Study and survey of the craft and documentation by Neha Dwivedi CDDP | Batch - 02 Faculty guides/ mentor: Mr Ashutosh Kumar Sahi Mr. Shakti Sagar Katre Mr. Sanjeev Kumar Jharkade National Institute of Fashion Technology, New Delhi Copyright Š National Institute of Fashion Technology, 2019
Dhurrie Weaving of Panipat
Craft Design Development and Planning National Institute of Fashion Technology, New Delhi 2019
Acknowledgment
I take this opportunity to thank the people who have been instrumental in the successful completion of this project. Apart from my effort, the success of this documentation is dependent upon the encouragement and guidelines of many others, to whom I am highly obliged. First of all, I want to convey my sincere reverence to honourable director Dr. Vandana Narang for serving as the inspiration channel. Also my heartfelt gratitude to course coordinator, Mr. Shakti Sagar Katre and cluster initiative coordinator, Mr. Sanjeev Jharkhade, who presented me with this unique opportunity to document this paradise like DHURRIE WEAVING of PANIPAT which, even after being the home for such heritage, has been missing from the craft map of India. I express my gratitude to Mr Ashutosh Sahi who was the mentor during this project. Mr Bhupender Kundu, head of Akshay enterprises, Panipat, without whose guidance completion of this project would not have been possible. Last but not the least, I would like to give a sincere gratitude to the people of Panipat, especially the artisans and craftsmen, who accommodated my requests and shared their knowledge of skill and expertise with me. I sincerely hope that this endeavour of mine will benefit these people whose deft hands are sustaining the real India.
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Abstract This Craft Cluster project was the part of my PG Diploma Programme in Craft Design at National Institute of Fashion Technology, New Delhi, Batch 2018-19. The design led project aimed to promote and enhance the enchanting and age old technique of Dhurrie weaving of Panipat by training the artisan with design as a tool that enhances their skill in order to trigger growth and attain economies of scale. Primary Data - Field visits, Interviews, Observation, Photography, Sketching and drawing Secondary Data - Books and Journals, Websites, Craft village Pragati Maidan, Weavers service centre Delhi, Delhi Haat, EPCH fair, Greater Noida, India craft week Delhi, Haryana emporium
BRIEF
This project aims at supporting traditional skills of Panipat Handloom weavers by doing research documentation of tangible as well as intangible aspects of craft, community and culture.
GOAL
Provide sustainable livelihoods, Preserve local heritage tradition Upscale existing product range, Use design as a tool to empower
Company Profile
Akshay Enterprises was set up in 2010 headed by Mr Bhupender Kundu. Mr. Kundu did Diploma in Handloom and Textile Technology from Varanasi and after six years of industrial experience he started his own venture. Akshay enterprises deals with handloom textile manufacturing of soft furnishing products like dhurries, throw, cushion covers, ottoman, table runner etc. Products are sold locally in Panipat and also is exported to Japan and Europe. Some major clients include Vardhman Creation, Tex India, Devgiri exports and Shyam overseas.
Contents
Chapter 1
Chapter 1
About Haryana About Panipat Geographical location History Agriculture Food Festivals Industrial Setup Economic Status
3-4 5-6 7-8 9-10 11-12 13-14 15-16 17-18 19-20
Chapter 2
Chapter 2
About Dhurrie Method of Weaving Dhurrie Characteristics Carpet vs Dhurrie Colors & Motif About Loom Raw material Tools Process
23-24 25-26 27 28 29-30 31 32 33-34 35-40
Chapter 3
Chapter 3
Other Crafts Handloom Production About Cotton Export Features Buying Behaviour Challenges Faced Current Scenario Government Schemes SWOT Analysis
43 44 45 46 47 48 49 50 51-52 53-54
Chapter 4
Chapter 4
Inspiration Client Profile Motif Exploration Design Development Specification Sheet Sampling Actualization Artisan’s Profile References
57-58 59-60 61-62 63-66 67-74 75-76 77-82 83-84 85-86
History & Origin
01
About Haryana
The name Haryana means the abode of God. It is a blend of two Sanskrit words ‘Hari’ which means God and ‘ayana’ meaning home. It is a land where guests are treated equal to god. Haryana is a vivid kaleidoscope of diverse landscapes, showcasing magnificent archaeology and celebrating art and culture. A state that has transcended on a journey and preserved the best of both worlds – the footprints of the bygone era and futuristic vision. From being referred to as ‘heaven on earth’ in ancient Sanskrit texts to being the
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bedrock of Indus valley civilization, Haryana has one of the most unique histories. This land has also witnessed historical battles, including the famous battles at Panipat and has lent canvas for the epic battle of Mahabharata at Kurukshetra. Today Haryana stands tall with its achievements in agriculture, industrialization and flourishing art and culture. Rich in history, monuments, heritage, flora and fauna, human resources and tourism with well-developed economy, national highways and state roads, Haryana is a journey worth experiencing.
‘Dangal’ Wrestling Competition
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Sanjay Chowk, Panipat
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About Panipat
Panipat - A district famous in India by the name of City of weaves or city of handloom. District Panipat has a very glorious place in the history of India. It is said that, at the time of battle of Mahabharata, the five villages which were demanded by the Pandavas from Duryodhana, “Panipat” was also one of them. Later on it was christened as Panipat. This district, which is situated 90 kms. from Delhi (National Highway No.-1) on SherShah Suri Marg has a significant importance in the history.
Three major battles were fought here, which lend Indian history a new look. The year-wise details of three battles. Panipat city is famous in India by the name of “City of Weavers”. Panipat District has a significant place in international market for “handloom production”. Dhurrie, carpet mat, table cover, bed sheet, bed cover, curtain etc. are exported to Canada, Japan, Germany & Australia. In addition to the above, Panipat city is the biggest centre of “Shoddy Yarn” in the world.
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Geographical Location
Panipat is spread in 1754 sq. km. and is located 90 km. away from New Delhi in North having population more than 12,05,437 (census.2011). Panipat is also known as city of “Weavers�. It is one of the developing city of Haryana. Its economy is based on several industrial, agriculture, handloom and textile etc. Haryana is one of the 29 states in India, located in northern part of India. Panipat district is situated on the banks of the river Yamuna. This district is bordered by Karnal, Sonipat, Jind and Kaithal and the state of Uttar Pradesh. The temperature is high in summers, quite low during winters and the state receives a moderate rainfall. Haryana sometimes faces deficiency in rainfall too.
Sanjay Chowk, Panipat 7
KURUKSHETRA KARNAL
HARYANA HISAR
PANIPAT
SONIPAT NEW DELHI
GHAZIABAD NOIDA
GURUGRAM
CLUSTER INFO
STATE INFO Area Capital Population Language Literacy Rate
44,212 sq. km Chandigarh 25,353,081 Haryanvi, Hindi, Punjabi 83%
State District Tehsil Town Village
Haryana Panipat Panipat Shondapur Shanti Nagar 8
Sadashivrao Bhau Peshwa
Hemchandra Vikramaditya
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Mongol Warlord Babur
Battle of Panipat
According to the legend, Panipat was one of the five cities founded by the Pandava brothers during the times of the Mahabharata; its historic name was Pandavaprastha - city of Pandavas. Panipat was the scene of three pivotal battles in Indian history. Panipat is first recorded in the Mahabharata as one of the five villages that the Pandavas demanded from Duryodhana. The First Battle of Panipat was fought on 21 April 1526 between Ibrahim Lodhi, the Afghan Sultan of Delhi, and the TurkoMongol warlord Babur. Babur’s force defeated Ibrahim Lodi thus ended the ‘Lodi Rule’ established by Bahlul Lodhi in Delhi. The Second Battle of Panipat was fought on 5 November 1556 between Akbar and Hem Chandra Vikramaditya, a Hindu King of Delhi. Hem Chandra lost the battle, his head was beheaded by Bairam Khan and was sent to Kabul to be hanged outside Delhi Darwaza, and his torso was hanged outside Purana Quila in Delhi. The Third Battle of Panipat was fought on 14 January 1761 between Sadashivrao Bhau Peshwa (Maratha Empire), Ahmadshah Abdali (Afghan) and Baloch invaders. The Maratha soldiers were unable to get food because of non-cooperation of other empires of Hindustan. On the single day of 14 January, more than one lakh of soldiers died resulting in the victory for the Afghans.
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Agriculture
Haryana is primarily an agricultural state. About 70% of residents are engaged in agriculture. Haryana is self-sufficient in food production and the second largest contributor to India’s central pool of food grains. The main crops of Haryana are Wheat, Rice, Sugarcane, Cotton, Oilseeds, Gram Barley, Corn, Millet etc. The Department of Agriculture & Farmer’s Welfare is concerned with the developments regarding agricultural activities and looks after the welfare of the farmers of Haryana. The sub division, Samalkha of this district, is famous for the Foundry of Agriculture instruments. The single most critical factor behind this is the vastly improved and sophisticated irrigation system and its optimum utilisation.
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Millet Farm, Panipat
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Confectionery Shop, Sanjay Chowk
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Food
Haryana is well known for its cattle wealth and is the home of the famous Murrah buffalo and the Haryana cow. No wonder there is an abundance of milk and milk products in Haryanvi cuisine. People make butter and ghee at home and use these liberally in their daily diet. Homemade fresh butter is called nooni or tindi ghee and is churned daily in most homes. It is customary for a girl’s family to give her gifts of ghee (clarified butter), gondh (edible gum), laddus (a sweetmeat made of gram flour) and dry fruits when she becomes a mother. Buttermilk, chaaj is a favourite drink and is an instant cooler for summers. Lassi made from yoghurt is another popular drink, almost a meal in itself. The Haryanvi’s love for lassi can be gauged from the fact that thandai, a sweet, milk based drink is called kachi lassi in Haryana. The ‘Land of Rotis’ is an apt title for Haryana, as people are fond of eating different kinds of rotis here. Wheat rotis are common and so are baajre ki roti.
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Festivals & Folklore
The zest for life present in the natives of Haryana is channeled into various dance and music forms. The people celebrate all occasions with a lot of pomp and show, be it a child birth, a marriage or any religious or social function. The ‘Khoria’ is popular when a boy is getting married, while the ‘Ghoomar’ and the ‘Gangaur Pooja’ dances are religious. The ‘Raas’ is also an ancient dance and is associated with Krishna, the flirtatious god. Gangore is a festival dedicated to Gauri, the goddess of abundance. People carry the image of the idol from one village to another and finally immerse it into the river. This festival is specially meant for young girls who dress up with new clothes and pray for good husbands. Married ladies also pray for the wellbeing of their partners. Baisakhi is another major festival celebrated
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in Haryana. Baisakhi marks the beginning of the Punjabi New Year.It is celebrated in April every year. On this day all the Sikhs visit the Gurdwaras and pray for peace and happiness. The entire community gets together and enjoys a feast. Gugga Naumi is a religious festival, in connection with snake-worship. It is observed in the months of AugustSeptember. People worship Gugga Pir or Zahir Pir (the saint) who was reputed for having the power of curing people of dangerous snake bites. Lohri is one of the most popular festivals in Haryana. Lohri marks the end of winter and welcomes the season of fertility. It is celebrated every year on 13 January. They make circles around the fire, sing songs, dance and exchange greetings. People also pray around the fire which symbolizes Agni or the spark of life.
Krishna Temple, Sanjay Chowk
Folklore, Haryana
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Industrial Area, Panipat
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Industrial Set-Up
Industrialisation is a ‘sin qua non’ of economic progress. Haryana is poised on the threshold of dynamic change. There were 459 registered factories, registered under the Factorise Act, in the district in 1990. The fabled town of Panipat has earned the reputation of being the ‘Weavers City of India’, especially for its exquisite hand-tufted woollen carpets and colourful products. Panipat district is also one of the industrially advanced districts in the state.
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Economic & Social Context
Panipat a small town in the state of Haryana has seen the inflow of migrants at various stages in its history. After partition it was migrants from Pakistan and then once the wheel of industrialisation was set moving, migrants from various villages in India settles in Panipat. Hindus, Muslims and Sikhs form the major part of the population of Panipat district. There are Christians, Jains and also a few Buddhists. The main language spoken in the district is Hindi,
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followed by Punjabi. Out of 234 villages in Panipat district, 220 are inhabited. All the villages have drinking water and power supply. The facility of approach by pucca road is available in 99.55 per cent of villages, 95 per cent of the villages have access to education, facility of communication is available in 82.27 per cent of the villages, medical facilities in 62.27 per cent of the villages and the facility of post and telegraph in 53.64 per cent of villages.
Tehsil Camp Rd, Panipat
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Craft in Making
02
Weaving, Shondapur 23
Dhurrie Weaving
Panipat, a historical town of India, presently known as ‘The City of Textiles’ was once famous for its khes weaving. These were woven in a double cloth weave with cotton yarn, making it thick enough to be used as a shawl. It was more popularly used as a bedding material. With the advent of the power loom, the handloom sector of Panipat suffered a setback. However while the Dhurrie weaving industries manged to survive, Khes weaving died out owing to its time consuming complex weaving. By far the largest volume and varieties of floor coverings made in India are in cotton, universally known as Dhurries. A dhurrie is a smooth, hard, pile less, cotton fabric usually in simple stripes in different colours running from side to side or broken into rectilinear structure or simple patterns or in single colours. They make most effective and cool floor coverings with their arresting colours and sometimes with
artistic designs. Reactive procion dyes are used because of their cheapness. These dhurries are woven all over the country in infinite varieties, which are too many to be enumerated. Dhurrie weaving seems to have now reached a stage where it fails to provide even enough subsistence to maintain a family. The men have mostly taken to other more remunerative modes of employment. There ae no new master craftsmen emerging from among them as weaving no longer offers any incentive to high ambition or attainment of professional efficiency. The weavers merely continue to copy rather indifferently what their old folks once used to do. The creative element has died out. Earlier dhurries were made in very large sizes, but now they are produced only in small sizes. In the old dhurries one can still see the varied and intricate patterns that once distinguished them.
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Method of Weaving
Main differences between hand-loom dhurrie weaving and plain weave is that while in a plain weave the warp and weft are evenly spaced therefore they are both seen, with tapestry weave used in dhurries, the warps are more widely spread, and the wefts are packed densely to completely cover the warp threads. This imbalance creates weft-facing weaves that carry the entire pattern.
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PLAIN WEAVE
WEFT - FACED PLAIN WEAVE
TAPESTRY TECHNIQUE
PEDDLE TECHNIQUE
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Dhurrie Characteristics
Dhurrie can be a preferred option to add a dash of colour on the floors as they are easier to maintain, not too expensive and reversible. Dhurries are easily portable being light weight and fold able. The cotton dhurrie is warm in winters and cool in summers therefore suitable for all seasons. The warp threads are a robust cotton and remain undyed. These are wound into ‘warps’ on a large frame and will create the backbone of the rug – no warp threads will be visible in the final piece. Mostly woven in three styles plain stripe, extra weft design or peddle design and the tapestry technique also called the cut shuttle method.
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Carpet vs Dhurrie
Although durries have a similar weaving process to carpets, they differ on various counts. A dhurrie is a flat, woven, light rug, usually reversible, whereas a carpet is usually heavier, with one display side. A dhurrie is lighter because it is mainly made of cotton, while a carpet uses wool and is thicker as well. This also makes carpets more expensive. The process of dhurrie making is different from that of carpet making. Normally, the main tool in dhurrie making is a vertical frame composed of two horizontal beams on which the warp is fitted, unlike the big looms carpet making involves. Durrie making is also less time consuming.
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Haryana Emporium, Delhi
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Colors & Motifs
Durries were found in plain, horizontal stripes or diamond shapes all over. A large variety of floor coverings made in India were in cotton. These were in single colour or simple stripes in different colours. The most interesting and colourful were the Punja Durries made by women from hand spun yarn. These were colourful, with bold animal figures and motifs. Durries were made in geometrical patterns and reversible. Durrie weavers were weaving traditional, geometrical designs and used direct dyes of bright colours. Majority of weavers made Durries for their own use only by fresh and old cotton fibres with stripes, geometrical, stylized, floral and figurative motifs. The designs included traditional, tribal or modern, geometric, Chinese or tantric, floral or abstract in sizes ranging from
3’x5’to 9’x12’ in contrasting mid-pastel shades of pinkishblue, greyish-black, beiges, earthen brown, burnt sienna’s, period greens, heavy reds, seasonal blues and vibrant oranges. Traditional Sindhi Durries are a combination of culled undyed natural yarn in shades of white, grey, black and brown mixed with vegetable dyed wool of indigo, green and madder red. Today weavers prefer brighter colours of synthetic dyes. Simple striped Durries evolved to incorporate innovation in colour, design and fibre. In stripes category two types of stripes were made i.e. large and small stripes. Large stripes Durries were used for religious ceremonies and were greatly favoured in royal household. Small stripes designs were most common and appealing.
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Peddle Loom, Shondapur
Loom
In peddle loom artisan makes the rug through pedals, and it is used mainly for producing thin flat-weave rugs. It is also used for making chunky flat weaves and shaggy pile rugs, whereas weft faces flat rugs do not have a pile, and they are often reversible. The space or gap between the two layers of warp threads is called shed. A shed is produced by the means of healds or harness. The warps are maintained in tension between two beams, in between healds are used to help two levers, these healds are connected with two peddles, which are used for shedding. Wefts are inserted manually inside the shed. The warp threads are divided onto two layers one above the other for the passage of the shuttle with a pick of weft.
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Raw Material
Originating from a cotton plant. The unprocessed hank of 20 count of cotton weft yarn. After bleaching, 20 strands are piled together & wound into a ball. UV cotton costs around Rs75 per kilograms whereas non UV or blended cotton costs Rs60 per kilograms. Ready to be converted into small shuttles for weaving. Dhurrie warps are laid using a thicker 10 count, 6 ply cotton yarn. Other than this chenille, wool, silk, jute yarns are also used. Raw fibre is cleaned and then spun into yarn.
Cotton Yarn, Shondapur
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Tools
Charkha spinning to make spindles
Reeling machine
Spools connected to warping wheel
Reed
Warping wheel
Warp beam
Warp Yarns
Weft yarn spindle
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Pirn rod to wrap weft yarns so that it can be put in shuttle
Weft Shuttle
Comb
Heald shaft
Measuring tape
Wooden stick to keep fabric stretched
Knife
Cutter
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Dyeing
Two types of dyes are used in this process, vegetable dyes which use indigo, harad, mangeetha, pomegranate peel, etc. And the chemical dyes. Reactive procion dyes are used because of their cheapness. Each dye is boiled for a specific time depending on the preferred colour and type of dye used. After dying, the yarn is once again hang it to dry. Common salt is added in dye solution. 35
Salt plays this crucial role of catalyst. Salt has an extremely high affinity for water. It is necessary in three ways, firstly, to drive dye into textile during the dyeing process in textile. Secondly, use of salt leads to maximum exhaustion of dye molecules during dyeing process in textiles. Thirdly it is used as an electrolyte for migration, adsorption and fixation of the dyestuff to the cellulose material.
Spinning
Once the dyed yarn is ready, it needs to be wound around a spindle or be made in bundles. This is done using the charkas which works with a pedal. This process helps make the spools of thread with which the weaving is done.
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Warping
The loom is made of a frame of four beams. The horizontal beam is wedged against the vertical ones. Together, the set up leans against a wall. This is the process where the base threads are set. Every woven product has a base thread in white. Drafting – The warp yarns are passed through the heald shafts according to the desired design. Denting – The warp yarns from the heald are passed through the reed.
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Weaving
Once the spindles, spools and are ready, the base threads are mounted on the main loom. With the help of the spindle, spool and the base threads, the magical weaves are woven by hand. Columns of thread are stretched from top to bottom. We then warp the yarn with cotton, providing a smooth, straight and comfortable rug. The warps are then protected with wefts, which are organized horizontal rows of pure wool, cotton, or silk. Overheads like sizing, warping, loom setting and transport is included in costing in which the profit margin is about 10 to 25 percent. Karigars work on piece rate which is equal to approximately Rs400 for working 8 hours a day.
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Finishing
The completed rugs are evened out, trimmed. 40
Research
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25
A
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C
100
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Other Crafts Performed
Haryana being an agricultural state, women also work with men in the fields; hence crafts have not evolved into art forms and remain rooted to their original usage. Nevertheless, the arts and crafts never cease to fascinate the true art connoisseurs. Craft of Haryana mainly covers the range of pottery, embroidery and weaving. Colourful Phulkari dupatta of Haryana is famous in India and abroad. It also include sculpture and murals both of Persian and Mughal style. Woven furniture, artistic sheet metal work, palm leave craft, wooden bead making, zari & tilla jutti (leather footwear), lace work, bone carving, wood carving are some of the artistic craft that Haryana is known for. Panipat in Haryana is famous for its handloom tradition, especially rugs and upholstery fabric that is the reason why it is known as a major textile town in India. Haryana is famous for two types of woven furniture Mudhas (round stools) and chairs made of sarkanda (a reed) from Farookh Nagar and pidhis from Soniepat which are essentially wooden stools with seat woven in cotton threads or sutli. One of the interesting items made at Jhijjar is pitcher made from clay. Interestingly, the clay gives a sweet taste to the water stored in the pitcher.
Pottery Making, Panipat 43
Handloom Production
Production using handloom has been displaying an increasing trend over the years. The aggregate cloth production by the handloom sector stood at 8.01 billion square metres during the year 2016-17 registering 4.8% year-on-year growth. Owing to the global downturn, cloth production by handloom had declined in the years following 2008-09; however since 2011-12, hand woven cloth production has been increasing continuously. The share of the handloom produced cloth in the total cloth production during the year 2016-17 was estimated at 17.4%.
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Top Five Organic Cotton Producing Countries (2011-12)
Metric Tons
Fiber Production (% of total)
India
103,004
74.20%
Turkey
15,802
11.38%
China
8,106
5.84%
Tanzania
6,891
4.96%
United States
1,580
1.14%
Country
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Handloom Export from India (2012-13) 3% 2% Floor coverings were the second largest handloom product segment exported from India. Two commodities which have been segregated under the carpets and other textile floor coverings category. For HS Code 570242 (carpets and other floor coverings, of man-made textile materials, woven, not tufted or flocked, of pile construction, made-up), the value of global imports was estimated at US$ 1811.4 million during the year 2016. The major markets for this product were US, Saudi Arabia, Germany, Austria and UK. India has a miniscule share of 3% in the exports of this product to the US, and is not identified among the top 5 suppliers to the other major markets of Saudi Arabia and Austria. These markets should be targeted to amplify India’s exports by focusing on product quality and customisation as per demand. The value of global imports of carpets and other textile floor coverings, whether or not made up (HS Code 570500) was US$ 1157.5 million. India has the potential to penetrate the Japanese market for carpets and other textile floor coverings and its major competitor is China which holds a significant share of 95.4% in the Japanese market.
22%
73%
Madeups (Bed & Table Linen) Floor Coverings Clothing Accessories (Stoles, Scarves) Fabrics (Handkerchiefs, Sarees)
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Features of Handloom Industry
• Panipat exports about 50% of the total export handloom industry. • Panipat has been awarded for Gold Trophy by Export Promotion Council for highest export of woollen hand tufted carpet. • Panipat town has got the distinction of having 35 Yarn Spinning units at one particular place. • The Industry provides employment to more than 90,000 persons directly or indirectly. • Total export from Handloom industry is estimated to be more than 1200 crores. • More than 50,000 handlooms (Pit looms and Frame looms) are working in Panipat under the ownership of about 4200 different units. • Handloom Industry of Panipat is meeting out 75% demand of Barrack Blankets of Indian Military.
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Consumer Buying Behavior
Market survey was carried out by maitreyi weaves and crafts Private Limited in the selected cities of India, regarding the handloom furnishings. • Females were the major decision makers as far as the buying of handloom products is concerned. • Quality and Branding has emerged out to be an important parameter. • Upper middle class was the major consumer segment that buys the handloom products. • Middle class is still not attracted towards handloom products, because the price and maintenance of the handloom products was high as compared to the mill products. • Well-educated consumers who have the purchasing power and a taste for quality and design preferred handloom products. • Bright colours were popular throughout the country. Young married consumers (25+) and the middle-aged consumers (45+) showed a higher buying frequency. • It was observed that in this class also, double income families who have larger disposable income at their hand did exhibit a higher buying behavior.
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Challenges Faced
• • • • • • • • • • • • • • • •
Industrial Area, Panipat 49
Low yields Lack of electricity Dearth of standardisation in quality Lack of information on schemes Reduction in number of weavers Paucity of novelty in designs Unorganised nature of industry Economic, technological and input constraints. Low sale price and poor marketability Weavers are not aware of latest product trends and changing consumer demand. Less remuneration to the weavers Lack of financial assistance The weavers who worked independently, faced problems of low productivity due to shortage of raw material. Lack of proper dyeing facilities and water treatment plants. Unhygienic and Congested working space with poor lighting. Insufficient research and training thus take long time in calculation while weaving new motifs.
Current Scenario
• India is one of the world’s largest producers and exporter of hand-made carpets in terms of value as well as volume. 90 percent of the carpets manufactured in India are exported (Indian Brand Equity foundation, 2014). • Seven types of hand-made carpets are produced in the country: Hand-knotted woollen carpets, tufted woollen carpets, woollen carpets, hand-made woollen dhurries, pure silk carpets, staple/synthetic carpets and chain stitch rugs. • US is the largest export destination for Indian carpets with 50 percent market share. • In Europe, Germany is a major market and other destinations include Italy, Spain, Turkey and Arabian countries (Ministry of Textiles, 2012). • Analysis of destinations show that USA remained as the single largest destination for Indian carpets with a share of 42.64 percent during the pre MFA period and 42.41percent during the post MFA period.
• In Europe, Germany is a major market for Indian carpets. Germany had a share of 26.86 percent during the pre MFA period registered a decline 16.81 percent during the post MFA period. A decline in the market share of Germany can be attributed to the strong competition India faces from China and piling up of stocks with German importers. • UK which had a share of 4.89percent during pre MFA has improved its performance in the post MFA period with a share of 6.47percent. • Japan which had a share of 3.86 percent during the pre MFA period has experienced a decrease in their market share to the extent of 1.40 percent. • In the global trade market, main competitors for Indian carpets are Iran, China and Nepal. Iran accounts for about 20 to 25 percent of total exports. China accounts for about 20 percent and Nepal for a near 10 percent. Other significant exporters include Turkey, Afghanistan, and Pakistan.
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Strategies
Government Support
• Institutions like ‘self-employed women’s associations’ should be encouraged which will equip women with collective strength, conscious decision making, knowledge of production and marketing skill. • Investment should be done in skilled development programmes so that the weavers will be able to add modern blends to the traditional crafts. • The quality assessment of yarns, woven fabrics, dyeing, finishing and packaging should be done beautifully. • Training facilities should be provided to weavers which will reduce the chances of defects in production and will turn the cost down. • Technology upgradation in handloom is necessary to increase the Indian designers should help local weavers and craftsmen to revive traditional handloom. • There is a need to create awareness about the features, advantages and demand of handloom products in national and international market. • Young generation should be motivated to pursue the craft by using advanced internet technology for improving technique and sharpening their skill.
National Handloom Development Programme The programme has been conceived with the objective of promoting the handloom industry. The two major constituents of this scheme are: Revival, Reform and Restructuring Package (RRR) for Handloom Sector: The RRR Package was approved by the Cabinet Committee on Economic Affairs (CCEA) on 24th November 2011 and was effective till 31st December 2012. The RRR Package comprised one time waiver of overdue loans and interest of the handloom cooperative societies as well as the individual weavers as on 31st March 2010. It also aimed to recapitalize viable handloom cooperative societies and ensure provision of subsidised credit to handloom weavers and cooperative societies Comprehensive Handloom Development Scheme: This scheme seeks to support weavers, both within and outside the cooperative umbrella, towards acquisition of raw materials, design inputs, technology up-gradation, marketing support through exhibitions, creating permanent infrastructure in the form of Urban Haats, marketing complexes, setting up of Weavers Service Centre (WSCs) and Indian Institutes of Handlooms Technology (IIHTs), development of web portal for e-marketing of handloom products etc. This scheme has various other sub-components aimed at development of the handloom industry including: 1) Integrated Handloom Development Scheme • To form handloom weavers group. • To cover weavers within and outside the cooperative fold. • To facilitate credit from Banks. • To provide better working conditions to the weavers. • To orient Marketing, Designing and managing the production.
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2) Mill Gate Price Scheme • This scheme was introduced in 1992-93. • National Handloom Development Corporation (NHDC) is the agency authorized to implement the scheme. • The scheme benefits all handloom organizations of National/ State/ Regional/ Primary level and NGO’s. • All types of yarn required for production of handloom items are covered under the scheme. • National Handloom Development Corporation (NHDC) arranges yarn from the mills at Mill Gate Price to the go down of the agencies. a) Handloom Weavers Welfare Scheme • Health Insurance Scheme • This scheme was introduced in November, 2005. • It was implemented in collaboration with ICICI Lombard • Insurance Company. • It enables weavers to access the best healthcare facilities. • The schemes covers the weaver, his/her spouse and two children. • The annual limit per family is Rs. 15,000/-. • 4.57 Lacs weavers were covered during this scheme. b) Mahatma Gandhi Bunkar Bima Yojna Scheme • This scheme was launched on October 2, 2005. • The scheme was implemented in collaboration with Life Insurance Company (LIC). • The scheme covers natural as well as accidental death. • The sum assured for natural death Rs.60,000/- per weave, for accidental death Rs.1,50,000/-, for total disability Rs.1,50,000/- and for partial disability Rs.75,000/-. • Rs.1200/- per child per year (maximum 2 children) is given for education.
3) Export Promotion Scheme • To identify and assist suitable Apex/ Primary Handloom Cooperative Societies and cooperation in developing the products that are export worthy. • Market penetration through participation in International Exhibitions and Buyer Seller meets. • Components under Export Promotion Scheme- Export projects, International Fair and Exhibitions, Setting up of Design Studios, Promotional Events. Marketing Incentive to Handloom Sector During the year 2016-17, an amount of Rs. 40.96 crore was released as marketing incentives. The beneficiary unit is expected to use this amount towards activities that would attract the consumers in order to enhance overall sales of handloom goods. Eligible agencies for availing of Marketing Incentive include State handloom corporations, apex cooperative societies, primary handloom weavers’ co-operative societies and national level handloom organizations. Indian Handloom Brand The Indian Handloom Brand was inaugurated by the Hon’ble Prime Minister on the event of the First Handloom Day on the 7th of August 2015. It was launched to increase awareness about the exemplary advantages of using Indian handloom products including their quality with regards to raw materials, processing, weaving & also the environmental friendly feature of handloom output. The Brand is an initiative for positioning high quality handloom products with zero defects & zero effect on the environment, and is granted exclusively to superior quality products without any deficiency in standards.
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SWOT Analysis
STRENGTHS • Skilled artisans • Indigenous craft of India • Sustainable approach towards product development and resources • Unique characteristics of craft form • High demand of products in International market • Cut shuttle technique is not possible on power looms • Availability of raw material • Dye able and durable product • Dhurrie can be used from both sides
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WEAKNESSES • The weavers do not get reasonable prices of their finished products • There is lack of organizational strength. • During agriculture season the weavers get engaged in agricultural field. As a result, the handloom work suffers. • Lack of training facilities. • Products are heavy due to thicker yarn count • Pit looms are age old and space occupying • Little innovation in terms of pattern and product range • Use of harmful chemical dyes & absence of water treatment plants.
OPPORTUNITIES • • • •
Huge market potential. Vast innovation possibilities in terms of motifs and colour. Scope for introducing new product category Some members of artisan’s family can be involved in stitching and development of new product category like cushions, ottoman, throw etc. • Fine yarns can be introduced • Improvement in yarn manufacturing process. • Creative product packaging.
THREATS • Young generation not motivated enough to pursue same profession due to lack of income and appreciation. • No investment capital. • Imitation products made by power looms are available in market at much lower prices. • Absence of space and light in Karkhana resulting in craftsman’s’ poor eye sight and other health issues. • Lack of education and awareness regarding ongoing schemes and campaigns.
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Product Development
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Inspiration
‘Kapas’ is the Hindi name for Cotton. This Home Décor collection is about using natural fibre and age old Dhurrie Weaving technique of Panipat – known as ‘The City of Weavers’ for making beautiful, meaningful and relevant products. Collection is based on the Japanese concept ‘Kanketsu’. This concept stresses that true simplicity is often achieved through a complex process. Kanketsu urges us to keep our designs simple, to look at nature for inspiration and to follow the mantra of “less is more”.
REJUVENATING | DELICATE | CONTEMPORARY DECENT | MINIMAL | SOOTHING | FRESH | SUBTLE 57
PANTONE : 14-4307 TPX
PANTONE : 13-0755 TPX
PANTONE : 11-0103 TPX
PANTONE : 16-1054 TPX
PANTONE : 14-0721 TPX
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Client Profile AGE GROUP 25 TO 50 Yrs GENDER Female / Male MARKET Urban ECONOMIC STATUS Middle to Upper class OCCUPATION Working in private or public sectors, Entrepreneurs and Designers PSYCHOLOGICAL MAKEUP Craft enthusiast, prefers good quality sustainable products, graceful taste. HABITS Reading, Traveling and Shopping PRODUCT EXPECTATION Range of home accessory products that re-intepret age old weaves adorned with innovation. Product that gives a fresh look to house. Re-energizing and soothing color palette, value for money, decent and good quality product.
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Motif Exploration
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Design Development
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Design Development
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Specification Sheet- 1 | Floor covering - 30” x 50” | 11-0103 TPX
3”
13-0755 TPX
1”
14-4307 TPX
2.5”
Weft Faced Plain Weave 67
YARN TYPE
COTTON
EPI x PPI
6 x 10
SELVAGE
6 Ends each
REED
6
DENTING
1 End / Dent
TOTAL NO. OF ENDS
192
YARN COUNT (WARP)
6s
WARP PLY
3
YARN COUNT (WEFT)
4s
WEFT PLY
4
HEALED SHAFT
2
Specification Sheet - 2 | Magazine Holder - 10” x 28” | 11-0103 TPX
4”
16-1054 TPX
2” 2” 2.5” 2” 3” 2” 2.5” 2” 2”
4”
Weft Faced Plain Weave
YARN TYPE
COTTON
EPI x PPI
8 x 16
SELVAGE
6 Ends each
REED
8
DENTING
1 End / Dent
TOTAL NO. OF ENDS
92
YARN COUNT (WARP)
6s
WARP PLY
3
YARN COUNT (WEFT)
4s
WEFT PLY
2
HEALED SHAFT
2 68
Specification Sheet- 3 | Ottoman - 12” x 16” | 11-0103 TPX 13-0755 TPX
3” x 3”
1/2”
Peddle Technique
69
YARN TYPE
COTTON
EPI x PPI
7 x 16
SELVAGE
6 Ends each
REED
7
DENTING
1 End / Dent
TOTAL NO. OF ENDS
96
YARN COUNT (WARP)
4s
WARP PLY
2
YARN COUNT (WEFT)
4s
WEFT PLY
2
HEALED SHAFT
6
Specification Sheet - 4 | Cushion Cover - 16” x 16” | 11-0103 TPX 14-4307 TPX
3/4”
1 1/2 ”
6”
10” Cut Shuttle Technique
YARN TYPE
COTTON
EPI x PPI
8 x 16
SELVAGE
6 Ends each
REED
8
DENTING
1 End / Dent
TOTAL NO. OF ENDS
140
YARN COUNT (WARP)
6s
WARP PLY
3
YARN COUNT (WEFT)
4s
WEFT PLY
2
HEALED SHAFT
2 70
Specification Sheet- 5 | Cushion Cover - 16” x 16” | 11-0103 TPX
1/2”
1”
13-0755 TPX
1 1/2 ”
2”
5”
6” Tapestry Technique
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5”
YARN TYPE
COTTON
EPI x PPI
8 x 16
SELVAGE
6 Ends each
REED
8
DENTING
1 End / Dent
TOTAL NO. OF ENDS
140
YARN COUNT (WARP)
6s
WARP PLY
3
YARN COUNT (WEFT)
4s
WEFT PLY
2
HEALED SHAFT
2
Specification Sheet - 6 | Cushion Cover - 18” x 12” | 11-0103 TPX
1” 2
1/2
1/4”
14-0721 TPX
”
1” 1” 1”
1/2” 1/2” 1/2” 1/2”
2 1/2 ” 1” Weft Faced Plain Weave
YARN TYPE
COTTON
EPI x PPI
8 x 16
SELVAGE
6 Ends each
REED
8
DENTING
1 End / Dent
TOTAL NO. OF ENDS
156
YARN COUNT (WARP)
6s
WARP PLY
3
YARN COUNT (WEFT)
4s
WEFT PLY
2
HEALED SHAFT
2 72
Specification Sheet- 7 | Cushion Cover - 18” x 12” | 1”
11-0103 TPX
1/4”
16-1054 TPX
2 1/2 ” 1” 1” 1”
1/2” 1/2” 1/2” 1/2”
2 1/2 ” 1” Weft Faced Plain Weave
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YARN TYPE
COTTON
EPI x PPI
8 x 16
SELVAGE
6 Ends each
REED
8
DENTING
1 End / Dent
TOTAL NO. OF ENDS
156
YARN COUNT (WARP)
6s
WARP PLY
3
YARN COUNT (WEFT)
4s
WEFT PLY
2
HEALED SHAFT
2
Specification Sheet - 8 | Cushion Cover - 12” x 18” | 11-0103 TPX 14-0721 TPX
1/2”
16-1054 TPX
2”
4”
8”
2” 1/2”
Weft Faced Plain Weave
YARN TYPE
COTTON
EPI x PPI
8x8
SELVAGE
6 Ends each
REED
8
DENTING
1 End / Dent
TOTAL NO. OF ENDS
108
YARN COUNT (WARP)
6s
WARP PLY
3
YARN COUNT (WEFT)
4s
WEFT PLY
4
HEALED SHAFT
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Sampling
Weaving, Akshay Enterprises
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Weaving, Akshay Enterprises
Weaving, Akshay Enterprises
Weaving, Akshay Enterprises
Weaving, Akshay Enterprises
Weaving, Akshay Enterprises
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Actualization
Dhurrie 30” x 50”
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Magazine Holder 11” x 6.5” x 14”
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Actualization
Ottoman 16” x 12” x 16”
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Actualization
Cushion Cover 12” x 18”
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Cushion Cover 16” x 16”
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Artisan’s Profile
JAMIA ALAM JI Age Gender Education Village Occupation Side Occupation Experience Monthly Income Working Hours 83
47 yrs Male Primary Bareily, Uttar Pradesh Master Weaver Agriculture 20 yrs Rs.20,000 6-8 hours/day
SUNITA JI Age Gender Education Village Occupation Side Occupation Experience Monthly Income Working Hours
43 yrs Female Primary Shondapur, Panipat Handloom Finishing Agriculture 15 yrs Rs.5,000 - 7,500 6-8 hours/day 84
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References
Website http://haryanatourism.gov.in http://agriharyana.gov.in https://www.swadesi.com http://www.craftmark.org https://asiainch.org http://shyamahuja.com https://www.jaipurrugs.com https://www.fabindia.com haryana-handicrafts.html https://www.craftscouncilofindia.org Books Chattopa, K., Carpets and Floor Coverings of India, Stosius Inc/Advent Books Division, UK, 1976 Ahuja, Shyam, Dhurrie: Flatwoven Rugs of India, India Book House, New Delhi, 2000 Chaldecott, Nada, Dhurries: History, Technique, Pattern, Identification, Thames and Hudson, UK, 2003 Housego, Jenny and Shankar, Ann, Bridal Durries of India, Grantha Corporation, 1999 Research Paper Malik, Aarti, Singh, Ajmer : Study of Selected Handloom Industry in Panipat, 2015 Kumar, Ashish, Kaur, Simaran : Indian Handloom Industry, potential and prospects, 2018 Rose, M., Neelam, Yadav, Saroj : Punja Durrie: A Diminishing Textile Craft of Haryana, 2019 Kumari, Ratna,D., Paul, Milcah, M., Rani, Radha,P. : Review on Consumer Opinions and Preferences Regarding Interior Design Products Made from Handlooms, 2017
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