: Telia rumal and Pochampalli

• Patola of Gujarat

• Bandhas of Odisha

How Is Ikat Fabric Made? These are the various steps involved in creating an Ikat fabric: The desired pattern is first drawn on the warp and weft yarns by hand. The weaver then ties these yarns to match the planned pattern. The threads are then dyed in the specific colours, so that the colours seep into the yarn at the appropriate positions. The ties on the yarn are untied, and the yarns are strung on the loom. In warp and double ikat, the pattern emerges on the loom at this stage. The fabric is then woven together, and the colourful pattern of motifs emerges on it. For a pictorial description of each of these steps, I suggest you visit the  HomeWorkshop website.

History of Ikat Although Ikat weaving is a complex technique, it is surprising how the technique is believed to  have simultaneously and independently developed in different p arts of the world.  Ikat was brought to Europe at almost the same time by Dutch traders from South East Asia as the Spanish from South America and explorers from the Silk Road. Ikat fabric has been practiced in India, Indonesia, Japan and other South-East Asian countries for millennia. This form of textile production is also popular in Central and South American countries like Argentina, Bolivia and Mexico. The most coveted double ikat woven fabrics come from Guatemala, India, Japan and Indonesia. It is interesting to note that every Ikat Weaving group has its own distinct patterns, styles and choices of colour.                                                                                                     Endek is an economically successful version of Ikat from Indonesia, as it has been taken from its fabric form and developed into products. Originally considered a court-based sacred fabric in Bali, it is now Indonesia’s most commercialised

Ikat In Fashion Today

Printed Textiles Bagru prints from Rajasthan Sanganer prints from Rajasthan Kalamkari from Andhra Pradesh Hand-woven Textiles • • • • • • • • • • • •

Saris Banaras Brocades Baluchari Saris Jamdani Saris Paithani Saris Kanjeevaram Saris Chanderi Saris Maheshwari Saris Shawls Kashmir Shawls Kullu & Kinnaur Shawls Wraps of North-east

• Floor coverings • Carpets • Durries & Rugs

Embroidered textiles of india The art of embroidery dates back to as early as the Indus Valley civilization. Bronze and copper awls excavated in Harappa confirm that embroidery was a practiced craft in ancient times. Though none of the embroidered samples exist from primitive times, travelogues of foreign visitors to India mention about prevalence of ornamented textiles in Indian kingdoms. different embroidery styles have developed regionally in India that has a distinct identity of their own. Cotton, silk, woolen thread or gold/silver is used to embroider on various media, from cotton, silk, woolen fabric to velvet and leather. Besides thread, pieces of fabric, beads, mirrors, shells, coins, precious stones and sequins are also used for embellishing the fabric. With the passage of time, a variety of embroidery designs have been created by artisans from their own imagination. The Indian embroideries can be classified on the basis of the technique of production or as per the region of production.

Northern India:

eastern India:

Kashida from Kashmir Phulkari from Punjab Chamba rumal from Himachal Pradesh

Kantha from West Bengal Sujani from Bihar Pipli appliqué from Orissa

Western India: embroidery from gujarat Parsi embroidery 3 Traditional Indian Textiles Central India: Chikankari from uttar Pradesh Phool Patti ka Kaam from uttar Pradesh Zardozi from uttar Pradesh Southern India: Kasuti from Karnataka lambadi embroidery from andhra Pradesh

 Kashida region: Kashida is an embroidery style from Kashmir that is practiced by men folk of the region.

Technique:

• The base material for Kashida is cotton, wool or silk in a variety of colours like white, blue, yellow, purple, red, green and black. • The embroidery threads used to execute Kashida are wool, silk or cotton depending on the product to be embroidered. • The main stitches employed for Kashida are darning stitch, stem stitch, satin stitch and chain stitch.

Motifs used:

• The motifs used in Kashida depict the natural elements which includes the rich flora and fauna of the region of Kashmir. • Typical motifs are birds like magpie, kingfisher; flowers, butterflies, maple leaves, almonds, cherries, grapes and plums.

• A popular motif seen on embroidered shawls is derived from the cypress cone.

Style of embroidery used:

• There are three styles of embroidery followed in Kashmir. Sozni is intricate embroidery that uses stitches like fly stitch, stem stitch and darning stitch. • The aari style, also called Zalakdozi employs hook or aari to fill-in motifs with chain stitch . • In Kashmiri couching, zari thread is laid on the fabric along a pattern and is held in place with another thread.

Sozni

Zalakdozi aari motifs with chain stitch

 Phulkari region: Phulkari is an embroidery style that originated in Punjab. It is used and embroidered in different parts of Punjab namely Jalandhar, amritsar, Kapurthala, Hoshiarpur, ludhiana, Ferozepur, Bhatinda and Patiala. The earliest available article of phulkari embroidery is a rumal embroidered during 15th century by Bibi Nanaki, sister of guru Nanak dev. The needlework is widely practiced by the women of Punjab and holds significance in a life of a woman, from her marriage till her final abode to heaven.

Technique: The base material to execute Phulkari is handspun and handwoven Khaddar that is dyed in red, rust, brown, blue and darker shades. Soft untwisted silk thread ‘Pat’ is used for the embroidery. The colours of the thread are red, green, golden yellow, orange, blue etc. The basic stitch employed for Phulkari is darning stitch, which is done from the reverse side of the fabric. For outlining of motifs and borders, stem, chain and herringbone stitches are sometimes used.

Motifs: The motifs used in Phulkari are inspired by objects of everyday use like rolling pin, sword, flowers, vegetables, birds, animals etc. They are generally geometrical and stylized. Usually one motif is left unembroidered or is embroidered in an offbeat colour. This motif is called ‘nazarbuti’ which is considered to ward off the evil eye.

Style of embroidery: The two embroidery styles prevalent in Punjab are Bagh and Phulkari. Bagh is a fully embroidered wrap that is used for special occasions whereas Phulkari is simple and lightly embroidered for everyday use.

 Chamba rumal region: Chamba rumal, an embroidery from Himachal Pradesh dates back to the 15th century. There is a mention of this embroidery being practiced in Pathankot, Chamba and other remote villages of Himachal Pradesh in Buddhist literature and the Jataka Tales.

Technique: The embroidery is executed on two types of unbleached cotton cloth: lightweight, delicate muslin or handspun, hand-woven, coarser khaddar. untwisted, dyed silk threads ‘Pat’ in bright colours like red, yellow, green, blue, crimson and purple are used for the embroidery. The embroidery uses double satin stitch which simultaneously fills in the motif on both sides of the fabric, making it reversible.

motifs: The motifs used are inspired from Pahari paintings depicting lord Krishna and his playful antics.

Typical motifs include: tiger, goat, deer, horse, peacock, parrot; flowers, shrubs and plants, willow and cypress trees; and musical instruments like sitar, tabla, veena, tanpura etc.

Style of embroidery: The embroidery is executed on a square piece of cloth. The motifs are arranged on the rumal in order to portray scenes from lord Krishna’s life. Some of the popular themes include Rasamandala, Rukmini haran and Kaliya daman .

end use: Traditionally the rumal was used as a cover for food prasad offered to gods and goddesses. It was also a custom to gift embroidered rumals at the time of weddings. Chamba embroidery is done on fabrics like silk, polyester or terrycot and made into blouses, caps, slippers, cushions covers etc.

Embroidery from gujarat Region: The embroidery of gujarat is colourful and vibrant practiced by different communities of the state. The most popular embroidery styles originate from Kutch and Kathiawar region of gujarat.

Technique: The embroidery is done with multi-coloured threads, usually cotton or silk embroidery threads. different stitches are used depending on the style of embroidery, namely chain stitch, herringbone stitch, satin stitch, interlace stitch, buttonhole stitch and darning stitch. There is also use of mirrors that are fixed on the fabric with an embroidery stitch. Another technique used in Gujarat is appliqué where scraps of fabric are cut into a form and stitched onto the base fabric.

motifs: The motifs used in Gujarati embroidery are mostly taken from flora and fauna. Some typical motifs are flowers, creepers, trees, peacocks, parrots and elephants. Besides flowers and animals, human figures in different poses like dancing women and men are also seen in some styles of gujarati embroidery.

Style of embroidery: There are different embroidery styles carried out by tribal communities of gujarat. Some of the styles are as follows: • Mochi Bharat: The embroidery style from Kutch is practiced by the mochis of shoemakers. The ari or the hook is used to embroider designs with chain stitch • Soof Bharat: The embroidery is executed with untwisted silk floss and geometric patterns are created using the darning stitch • Abhla Bharat: The embroidery style is defined by the use of mirror work along with other embroidery stitches to create designs on fabric • Moti Bharat: The craft is characterized by the use of white and coloured beads that are connected with thread to develop colourful motifs on a white background of beads.

• Kachcho Bharat: The embroidery uses interlace stitch called sindhi taropa. The motifs are mainly geometrical comprising of squares, hexagons and lozenges.

Imges had to add of all type of bharat

 Parsi embroidery region: As the name suggests, the Parsi embroidery is practiced by the Parsi community living in Mumbai. They are believed to be descendants of Persian Zoroastrians, who migrated to India around the 8th century. The Parsi embroidery is an interesting mix of eastern and western cultures, imbibing from Persian, Chinese, Indian and European influences.

Technique: The base material for Parsi embroidery is silk fabric in bright red, purple, blue, magenta and black colour. The embroidery is done with silk threads in light pastel colours like off- white, pink and cream. The basic stitch used in Parsi embroidery is satin stitch and its variations to fill-in motifs Besides the satin stitch, French knots are used that imparts texture to the fabric, resembling small beads fixed on the fabric.

motifs: The motifs are derived from Persian, Chinese, Indian and european cultures. The range of motifs from nature includes flowers like chrysanthemum, peony, lily and lotus; foliage like cherry, weeping willow and pine; birds like crane and peacock, and butterflies. Other important motifs are inspired from Chinese architecture and portrayal of Chinese human figures and scenes from daily life.

Style of embroidery: The Parsi gara is an embroidered sari that has heavily embellished borders on all its four sides.

end use: The Parsi embroidery is done on garas (sari) and jhablas. a time consuming embroidery, the richly embroidered Parsi garas are regarded as heirlooms. Though the embroidery is becoming extinct, attempts are being made to revive the craft and produce fast selling products like scarves, bags and other accessories.

 Phool Patti ka Kaam region: Phool Patti ka Kaam is traditional appliqué style embroidery practiced in Uttar Pradesh, chiefly Aligarh and Rampur. The embroidery is executed by Muslim women, who work from their homes. The craft gained importance during the Mughul period.

Technique: The appliqué is done on fine white cotton fabric or organdy. Traditionally appliqué is done in two ways. In one form ‘Badi Patti ka Kaam’ small pieces of white fabric cut into floral forms are stitched onto the white fabric, creating the light and shade effect. The detailing of the motifs is done with stem stitch. In the other ‘Choti Patti ka Kaam’, small pieces of cloth are folded into diamond shapes and used as petals or leaves in the motifs, along with stem stitch work

As the name suggests, the embroidery motifs are in the shape of flower petals or leaves. “Phool” means “flower” and “Patti” means “leaf” in the local language spoken in the region. This textile decoration style consists of little bits of fine ‘mull’ fabric which are cut by hand and deftly folded and shaped into tiny petals, leaves and other geometrical and floral shapes. These are then embroidered onto the fabric to create a variety of intricate patterns. The entire embroidery is done by hand including the finish of edging and joining of the seams. 

motifs: As the name suggests, the motifs used in Phool Patti ka Kaam are flowers and leaves. The floral forms are geometric in nature.

Style of embroidery: There are two styles of Phool Patti ka Kaam according to the size of motifs appliquéd on the fabric. The Badi-patti style uses bigger floral forms for appliqué whereas in Choti-patti style very small diamond shapes are applied on the fabric.

end use: Phool Patti ka Kaam was traditionally done on dupattas and saris. Now a days the appliqué is also done on home furnishings like curtains, table linen and cushion covers using other colours besides white.

 Zardozi

Zardozi on jute

Zardozi on velvet

colors

Painting in textiles of india • • • • • • • • •

Kalamkari Painting Mata ni Pachedi painting Kishangarh Painting Tanjore painting frame Pabuji Ki Phad Painting Rogan …painted or block printed  Warli Madhubani Pattachitra Art from Odisha