Paithani Craft Cluster

Paithani An Illustrated Guide

"From farm to your wardrobe, the birth and life of a Paithani saree"

National Institute of Fashion Technology , Mumbai Department of Master's In Design Space, 2020-2022

Name of Authors Abhishek Soni Neha Patel Nisha Rani Pranali Goswami Shivangi Raj Shubham Verma Shweta Ralegaonkar Mentor: Mrs. Shankhalina Choudhury

© D e p a r t m e n t o f M a s t e r s i n D e s i g n S p a c e , N IF T , M u m b a i , J u n e 2 0 2 1 T h i s i s a n o f f i c i a l d o c u m e n t p r e p a r e d b y t h e 2 0 2 2 0 - 2 2 b a t c h o f M .De s. d e p a rt m e n t o f N IFT , M u m b a i . A l l r i g h t s r e s e r v e d . U n l e s s o t h e r w i s e s p e c i f i e d , n o p a rt o f t h i s p u b l i c a t i o n m a y b e r e p r o d u c e d o r u t i l i z e d i n a n y f o r m o r b y m e a n s , e l e c t ro n i c o r m e c h a n i c a l , i n c l u d i n g p h o t o c o p y i n g a n d m i c r o f i l m , w i t h o u t p e r m i s s i o n i n w r i t i n g f ro m t h e M .De s. d e p a rt m e n t , N IFT , Mumbai at the address given below: Director, Masters of Space Design, National Institute of Fashion Technology, Plot no. 15, Sector 4, Kharghar, Navi Mumbai, Maharashtra 410210 India Telephone: 022 2774 7100 E m a i l : m d e s .m u m b a i @ n i f t . a c . i n W e b s i t e : h t t p s : / / w w w . n i f t . a c . i n /m u m b a i /

Preface

Paithani Sarees being a GI marked handloom product has been known the c o u n t r y o v e r f o r i t s u n i q u e n e s s o f w o n d e r f u l b l e n d o f d e si g n s a n d sh a d i n g s.

A s i s c o m m o n l y s a i d , w i t h e a c h p o p u l a r i t y c o m e s a n u n d e n i a b l e d e g re e o f c o m m i t m e n t a n d d i f f i c u l t w o r k , t h e e q u i v a l e n t g o e s f o r t h i s w o rk m a n sh i p .

T h i s h a n d l o o m w o r k m a n s h i p w a s p i c k e d f o r t h e s o l e re a so n t o su rf a c e t h e o n e s b e h i n d t h i s c r e a t i o n a l o n g s i d e t h e e x t r e m e l e v e l o f t h e i r h a rd w o rk . T h e customary culture of Yeola and Paithan, and the devotion of the n e i g h b o r h o o d i n d i v i d u a l s i n s a f e g u a r d i n g t h i s c r a f t sm a n sh i p si n c e t h e c o m m e n c e m e n t , p r e s e n t , a n d t h e c o m i n g f u t u r e w a s t h e i n sp i ra t i o n d ri v i n g this research.

T h e e x p l o r a t i o n w a s o b l i g e d b y t h e C O V ID - 1 9 P a n d e m i c f ro m b e i n g d i re c t e d physically to online mode. Five-day sessions of 6 hours each utilizing zoom m e e t i n g s t a g e w e r e m a s t e r m i n d e d w i t h f o u r u n i q u e c r a f t sm a n a l o n g si d e o n e educator with a Ph.D. degree in Paithani art. Being an online meeting, it had i t s o w n a r r a n g e m e n t o f r e s t r i c t i o n s i n c l u d i n g n o t h a v i n g t h e o p t i o n t o se e e a c h m i c r o - d e t a i l s o f t h e w e a v i n g m a c h i n e s , t o c o n t a c t a nd f e e l t h e i t e m , u n f i t t o o b s e r v e t h e p r o c e s s l i v e , a n d s o o n . B e t h a t a s i t m a y , co n si d e ri n g e v e ry o n e o f t h e s e r e s t r i c t i o n s , t h e e x a m i n a t i o n w a s a l l a r o u n d d i re c t e d a n d w a s re a l l y e x u b e r a n t . E v e r y o n e o f t h e c r a f t s m a n a n d t h e t e a c h e r , ga v e u s p ro f o u n d b i t s o f k n o w l e d g e a n d c l o s e t o l i v e i n s i g h t t o f e e l a nd k n o w t h i s l o v e l y workmanship.

Acknowledgement

T h e w o r l d i s a s u p e r i o r p l a c e b e c a u s e o f i n d i v i d u a l s w h o w a n t t o c re a t e a n d l e a d o t h e r s . W h a t m a k e s i t s u r p r i s i n g l y b e t t e r a r e i n d i v i d u a l s w h o sh a re t h e endowment of their chance to tutor future pioneers.

M u c h o b l i g e d t o y o u t o e a c h a n d e v e r y i n d i v i d u a l w h o e n d e a v o rs t o d e v e l o p a n d h e l p o t h e r p e o p l e d e v e l o p . W i t h t h i s i d e a , w e w o u l d l i k e t o sa y t h a n k s t o M r . N i t i n P e n d h a r k a r , M r . N i l e s h P a r d e s h i , P r o f . D r . R a m e sh P a h i l w a n , M rs.

S h a s h i k a l a B h o s l e , a n d M r . S a g a r f o r t a k i n g o u t t i m e o u t o f t h e i r b u st l i n g s c h e d u l e o f w o r k a n d h o m e f o r u s a n d l o a n u s t h e i r i m p o rt a n t i n f o rm a t i o n a b o u t t h e c r a f t s m a n s h i p . L i k e w i s e , f o r m a k i n g t h e o n l i n e c o l l a b o ra t i o n a s vivacious as conceivable with incredible correspondence.

W e m i g h t w a n t t o s t r e t c h o u t o u r t h a n k s t o A s s o c i a t e P ro f e sso r M rs. R a sh m i Gulati for offering us this great chance to work and get illuminated in this w a y . A l o n g s i d e h e r , w e a r e a d d i t i o n a l l y a p p r e c i a t i v e t o M rs. S h a n k l i n a ' s m a m f o r a i d i n g a n d c o n t r o l l i n g u s a l l t h r o u g h t h e i n t e r a c t i o n f ro m b e g i n n i n g t i l l end as our mentor.

A l l t h e r e l a t i v e s o f t h e a u t h o r s a r e t o b e l i k e w i s e e x p r e s se d g ra t i t u d e t o w a rd f o r t h e i r r e l i a b l e h e l p a n d t o l e r a n c e a l l t h r o u g h t h e m e e t i n g s.

W e a r e l i k e w i s e a p p r e c i a t i v e t o t h e m a k e r s o f t h e Z o o m m e e t i n g f o r a si m p l e , agreeable, and magnificent platform.

Abstract

T h i s b o o k e x p l o r e s P a i t h a n i , a h u m a n - c r a f t e d a r t o f w e a v i n g t h a t sh a p e d a n d r e s h a p e d h o w w e a v e r ' s d e s i g n e d a n d m a r k e t e d m i l l i o n s o f H a n d l o o m c ra f t s.

Paithani sarees are the basic building blocks for placing a unique identity of M a h a r a s h t r a o n t h e a r t a n d c r a f t m a p o f In d i a . B e h i n d t h i s f a m e g o e s a t o n o f i n t e n s i v e m a n u a l l a b o r o f s k i l l e d a r t i s a n s , a l o n g w i t h t h e sa c ri f i c e s o f n u m e r o u s s i l k w o r m s t o p r o d u c e i n v a l u a b l e s i l k t h r e a d s . T h e w h o l e p ro c e ss o f w e a v i n g s t a r t i n g f r o m s o u r c i n g t h e r a w m a t e r i a l s t o t h e p ro d u c t o f m a k i n g i s d o c u m e n t e d i n t h i s b o o k l e t . T o g i v e y o u a u n i q u e v i e w t h ro u g h t h e a rt i sa n ' s e y e t o t h e P a i t h a n i a s a c r a f t a n d b u s i n e s s , a s e p a r a t e 'P oi n t o f v i e w ' g a l l e ry i s a l s o c o v e r e d . A l o n g w i t h t h e v a r i o u s g o v t i n i t i a t i v e s, t h e su st a i n a b i l i t y a p p r o a c h o f t h i s b u s i n e s s e d i f i e s t h e a u d i e n c e s a b ou t t h e st ra t e g i e s o f i n t e r v e n t i o n b e i n g o r s h o u l d b e p o s s i b l e i n t h i s s e c t o r. A v a st a n d d e t a i l e d a n a l y s i s i n v o l v i n g t h a t o f t h e a r t i s a n a n d t h e b u s i ne ss— e st a b l i sh e s t h e u n d e r s t a n d i n g o f t h e f i n a n c i a l m e c h a n i s m s , c o n s u m e r f ra m e w o rk s, a n d domestic ideologies on which this business stands.

K e y w o r d s : d y e i n g , w e a v i n g , a r t i s a n s , s u s t a i n a b i l i t y , g o v e rn m e n t i n i t i a t i v e s, marketing

01 मूळ & उ

03 ांती

ORIGIN & EVOLUTION Provenance History Timeline

02

सहय

उ पादन

MANUFACTURING Dyeing process Weaving process Knotting process Lakat process Saree weaving process Types of paithani saree Traditional motifs Evolution in motifs Evolution in Paithani colors of paithani

04 ीकोन

MATERIALS

POINT OF VIEW

Raw materials Parts of loom Evolution & techniques Tools used

Artisan's Gallery A day on Market study Sigh of satisfaction Pessimistic eyes

05 ह त ेप

GOVT. INITIAVES The box of Schemes Geographical Indication Hnadloom Mark Silkmark

07 06

व

ेषण

ANALYSIS

SWOT Analysis PESTEL Analysis

08

पायदार

नि कष

Environmental protection Social Equity Economic viability

Glossary Bibliography About the Artisan About the Authors

SUSTAINABIITY

CONCLUSION

मूळ & उ ORIGIN & EVOLUTION

ांती

Provenance Maharashtra, a state in the western peninsular area of India possessing a considerable segment of the Deccan Plateau. Maharashtra is the second-most crowded state in India just as the second-most crowded country region on the planet. Maharashtra i s t h e m o s t i n d u s t r i a l i z e d s t a t e i n In d i a a n d t h e s t a t e ' s ca p i t a l , M u m b a i i s I n d i a ' s m o n e t a r y a n d business hub. The state has assumed a huge part in the nation's social and political life and generally viewed as an innovator as far as horticultural and modern creation, exchange and transport, and schooling. Some significant places of interest are Ajanta, Ellora, Elephanta, Kanheri and Karla caverns, Mahabaleshwar, Matheran and Panchgani, Jawhar, Malshejghat, Amboli, Chikaldara, Panhala Hill stations, and strict spots at Pandharpur, Aurangabad, Nasik, Shirdi, Nanded, Audhanagnath, Trimbakeshwar, Tuljapur, Ganpatipule, Bhimashanker, Harihareshwar, Shegaon, Kolhapur, Jejuri and Ambajogai.

History (Paithani) Paithani Saree is named after the Paithan village near A u r a n g a b a d f r o m M a h a r a s h t r a , w h e r e t h e s a r e e w a s f i r st m a d e o n a w o o d e n h a n d l o o m . Y e o l a i n N a s h i k i s t h e l a rg e st manufacturer of Paithani sarees today.

How did it appear?

M a h a r a j a o f S a a t v a n K a a l o f A u r a n g a b a d w a s a n a d m i re r o f w o r k m a n s h i p a n d c r a f t . A j a n t a E l l o r a c a v e r n s w h i c h w e re c l o se t o t h e P a i t h a n w e r e w e a l t h y i n c r a f t s m a n s h i p . F u r t h e rm o re , Paithan having a reasonable environment, Maharaja began c r e a t i n g P a i t h a n i i n P a i t h a n . A n d h r a h a d N i z a m r u l e r a ro u n d t h e n . H i s w o r k e r s u s e d t o i n c o n v e n i e n c e t h e n e a r b y c r a f t sm e n and consequently, those craftsmen moved to Yeola, as M a h a r a s h t r a w a s t h e a d j o i n i n g s t a t e . Y e o l a 's l e a d e r o f t h a t t i m e gave them asylum and security and furthermore upheld their specialty which made the craftsman from Paithan move to Yeola.

Wooden looms

Paithani advanced when Jacquard was presented a n d t h e f i r s t P a i t h a n i g o t t o t a l l y s u p p l a n t e d . It was no place to be seen after 1940. Benarasi Saree was contrasted and contending with sarees, for example, "Phulkinara" and "Paraspethi" which are neighborhood names of those sorts of sarees. The creation of Paithani expanded by 1965. In any case, in 1970 these sarees confronted an emergency, and the handloom diminished from 250-300 to 50-60 in Paithan.

Along these lines the Govt. chosen to set up "Prasikshan Kendra" for its turn of events. Yet, there was not a solitary individual from Paithan and in this way, ace weavers were called from Yeola to prepare the craftsmen of Paithan. After the preparation, the number of craftsmen expanded and so did the interest. Be that as it m a y , i n d i v i d u a l s f r o m P a i t h a n c o u l d n 't s a t i s f y t h e orders and along these lines, the abundance of them was given over to the craftsmen of Yeola.

Additionally, the sightseers who came to Shirdi began visiting Yeola, and gradually and step by step Yeola turned into the center for Paithani.

Satavahnas Kingdom 1st Century AD Paithan was known as Pratishthana.

Greece & Rome set up trade centres on the Western coast of India.

A spurt of Paithan craft and trade, especially to European countries like Rome.

Chalukyas Kingdom 630 AD - 700 AD Paithan became the Northern headquarter Paithani's fame grew more.

Vakatakas Kingdom

आपण सु क

(Lets start)

Timeline..

230 AD - 550 AD Paithan became district headquarter.

Industries were flourishing, especially textiles.

Depiction of colored and embroidered patterns along with imprints of paintings from Ajanta caves on silk garments.

Yedavas Kingdom 915 AD Paithan became to known as 'Dakshin Kashi'.

The rapid expansion of the textile industry due to rising Paithan's population The deep blue color and fine texture of silk garments earned them the name 'Gangavarni' meaning “Having the color of the River Ganga”.

Rashtrakutas Kingdom 730 AD - 912 AD Paithan became 'The Sacred City', an important centre of worship and cultural activity.

Depiction of features of Ellora temple on silk garments.

Solanki Invasion 1138 AD Paithan's prosperity attracted Solanki king of Anahilwad.

He invaded Paithan and took away most of the local weavers to his own capital in Gujrat.

MATERIALS

सहय

Silk S i l k i s a n a t u r a l f i b e r m a d e b y t h e s i l k w o r m c o c o o n . S i l k f i b e rs a r e v e r y s t r o n g a n d a r e o f t e n u s e d t o m a k e c l o t h . T h e p ra c t i c e o f g r o w i n g s i l k w o r m s f o r s i l k p r o d u c t i o n i s c a l l e d s e r i c u l t u re .

It is produced by insects as a material for their nests and c o c o o n s . T h e r e a r e s e v e r a l t y p e s o f i n s e c t s t h a t p r o d u c e si l k , including silkworms, the most common type of silk. The M u l b e r r y s i l k w o r m h a s p r o d u c e d s o m e o f t h e b e s t r e s u l t s. In most cases, silk is taken directly from their cocoons.

S i l k i s s o u r c e d f r o m B e n g a l u r u a n d M y s o r e . It i s t h e f a v o re d s i l k f o r w e a v i n g . T h e c r u d e , u n s o r t e d , a n d u n d y e d si l k i s c a r r i e d t o P a i t h a n a n d l a t e r c o l o r e d w i t h n a t u r a l c o l o rs o f d i f f e r e n t t o n e s . 9 5 % s i l k c o m e s f r o m B e n g a l u r u o n l y . P r e se n t l y , the silk is pre-colored with substance colors and arranged in two assortments. The weavers buy silk in kilograms dependent o n t h e c u r r e n t m a r k e t c o s t . E v e r y s a r e e n e e d s a r o u n d 70 0 t o 800 grams of silk string for both Bana and Tana. Only highq u a l i t y s i l k i s p u r c h a s e d . C u r r e n t l y , t h e c o s t o f s i l k i s a ro u n d Rs.3500-4000 per kg.

Raw Silk

Raw Materials

Zari Zari work is an intricate art of weaving threads made up of fine gold or silver. These threads are further woven into fabrics primarily made up of silk to create intricate patterns. Traditionally zari thread was formed and used as an embellishment of the royal attire. The word Zari originated in a village by t h e s a m e n a m e i n a n c i e n t P e r s i a ( Ir a n o f t o d a y ) where artisans used the skill of weaving thin threads of gold and silver onto fine fabrics of silk.

Pure zari sarees are soft and smooth to touch and reflect light to shine brilliantly.

Z a r i i s s o u r c e d f r o m S u r a t . It i s a v a i l a b l e i n t w o kinds: silver zari and copper zari. Silver zari is a cotton thread which coated with gold foil and the copper zari is made with mixing cotton thread and copper wire and coating with foil of gold. The cost of silver zari is Rs.12,000 or more and the cost of Copper Zari (tested zari) is around Rs.500-600 per kg.

Copper Zari

T h e m e e t i n g c a m e t o r e a l i z e t h a t t h e a m o u n t o f s i l k n e e d e d b y t h e c ra f t sm a n each month scarcely surpasses 4kg. Thus, rather than getting this i n s i g n i f i c a n t s u m i m p o r t e d s t r a i g h t f o r w a r d l y f r o m B e n g a l u ru , t h e y i n c l i n e t o w a r d p u r c h a s i n g f r o m n e i g h b o r h o o d m e r c h a n t s w h o i m p o rt i n t h e g re a t e r part of 40-50 kg.

Even though there are nearby producers of silk, their quality is undeniably m o r e m e d i o c r e t h a n t h e o n e ( m u l b e r r y s i l k ) a c c e s s i b l e i n B e n g a l u ru . S o a s o p p o s e d t o u t i l i z i n g i n f e r i o r q u a l i t y s i l k , t h e y l i k e t o p a y so m e w h a t m o re a n d utilize great quality!

I m p o r t e d s i l k i s a c h a r a c t e r i s t i c f i b e r t h a t t e n d s t o g e t h a rm e d i f n o t d e a l t w i t h a s e x p e c t e d . S o t o k e e p a w a y f r o m t h i s , t h e s i l k b u n d l e s a re f i rm l y ro p e d t o g e t h e r a n d k e p t b e t w e e n s a f e g u a r d s . L i k e w i s e , t h e s e st ra n d s o u g h t t o b e utilized within the 4-6 months to hold their best quality in the wake of being made.

Already, Zari was additionally fabricated locally. With time and the i n t r o d u c t i o n o f i n d u s t r i a l i z a t i o n i n G u j r a t , b r o u g h t n u m e ro u s so rt s o f t y p e s o f m a c h i n e r y t h a t h e l p e d c r e a t e f i n e a n d s o l i d z a r i . W h a t ' s m o re , t h e z a ri being made locally still fused the manual work which came about was of low q u a l i t y . T h i s n e w s t r u c t u r e g o t t h e i n t e r e s t o f P a i t h a n i w e a v e rs i n Y e o l a a n d P a i t h a n . T h u s , t h i s d i s t i n c t i o n i n q u a l i t y m a d e t h e s h i f t o f z a ri b u si n e ss totally from Yeola and Paithan to Surat.

Healds A h e a l d i s w i r e w h i c h h a s h o l e ( c a l l e d a s 'e y e ') t h r o u g h w h i c h w a rp y a rn s a re p a s s e d . T h e r e a r e a s m a n y h e d d l e s a s t h e r e a r e w a r p y a rn s i n t h e c l o t h , a n d t h e heddles are held in two or more harnesses.

Harness

Jacquard Sheets (पु ता) These are the cardboard sheets that are punched according to the designs of motifs.

Harness (pagge), holds the heddles.

The harness position, the number of harnesses, and the warp yarns that are controlled by each harness determine the weave pattern or interlacing.

Weights T h e w e i g h t s a r e l o c a t e d a t t h e b a c k w h i c h i s t i e d w i t h t h e w a rp y a rn s t o keep them tight.

Treadles (पावडी) Treadles ( पा व डी ) , There are 3 Treadles at the bottom, which can change the order of harness.

WarpBeam Reed (फनी) B e a m (तु र ई) . T h i s b e a m holds the lengthwise yarns, is located at the back of the machine, and is controlled so that it releases yarns to the weaving area of the loom as needed.

R e e d ( फ नी ) , T h i s i s a f r a m e m a d e u p o f s t e e l w i r e s e t a t a specific distance vertically. Space in the wires are called as splits or dents and are kept even and parallel.

This is the first function of the reed.

Parts of Loom

Evolution in techniques A s t h e P a i t h a n i s a r e e g a i n e d p o p u l a r i t y t h e d e m a n d i n c re a se d a n d w e a v e rs c a m e u p w i t h m o d e r n t y p e s o f e q u i p m e n t t h a t w o u l d i n c r e a s e p r o d u c t i o n a n d re q u i re l e ss t i m e .

Old method S p i n n i n g W h e e l ( च र खा ) w a s u s e d earlier to coil the dyed warp threads and store them in the wooden cones, for hassle-free use.

Spining wheel

Cones

New m e t h o d

Plastic Cones

Motor spinning machine

This motor spinning wheel can coil up three bundles of warp yarns at the same time, saves manual work and time, and is hassle-free.

The wooden cones have been replaced with plastic cones.

Although not a sustainable option but is durable and cost-friendly for the artisans.

Thread Holder (काक

ा/कां

ा)

Bobbin (Kandya/Kakdya)- Weft yarn is coiled up in these bobbins and is set into the shuttle. These are made of plastic.

Cotton roll- When the pallu of the saree is weaved, these cotton rolls are used, made rolled up of cotton fabric. The method of weaving the pallu is completely manual and using cotton rolls ensures the delicacy of the silk threads and finishing of the pallu weaving.

Shuttle (घोटा) The filling thread is wound on a bobbin which sets into a shuttle or bobbin container. Shuttle passes through the shed of warp yarns and it releases thread from the bobbin and so forms the filling cloth.

Tools Used

MANUFACTURING

उ पादन

I n P a i t h a n i w e a v i n g , D y e i n g i s t h e m o s t p r o m i n e n t p a r t of t h e e n t i re process. Traditionally, artisans used to dye the material at their own places but with the cultural shift, it was observed as a timeconsuming job and was handed over to people specifically in d y e i n g . S o u r c i n g o f a l l t h e r a w m a t e r i a l - s i l k t h r e a d s a r e d o n e f ro m B a n g a l o r e . T h e r a w m a t e r i a l i s s o a k e d i n t o n o r m a l w a t e r t o st a rt t h e dyeing process.

Initially, soaked threads are added in hot water(Bhatti) to remove starch.

S e t s o f u t e n s i l s ( b a r t a n ) a r e u s e d i n d y e i n g . T h e p a rt i c u l a r amount of color is mixed with hot water in a small utensil & then poured in the big-sized container filled with boiling water at a high temperature. Soda is added to the boiling water which helps to remove the leftover starch from silk threads through the process of degumming which is also the reason for silk weight loss from 20-25%.

A f t e r d y e i n g t h e m a t e r i a l i s t a k e n o u t a n d g i v e n a c o l d w a sh . A f t e r c o l d w a s h s i l k t h r e a d s a r e k e p t i n s h a d e f o r d r y i n g . It t a k e s a ro u n d three to four days for drying. Parachute oil works as an agent to e n h a n c e t h e s m o o t h & l u s t r o u s t e x t u r e o f s i l k . In t h e t ra d i t i o n a l t i m e s , 2 o r 3 t y p e s o f b a s i c c o l o r s w e r e o n l y i n p r a c t i ce b u t w i t h c h a n g e i n t i m e , a r t i s a n s f i g u r e d w a y s t o g e n e r a t e n e w c o l o rs b y m i x i n g v a r i o u s s h a d e s & h e n c e v a r i e t y i n c r e a s e d . P re v i o u sl y , n a t u r a l d y e s w e r e o n l y u s e d b y a r t i s a n s b u t a f t e r t h e B ri t i sh ra j, C h e m i c a l d y e s c a m e i n t o p r a c t i c e a s t h e y w e r e l e s s t i m e - co n su m i n g & cost-effective.

Man dipping silk threads in color solution

Dyeing Process

Silk threads soaked in cold water

Washing of raw silk threads

Powdered color for dying

Cocentrated color solution is prepared

Concentrated solution added in boiled water

Soda added for degumming process

Threads Dipped and dyed

Plain weave on loom

T h e t h r e a d s w h i c h a r e f i x e d i n t h e l o o m a r e c a l l e d W a rp ( t a n a /ता ना / उ भ र) a n d t h r e a d s t h a t a r e p a s s e d t h r o u g h t h e s h u t t l e a r e c a l l e d W e f t ( b a n a /बा णा / अ द वा न ) T h e A v e r a g e w i d t h o f t h e p a i t h a n i s a r e e i s 4 7 /4 8 i n c h e s i n cl u d i n g t h e border.

T h e s i l k w a r p t h r e a d s - 2 p l y ( s ) a r e c o m b i n e d t o d r a w o n e t h re a d a n d t h e s i l k w e f t t h r e a d s - 4 p l y ( s ) a r e c o m b i n e d t o d r a w o n e t h r e a d . T h e z a ri w e f t threads - 3 ply(s) are combined to draw one thread.

In Yeola, 10 sarees warp is set on the loom at one time while in Paithan, 2 sarees warp is set on the loom at one time.

A f t e r t h e d y e i n g p r o c e s s , t h e t h r e a d s u n d e r g o a r e e l i ng p ro ce ss o n t h e s p i n n i n g w h e e l s w h i c h a r e e l e c t r o n i c t h e s e d a y s a nd sp e e d u p t h e p r o c e s s , t h e w e f t t h r e a d s a r e s p u n a n d r o l l e d u p o n p l a st i c co n e s. A n d l a t e r s m a l l s t i c k s c a l l e d “ K a k d y a ( का क ा ) o r K a n d y a ( कां ा ) ” a re p l a c e d inside the shuttle.

T h e w a r p ( ता ना ) t h r e a d s a r e s o r t e d i n a b u n c h a n d a r e t i e d o n t h e b e a m , t h e w a r p t h r e a d s a r e t h e n p a s s e d t h r o u g h t h e 4 s h a f t s ( ता त ) w h i c h a re m a d e u p o f n y l o n t h r e a d s i n 1 , 1 , 2 , 2 D r a f t i n g s e q u e n c e . T h e r e a re a p p ro x i m a t e l y 4 0 0 0 n y l o n t h r e a d s i n a t o t a l o f t h e 4 s h a f t s w h i c h v a r y i n e v e ry l o o m .

T h e t h r e a d s a r e t a k e n t h r o u g h t h e r e e d ( फ नी ) w h i c h i s 8 0 o r 1 0 0 i n n o . 4 threads in a dent in the order of the denting process.

T h e n t h e t h r e a d s a r e t i e d o n t h e r o d a c r o s s t h e l o o m w h i c h i s ro l l e d u p .

Weaving Process

The weaving process involves two types of motions: Primary Motion S h e d d i n g - I n t h i s p r o c e s s t h e w a r p t h r e a d s a r e d i v i d e d i n t o t w o h a l v e s, o n e a b o v e t h e o t h e r s o t h e t h r e a d s c o u l d c r e a t e a p a s s a g e f o r t h e s h u t t l e t o p a ss t h e w e f t t h re a d s.

P i c k i n g - T h e p r o c e s s o f p a s s i n g t h e w e f t ( बा णा ) t h r e a d f ro m se l v a g e t o t h e o t h e r si d e through warp threads.

B e a t i n g - T h e s l a y / R e e d ( फ नी ) f i x e d o n t h e r e e l o s c i l l a t e s t o a n d f ro t o t i g h t e n t h e w e f t thread which is passed.

Secondary motion T a k e u p m o t i o n - T h e w o v e n c l o t h i s t a k e n a n d w o u n d o n t h e ro l l e r.

L e t o f f m o t i o n - w h e n t h e c l o t h i s t a k e n u p o n t h e r o l l e r a n d w a rp y a rn s a re l e f t f ro m t h e beam roller.

The above two processes are done simultaneously.

O n e p a d d l e ( पा व डी ) f o r t h e j a c q u a r d a n d t w o p a d d l e s f o r t h e h a n d l o o m w e a v i n g a re p l a c e d a t t h e b o t t o m o f t h e l o o m f o r s p e e d i n g u p t h e w e a v i n g p ro c e ss.

T h e “ J h a t k a ' ' w h i c h i s p l a c e d a t t h e c e n t e r o f t h e l o o m i s u se d t o p a ss t h e sh u t t l e f ro m one end to another, which speeds up the weaving process.

T h e s h e e t s ( पु ता ) a r e p u n c h e d i n t h e o r d e r o f t h e d e s i g n u se d t o c re a t e t h e m o t i f ( बु ) on the saree.

Warp yarns

Knotting Process (सांधनी)

A r t i san applying a s h p o w d e r This process is carried out after the warp of the loom is over and a new set of w a r p i s r e q u i r e d t o s e t o n t h e l o o m . N e w s e t s o f w a r p t h re a d s a re t i e d o n t h e b e a m a n d a s i n g l e t h r e a d o f t h e p r i o r w a r p a n d t h e n e w w a r p a re g i v e n a twist(pill) and gum is applied to it for fixation. Ash powder is applied to each twisting which makes it softer and smoother.

T h i s p r o c e s s s a v e s t h e t i m e o f t h e w e a v e r s b y n o t p e r f o r m i n g t h e d ra f t i n g a n d denting processes each time.

Lakat Process(लकात) After the body of the saree is weaved the warp is loosened up from the beam, the 44 inches of the pallu warp is measured and it is dipped in Hydrochemical and the existing dye of the warp fades away and turns to white. The desired color of the pallu is prepared and the warp threads are dipped in it. A full one day is given to let the warp threads dry and when ready, are tightened on the loom.

T h e part of pall u i s d y e d i n r e d c o l o r

S a r e e on the han d l o o m

Once the threads are rolled up on the rod and are ready to weave the saree, 2 inches of plain weave is weaved on the saree for checking errors.

Firstly, 36 inches of Blouse piece is weaved, the design of which may vary accordingly 25 Inches of “Kamarpatti(कमरप )” is woven after the completion of the blouse piece.

75 Inches of Body of the saree is woven hereafter, incorporating one border which is at the bottom of t h e s a r e e . A l o n g t h i s 7 5 i n c h p a r t , t h e m o t i f ( बु ) o f the saree is weaved with a gap of 6 inches in between.

After this 60 inches of 'body' of the saree is weaved incorporating a double border.

L a k a t ( ल का त ) P r o c e s s i s c a r r i e d o u t h e r e a f t e r .

The Shoulder part of the saree which is called “Ghadi” in the local language is weaved about 40 i n c h e s . T h e m o t i f ( बु ) i s w e a v e d a g a i n i n t h i s p a r t but with a space of 3 inches in between.

44 inches of the pallu is weaved on the warp t h r e a d s o n w h i c h t h e L a k a t ( ल का त ) p r o c e s s h a s b e e n carried out.

And thus the weaving of the saree is completed.

Two inches of plain weave is weaved at the end w h i c h i s c a l l e d “ P a a n ” i n t h e l o c a l l a n g u a g e . It i s the margin space between two sarees along which the sarees are cut.

Artisan tyeing warp yarns

Saree Weaving Process

Classification by weaving Kad/Ekdhoti SIngle shuttle is used for weaving this kind of saree. The color of warp and wft yarns are of different colors. A simple narili border and small buttis all over the saree is the significant design.

Male maharathrian wear a lungis, which is also called as 'Kad'.

Nara l i B o rder Usually, these sarees have 4 inches of Narilli motif border.

Kadiyal border sari I n t e r l o c k i n g i s t h e m e a n i n g o f t h e t e r m k a d i y a l . T h e b ord e r' s w a rp a n d w e f t a re t h e sa m e c o l o r, whereas the body's warp and weft are distinct colors.

No rm al Bro cade

Hal f al l over B ro cade

F ul l o ver B ro cade

6-7 inches of handwoven designs at the brocade.

Motifs may vary according to the design of pallu.

12-16 Inches of the border at one side and 4 inches of the border at the other side of the saree.

No border or small border is present.

Emphasis on the fullhand woven design on the pallu and saree.

Types of Paithani Saree

T radi t i on al Nari l i Border T h e t r a d i t i o n a l c o c o n u t b o r d e r ( N a r a l i ) w a s t h e m o s t p o p u l a r P a i t h a n i b o rd e r.

Karwat (करवत)

Gom (गोम) Naral (नारळ)

Muthada (मु थाडा)

Tai l ( पसारा)

Panj a (पं जा) Panja, a geometrical flower motif, used in borders and pallu of the saree.

Cres t ( तु रा)

Beak (चोच)

B ara v ( बाराव) Barav is inspired from wells of Ajanta caves.

Saddle ( बकात)

Paithani is known for its Peacock Motif, and has its own significance.

Muni y a ( मु नया) Munia refers to parrots, and a design in which the borders and pallu are embellished

Traditional Motifs

Traditional Motifs Mor Popat (मोर पोपट)

Kunda parrot & Peacock (कुं डा)

Sakhali Mor (साखळ मोर)

Plain Asavali (असावली )

Shaded Asavali (असावली)

Bangadi Mor(बां गडी मोर)

The peasant Bird ( मा प रदा)

Ajanta Lotus (कमल)

Tota Maina (तोटा मै ना)

Evolution in Motifs Y e o l a P a i t h a n i a r t i s a n s a r e u p s w i n g i n g t h e i r m o t i f s w i t h t h e ch a n g i n g t re n d s i n t h e m a rk e t . S o m e new motifs designs are shown below

Co co n ut m ot i f

Radha K ri s hn a M o t i f

G u ddi M o t i f

Coconut shells are used in the pallu design. In India, coconut is given huge respect and is also called 'Shriphal'.

Radha Krishna is the most beloved deities and people's inclination towards them is the inspiration behind weaving this motif on paithani.

Guddi symbolizes positivity and prosperity.

Guddi padwa is Marathi new year, and thus the guddi motif for symbolizing Marathi culture.

E vol ut i on i n P ai t han i C r e a t i o n o f d i f f e r e n t p r o d u c t s o t h e r t h a n P a i t h a n i S a re e . A v a ri e t y o f p ro d u c t s a re c u s t o m i z e d a c c o r d i n g t o t h e c u s t o m e r 's d e m a n d . F r o c k s, Ja c k e t s, Dh o t i , Du p a t t a , S u i t , Kurta(Gents/ladies), Lehenga are some of the products.

Pai t han i l ehan ga

Pai t hani D upat t a

Silk -Pure Silk Muniya Border Rate 30,000/-

Silk -Pure Silk Allover Design, Border Rate 30,000/-

Muniya

मो तया - Cream white

राणी - Dark Pink

अबोली - Peach

Tusser

Carrot Pink

गजरी - Reddish Orange

Golden Brocade

Light Pink

Rust

Golden Yellow

लबू पवळा Lemon Yellow

Vhiskit

फालसा - Violet

दा ल बी - Pomogrante

कुंकू लाल - Blood red

रघू- Parrot Green

Drak Parrot Green

Dark green

मेहंद - Olive green

रामा - Teal blue

फरोजी - Turquoise

चतामणी - Peacock blue

अजुरा - Royal Blue

Navy blue

Lavender

शरोधक - White

Silver Brocade

Light olive green Brocade

Dark Grey

काळ चं कला - Black

Colors of Paithani

ीकोन

POINT OF VIEW

As referenced, there were four craftsman who all aided and guided us all through the documentation process. Under this segment, we give you the microscopic view through the lens of c r a f t s m a n o f t h e s p e c i m e n 'P a i t h a n i b u s i n e s s '. T h e r e a re t w o c r a f t s m a n w h o m w e w i l l z e r o i n o n , o n e f r o m P a i t h a n a nd t h e other from Yeola. To start with, lets visit Paithan city and converse with Mrs. Sashikala Bhosale.

NAME- Mrs. Sashikala Bhosale PLACE- Paithan, Maharasthra AGE- 67 YRS.

From Artisan's gallery..

Paithan, a town in the Aurangabad area, Maharashtra, found 56 kilometers (35 mi) south of present-day Aurangabad on the Godavari River. It is one of only a handful of inland towns referenced in the well-known first-century Greek book, 'The Periplus of the Erythraean Sea'. Paithan is related to numerous profound heads of all religions for a very long time. As an extraordinary business community, it was very much connected with the other significant t o w n s o f o l d I n d i a a n d t h e w e s t e r n w o r l d . It s fares had acquired an incredible standing in the western business sectors and had accomplished global fame. Its quality materials, for example, the Paithani had no equal in the contemporary world. Its commitments in the field of exchange and business are similarly essential and as significant as in the fields of governmental issues and religion.

Mrs. Sashikala Bhosale with women artisan

M rs . Sas hi k al a B ho s al e weav i n g P ai t han i saree

The power of choice...

Mrs. Sashikala Bhosale is a senior citizen Paithani (67 years of age) artisan based in the city of Paithan. She is the eldest member of the family with 3 sons and their wives & one grandson of around 12 years of age. She belongs to a Marathi-origin family.

Previously, the males in her family were employed in the business of ticket, majorly of buses and trains. Mrs. Bhosle is a strong symbol of feminism and women's empowerment, for the fact that she alone without anyone's support enrolled herself for the training in the Prashikshan Kendra (training center) and got trained for complete one year. Proudly she quotes: " अ के ले , ब ना क सी के स ह यो ग के खु द को श त क या । "

श

ण क

म ना मां क त क या । औ र , पू रे ए क सा ल के ल ए , खु द को

Since then, she has been the enlightening source for all the women across the city.

She further mentioned that after her training, she applied for a job under the same training center which she continued for almost 12 years. Golden eras, although opportunities weren't golden enough, were tough times for Mrs. Bhosale to stand on her feet with the little penny she earned through her job.

With boundless patience...

Women's courage and step might seem small, but when put into action, brings about a large impact, larger than one can imagine. Mrs. Bhosale after her rigorous 12 years of work, took the initiative to loan an amount of Rs 10,000 from the bank.

With this, she established her own loom at her house and started her own weaving business.

Step by step, she started producing Paithani sarees and used the money to pay interest and install more looms. She at present has a total of 8 looms. Not only hers, but she helped (financially) other women of the city in getting the loom installed. " आ ज ई र क कृ पा से मे रे अ धी न कु ल 4 0 - 5 0 म ह ला एं का म क र र ही ह , ज न के क र घे मे रे

ा रा ल गा ए ग ए थे । "

This reflects her strong feeling of pride in herself, in having 40-50 women working under her. With this small group of women, they formed an organization called 'Mahila Mandal' of which she is the head. These efforts put by her in raising herself through time, and helping other women along in reviving the art, batched her 'The Excellence Award' by the Government of Maharashtra.

Wom en A rt si san ' s o f Pai t han

Mrs. Bhosale markets her products in an unmistakable manner. After the consummation of her training, she got various opportunities to address the training hub in different neighborhoods and public exhibitions. Due to her restricted production of just 5-6 sarees every month, she got herself occupied with these encounters for almost 12 years, With this experience, she chose to sell her own creation too in exhibitions, with the philosophy of growing the skyline of her contact and make her unique identity in the huge business. In case guests are keen on different designs (which are not accessible at the moment), so to keep away from such circumstances she began making pattern swatches for every one of the designs. This diminished her weight of items and expanded her range of displayed materials.

Taking everything into account, when the nearby retailers or individuals approach her first really at that time she sells out to them. Being the leader of the Mahilamandal, she likewise helps different ladies of the group to sell their items, be it through exhibitions or nearby methodologies.

Her value range for the Paithani sarees begins from Rs. 8500. Because of intensive work input and expanded material expense, the starting cost hopped by Rs. 1000 from Rs. 7500 in a span of 3-4 years.

Go vt o f f i ci als at M rs. B hosale' s ho m e

A day on market study..

I n r e g a r d s t o p r o f i t m a r g i n s , s h e s a i d , " I'm s i m p l y a b l e t o p ro c u re m y w o rk c o s t a n d n o a d d i t i o n a l s a v i n g " . F u r t h e r c l a r i f y i n g h e r p o i n t , sh e sa y s " A d d i n g t h e e x p e n s e o f d e s i g n s , n u m b e r o f d a y s , a n d f o r d i f f e r e n t so u rc e s o f i n p u t d r a m a t i c a l l y b u i l d s t h e o v e r a l l p r i c e , w h i c h w i l l , i n g e n e ra l , b e o n t h e co st l y s i d e f o r t h e c l i e n t s . S u b s e q u e n t l y , t o s e l l t h e i t e m s , w e c a n n o t b e o v e rsurpassing on the value range!".

S h e i s b y a l l a c c o u n t s v e r y m u c h a w a r e o f t h e H a n d l oo m a n d S i l k m a rk s, r e f l e c t e d b y t h e r e a l i t y o f h e r p o s s e s s i n g a n d u t i l i z i n g t h e se i m p ri n t s. A s i n d i c a t e d b y h e r , c l i e n t s a r e m o r e d i s p o s e d t o w a r d s t h e h a n d l o o m m a rk , a s a result of the trend of handloom garments in the present age.

A s f a r a s s h e m i g h t b e c o n c e r n e d , c u r r e n t t e c h n o l o gi c a l i n n o v a t i o n h a s ended up being a help all things considered. She has been utilizing W h a t s A p p a s t h e m a r k e t s t a g e , e v e n b e f o r e t h e p a n d e m i c ci rcu m st a n c e appeared, with a desire to extend this in the coming future.

C o n c e r n i n g t h e f u t u r e p o s s i b i l i t i e s f o r t h e m a r k e t i ng d i v i si o n o f h e r b u s i n e s s , s h e i s b y a l l a c c o u n t s p r e o c c u p i e d w i t h h u g e l oa d s o f t h o u g h t s a n d i d e a s . H e r c h o i c e t o c r e a t e a w e b s i t e u n d e r h e r b u s i n e s s ( b ra n d t o b e ) sh o w s t h e d e g r e e o f c o m m i t m e n t a n d t r e m e n d o u s d r e a m s s h e h a s f o r h e r w o rk . S h e will really be an idol for some ladies of this time, who paid little heed to her a g e a r e a t t e m p t i n g h e r m o r e t h a n b e s t f o r t h e i r w o r k a n d b e a u t o n o m o u s. S h e is an exceptional legend!

Sigh of Satisfaction..

She seems to be a very easygoing person and enjoys whatever life has for her.

She gives priority to freedom and hard work. With this temperament, she even pays her sons and respective wives whenever they help her in the business.

Having this environment, her grandson too has developed the interest and helps her during his free time. When asked the reason behind this she says: " ये क को उ स क मे ह न त का भु ग ता न क या जा ना चा ह ए । अ ग र म उ ह पै से दे र ही आ ते ह औ र ल ग न से का म क र ते ह । जो उ न के ल ए औ र ब ज ने स के ल ए भी अ ा है । "

ं तो वे भी खु श न ज र

Which is quite a fair point, for them as well as for the business to prosper! The fact that only the women of the Paithan city are into the business of Paithani at present was shockingly proud. After being questioned about this strange situation in Paithan, she says: " पु ष ह मे शा व ही का म क र ना चा ह ते ह ज स से या दा पै सा म ले । प ह ले , य ह अ ा उ पा द न न ह क र र हा था । इ स ल ए , पु ष ने छो ड़ ने औ र अ य सा ध न म ले क न ह म म ह ला एं खु श ह , भ ले ही व ह थो ड़ी सी भी हो । "

व सा य इ त ना अ ा न ह था औ र ा नां त र त क र ने का व क प चु ना ।

Surfacing the impatience and greedy nature of men. On the other hand, even the small amount of money earned by women in these businesses gives a feeling of freedom among them. They feel proud of standing on their feet and supporting the family, which is what Mrs. Bhosale aims for.

D aught er-i n -law( s ) of M rs . B ho s al e wo rki ng o n l o o m

Mrs. Bhosle being awarded for her contribution

Pessimistic eyes...

As far as the government and its involvement are concerned, she seems to be very much positive with a touch of pessimism. Although there wasn't any leniency towards the interest on the loan she took, she still says, "They are doing whatever they can for us. Rome wasn't built in one day and similarly, it will take a while for the schemes to be executed." It was pretty much clear that this inclination to positivity for the government was due to her sheer gratefulness towards the "Prashikshan Kendra", which is also a government initiative.

It's almost more than 20 years, and her stamina and dedication are still more than today's youth. Talking about the future prospects of this art, she made a deadly remark saying, " न ह , य ह लं बे स म य त क न ह च ले गा । आ ज के यु ग के यु वा सु र त नौ क री क त ला श म ह । वे ऐ से का म क र ना चा ह ते ह जो उ न के बु ढ़ा पे के दौ रा न उ ह ला भ दे स क , ज ब वे कु छ भी क र ने म स म न ह ह गे । औ र पै ठा नी का का रो बा र इ स वा दे प र का य म न ह है । " Claiming the lack of interest towards this art among the younger generation.

Conversing further on this, she said, "Government should at least give pensions to these artisans. How can you do a job when you can only earn your daily livelihood with no savings? If not pension, benefits like health, living or anything might encourage others to walk this path!".

And she is right in claiming the above statement. Being the eldest artisan in the city and awarded for her work, allow her to reap the benefits of pension. But the ones without any such credits, fall short to continue treading this path.

A t o w n i n N a s h i k D i s t r i c t i n t h e In d i a n p r o v i n c e o f M a h a ra sh t ra , Y e o l a i s 8 3 k i l o m e t e rs f ro m N a si k o n N a s i k - A u r a n g a b a d H i g h w a y . It 's a c c l a i m e d f o r i t s 'K i t e c e l e b ra t i o n ' w h i ch i s f a m o u s. It h a s a n o rm a l e d u c a t i o n p a c e o f 9 9 % a n d 1 4 % o f t h e p o p u l a c e i s u n d e r 6 y e a rs o l d . Y e o l a i s a m a jo r p ro d u ce r o f h a n d l o o m p r o d u c t s , e s p e c i a l l y P a i t h a n i s i l k s a r i s , G a n d h i T o p i , a n d P i t a m b e rs. T h e re a re n u m e ro u s w e a v e r f a m i l i e s , w h o o w n s h a n d l o o m o n w h i c h t h e s e p r o d u c t s a re w o v e n . T h e c o n sp i cu o u s b u si n e ss s e c t o r s o f t h i s m a t e r i a l a r e G u j a r a t , K a r n a t a k a , W e s t B e ng a l , U t t a r P ra d e sh , a n d M a d h y a P ra d e sh ju st a s u n i v e r s a l l y . I t i s a d d i t i o n a l l y p o p u l a r f o r g o l d a n d s i l v e r w i re .

Beforehand we went over the perspectives and difficulties of a w o m a n m a i n t a i n i n g t h i s b u s i n e s s . T o g e t t h e f l a v o r o f i nv e rse side, our next stop is Yeola. Here we will visit Mr. Nitin, who is in this business for seemingly forever.

NAME- Mr. Nithin Pendharkar PLACE- Yeola, Maharashtra AGE- 48 YRS.

From Artisan's gallery..

Our stem ancestors!

Mr. Nitin Pendarkar is a Paithani based artisan in the Yeola region of Maharashtra. His family belongs to Marathi origin. He has a joint family of 8 members in total. He has 3 brothers, who are also in the business of paithani.

Their business of paithani is a kind of heirloom that has been passed to the younger generation since the time of their great-grandfather.

He has a 2-year-old son, who is currently enrolled in his education.

Mr. Nitin seems to be very much open-minded and an art-loving person, for the fact that he has no objection to his son joining this business in the future.

In earlier days, during the time of their father and grandfather, the whole process including the sourcing of raw material, dyeing, weaving till the product is sold off in the market was executed under them within their own manufacturing unit. With time, the gradual increase in the popularity of paithani across the country and abroad increased the demand-supply on their side. Due to this reason, the family business got restricted to the weaving process of the whole manufacturing unit.

M r. Ni t i n wi t h f am i ly m em bers

Change is inevitable!

For years, their business has been blooming with age with the help of 3 laborers and their wives. Time changes people and so does their interest and hence, the market!

The same goes for Paithani! The demand for heavy intricate work across the saree was huge in the golden eras, and it got changed to brocade work at present.

Banking on this fact, Mr. Nitin owns 8 handlooms, half of them have been kept for brocade and the other half for paithani.

M r. Ni t i n s ho wcas i n g hi s co l l ect i o n

Not only local but also the market across the whole country (especially South India) has become the stage to sell off their paithani products. But due to the current social constraints laid off in regards to the pandemic situation across the globe, the market reach got shortened to the local market only. Although, there was a mere difference of about Rs. 500-600 between the selling price in local to the one at the outer market, Mr. Nitin's business seems to have been stuck hard due to the reduced number of buyers.

So to overcome this stumbling block in their business, they widened their product range to include Karupana, a pure silk product worn by Marathi Brahmin men during festivals. It is a plain cloth with a paithani border. The length is somewhat shorter than the normal saree, around 7 feet.

He has been getting a decent reaction from the marketing side of the business. Both the wholesalers just as the retailers are his customers. The selling cost of the sarees fabricated is straightforwardly relative to t h e d e g r e e o f c o m p l e x i t y o f t h e d e s i g n p a p e r s . It likewise relies upon the nature of weaving and silk utilized. In his assembling center, Silver Gatta Silk Thread is just utilized in light of its incomparable quality. His products can be altered according to the client's requests and needs with specific requirements on the degree of probability. According to his musings and solace, he doesn't like to engage client who needs tweaked products, for the way that there will, in general, be a lot of manual work with bunches of wastage.

Concerning the payment strategy, there is by all a c c o u n t s a b l e n d e d t e c h n i q u e . In s p e c i f i c s c e n a r i o s , which incorporate the heft of products, the seller takes care of the deal through e-transfers within 1 week of the deal. While in others, depending on the way that the vendor isn't familiar, advance settlement is supported.

The beginning cost of his Paithani products is around Rs. 7000-7500 with a benefit of Rs. 1000-1500, which shows the expense of manufacturing that product begins at Rs. 6000. With regards to selling to retailers and wholesalers, there is by all accounts a distinction of Rs.1000 in the selling cost of the products.

Facebook p age of M r. Ni t i n

A day on market study..

Among the technological innovative methodology of marketing, Facebook is the most liked and utilized by Mr. Nitin. The entirety of his customers, including the worldwide ones, are effectively ready to reach him through Facebook and complete their deals. He is by all accounts a sharp supporter of the Digital India campaign by giving out installment techniques like PhonePe, Google Pay, Bank Transfers, and Paytm.

It came to realize that, for his business pandemic was never a significant concern or a hindrance for the simple certainty of his business previously accomplishing statures on different online media stages. He gets the request on the web and sends it off once the installment is finished.

Straightforward, Strategic, and Enhanced!!

A gl an ce o f hi s acco u n t

A reluctant sigh..

Well, sustainability can just be missed out right! But our artisan seems to very much reluctant about this. On being asked about the unsustainable practice and method to cultivate worms and produce, he quotes, " य ह उ न का का म है ! य ही का र ण है क वे जी ते ह ! वे रे श म का उ पा द न क र ते ह औ र म र जा ते ह । ह म इ स म कु छ न ह क र स क ते । " This means, according to him worms live to produce silk and then die. It's meant to be their life goal. And when has been informed about vegan silk and how it can be a sustainable substitute, he objects by claiming that the product paithani will lose its identity, for the reason that its luxuriousness comes from the pure silk used.

Not only this, about the harmful chemical dyes used in the dyeing process, he said " हां , य ह व चा औ र वा य के ल ए हा न का र क तो है , औ र के व ल इ सी का र ण से या के दौ रा न द ता ने औ र मा क प ह न ते ह । "

मक

Showing that the main aim for them is to achieve the market demand, and no matter how harmful the process is to their health or the environment, they will execute it.

M r. Ni t i n and hi s bro t her worki ng on lo om

oops! electrocuting bill!

Being helpless even after having a good government is a global scenario these days! And so does Mr. Nitin. According to him, there is no leniency towards the loan and its interest took on handlooms offered by the banks.

While, there are few people in the area who get special treatment and benefits, in return for the favors they do for the officials. He further quotes: " ब ज ली के उ प यो ग के ल ए भी को ई यो ज ना न ह है । ह म पू री रा श का भु ग ता न क र ना है । इ त ने सा रे क र घा हो ने के का र ण , इ से च ला ने के ल ए भा री मा ा म ब ज ली क आ व य क ता हो ती है ( व शे ष क र ो के ड वा ले के ल ए ) । इ स ल ए स र का र को क म से क म ह मा रे ब ल क रा श क म क र दे नी चा ह ए । " Stating the fact that, although they are helping in reviving the art throughout the generation, keeping the Indian culture intact, and helping the national economy, the government hardly seems to help them, even in regards to the bill amount for the huge electricity use.

Not only this, they hardly seem to be aware of the GI registration and its process. Along with this, silk marks and handloom marks too are in the list of un-awarded ones.

GOVT. INITIAVES

ह त ेप

"Democracy", an extravagant word with significant importance. The profundity of its significance can be plainly found in the difficulty of it being executed, particularly in a densely populated nation like India.

We as a whole realize Democracy means, 'For the People, By the People, Of the People'! Yet, India being a monetarily diverse and secular province, it turns out to be difficult for the public authority to carry out something all around. To beat this, there are schemes being arranged and authorized for a specific gathering of citizens, for their social upliftment be it monetarily or some other methods.

Essentially, since Paithani weavers have a place with the monetarily weaker part of the general public, the government figured out specific plans to help and empower the weavers and more youthful age to save the craftsmanship all through.

Lets thorough ourselves with certain initiatives taken by the Indian govt and see whether the craftsman is able to reap the benefit or not!

The box of schemes..

Firstly, the Handloom Cluster Development Scheme (CHCDS) for the development of Mega Handloom Clusters started in the year 2017 and was supposed to be done by 2020. The goal is to foster Mega Handloom Clusters (More than 15,000 handlooms in each group, with up to Rs. 40 crores for every group) that spend significant time in explicit products, with close linkages by improving the foundation offices, with better storage spaces, technology up-degree, the weaving shed, wellbeing offices, and so on which would, at last, have the option to meet the insightful and changing business sector requests and increase living expectations of the large numbers of weavers occupied with the handloom business.

Out of the 4 craftsman we conversed with, only one i.e, Mrs. Shashikala Bhosle knew about this scheme. As we previously referenced about her conduct, when gotten some information about this scheme she verbalized, "Indeed, the work is as yet in progress. It will require some investment and when it will come in real life, we as a whole will generally profit". Apart from hope, we don't have anything for Mrs. Bhosle as of now. We should proceed onward.

Next, we have Yarn Supply Scheme. According to the findings, this scheme has two components: - Supply of yarn at Mill Gate Price - 10% Price subsidy on domestic yarn (Silk is one such yarn) Thus, under this scheme, any weaver or group of the weaver or any weaving office enrolled under CHCDS will get a 10% value appropriation for an aggregate of 4kg yarn each month (for silk).

Furthermore, it was surfaced that every one of the craftsman is getting the advantage of this plan. They do get the appropriation cost of 10%. Additionally, we came to realize that in the event that they need more than 4kg of silk each month, they might have the option to get the 10% sponsorship on the 4kg of silk and not more than that.

After this comes, Mahatama Gandhi Bunkar Bima Yojana (MGBBY) and Health Insurance Scheme (HIS). MGBBY intends to give upgraded insurance cover to the handloom weavers on account of normal just as unintentional demise and in instances of aggregate or halfway inability, while HIS focuses on financially empowering the weaver community to get to the best of medical care offices in the country. The plan is to cover the weaver as well as his significant other and two kids, to cover all prior illnesses just as new sicknesses, and saving generous arrangements for OPD. The auxiliary Handloom laborers like those occupied with warping, winding, dyeing, printing, finishing, sizing, Jhala making, Jacquard cutting and so on are too qualified to be covered.

The utter helplessness of it all..

Health was the significant worry of our craftsman. From the meeting directed, it came to realize that nearly everybody knew about both of the two previously referenced health related plans. However, actually, none of their relatives were enlisted for the same. On being gotten some information about the purpose for such imprudence, Mr. Omkar says, " हा लां क ह म यो ज ना के बा रे म जा न ते ह , ले क न ह म य ह न ह प ता क क हां जा एं औ र अ प ना पं जी क र ण क रा एं । को ई खा स ज ग ह भी न ह है , ज हां जा क र ह म पू छ स क । औ र अ ग र है भी तो ए क भी व स नी य या म द द गा र न ह है । " Expressing the way that, regardless of whether they go to the request centres for the data, scarcely gets great or solid assistance. As is commonly said, there are two hands in an applaud, so accusing the framework while little contributions from our side are likewise not going to help at all. To repudiate this point, Mr. Omkar further calls attention to, "We are regular workers. Pretty much every male grownup in my family is involved in this. What's more, it is an exceptionally tiring cycle.

We barely get time to spend with our family. Furthermore, with what small amount of time we get, it is likewise spent either in getting crude materials or selling the items. So in the midst of this, how might you anticipate that we should follow government and bother them for this?". Which bodes well.

Along these lines, all that we covered till now under government drives were significantly worried about either the monetary help or the health backing of the weaving local area.

Yet, what might be said about the craft?

In this cutting-edge world, where innovation is gradually spreading its leg in every single field, the local art and craft sector too got its hold. Power looms and other mechanical advances in the field of material have influenced the weaver's job as well as causing these mind-blowing and invaluable artworks to disappear with time.

Thus, to safeguard and secure this local craftsmanship and artworks of every locale the nation over, GoI (govt of India) concocted the idea of Geographical Indication (GI) labels, Handloom, and Silk marks. Aren't you aware? Don't stress! We are here to brief on them in short!

Geographical Indication It is a signature for products with qualities linked to the unique geographical origin of the respective products. In order to function as a GI, a sign must identify a product as originating in a given place. Although Paithani received a GI tag in the year 1999, its benefit still seems to be out of reach if the artisan is not registered under the govt registry.

Few advantages of registration of the GI incorporate; forestalls unauthorized utilization of a Registered Geographical Indication by others, it gives legitimate protection to Indian Geographical Indications which thusly help exports, and it advances monetary thriving of producers of products created in a geological area.

The reason for existing isn't to help the craftsman community in securing their products against duplication yet additionally to help them increase their business through GI assurance. It certifies the origin/source of the product for its traceability and thus increases the reputation linked to region and skills. This tag by conveying the traditional knowledge and exoticness linked to the product, promises quality and authenticity.

Being a govt plan and cycle, it will undoubtedly be exposed to constraints. Reporting the uniqueness of a product and its nexus with the area of creation is by all accounts a difficult errand much of the time. In a couple of cases, shaping a consortium of makers can be troublesome. In one case the enrollment cycle may get postponed by virtue of confusion of neighborhood dealers. In another sensitive case, the producer gathering probably won't have the option to get a guaranteed duplicate of the geological region where the product is created.

The helpless craftsmen are by and large unconscious of the advantages of GIs and the method for acquiring GI enrollment for their items. Much of the time, they are not prepared to maintain the legitimate need to document the GI application. Left to them, asset helpless craftsmen won't exploit lawful assurance under GI for keeping producers in different locales from free-riding on the standing of their one-of-a-kind products.

While speaking with the craftsmen, it was featured that GI was known distinctly to two of the craftsmen. A youthful craftsman (Mr. Omkar), studying "Textile Design" incited, "I don't know about this. Truth be told, I am hearing this interestingly for the first time. Despite the fact that my family has a long history established in the Paithani business, I never about this. Not up to this point!"

Execution and monitoring of the executed plans are various cycles and the latter requires more consideration and info.

They further said, "With regards to govt plans, the most significant and least focused is the promotion and awareness among the engaged gathering. Just in the event that they know, the plan can be of any utilization to them."

Their demonstration of requesting help for enlisting them under GI shows their simple vulnerability and the requirement for it. It shows, how our framework, which despite the fact that structures different plans and offices for these individuals, actually needs legitimate execution.

Handloom mark This mark gives an aggregate identity to the handloom items and can be utilized for promoting the handwoven items. This also assures the buyers that the product on sale is completely handwoven,. This mark, subsequently, is an incredible initiative that signifies the item with lucidity, recognizing it from the contest and interfacing it with clients.

One label will be fastened on each made-up thing and each piece of clothing created from hand-woven texture. The client can have the alternative of either attaching the mark by label firearm or sewing. This mark accomplishes the following objectives: Advance handloom items in Domestic just as International Market.

Give affirmation to the customers about the validity of the item's originality.

Reinforce inventory network for Handloom items Improve the profit of the handloom weaver local area Foster a data set including the source of handloom supplies and respective weavers, which will help the weavers to get aware of the various schemes being run by the GoI (Govt. of India) and outlining of things to coming plans.

To know more about the Handloom Mark and its related schemes and launches, kindly scan the QR code at the bottom right corner of this page.

Silkmark Research for the creation of a modest impersonation of natural silk might be in progress, yet in the commercial center, we can find various different materials marketed with the tag of silk, artificial silk for example.

Silk Mark is here to assist you with recognizing unadulterated silk. Purchasers and brokers of real silk requested that the Central Silk Board acquaint measures with acquiring reasonable practices to the exchange. As a reaction to those requests, Silk Mark was introduced on June 17th, 2004. Silk Mark is advanced by the Silk Mark Organization of India (SMOI), a Central Silk Board's initiative under Ministry of Textiles, of Government of India. These marks are either hanged like paper hashtags or printed on the packaging material or sew-in on the fabric. Only the approved seller of pure silk can use this mark on their products. Each mark includes a holographic image and a unique set of numbers, helping the purchaser in following back the item or product to the authentic sellers. It accomplishes the following objectives: Ensure the interests of the buyer.

Secure the interest of certified brokers and producers of Silk Conventional Promotion of Natural Silk To know more about the Silk mark and its related schemes and launches, kindly scan the QR code at the bottom right corner of this page.

SUSTAINABIITY

पायदार Image Source- Artisan (Omkar Rode)

Sustainability is regularly addressed diagrammatically with three columns financial practicality, ecological insurance, and social value.

The focal point of supportability is as much on mankind (the social corner of the maintainability triangle) for what it's worth on nature (the environmental), and to lessen this imbalance and give a fundamental way of life conditions for the world's occupants is vital to the sustainability challenge. It is useful to ask ourselves what our inspirations are for looking for sustainability. This can help us in articulating our comprehension of sustainability and our responsibility (or not) to accomplishing it.

As it is indispensable for this planet, in a similar way it is significant for every one of the little activities or organizations that are occurring in this world to be sustainable, be it from any viewpoint. In this part, let us go through the sustainability part of Paithani as a business from the point of view of every one of the three pillars.

Environmental protectionThe Environmentalist's point of view An environmentalist considers nature to be the planet as discrete from humankind. They consider the to be something to be saved with the goal that people can endure and advance.

Along these lines, let us see the Paithani business through this perspective.

During the entire assembling process of a Paithani item, there are two significant advances that could possibly affect the climate straightforwardly. The first is the underlying cycle or practice of sericulture. In this, the developed silkworms for raising silk out of them, are killed in the cocoon stage by boiling them in water. This progression of raising and afterward killing a life form for human use can be shortlisted under unsustainable practices. On getting the perspectives of craftsman on this to take, a striking comment of, "I don't get this point! On the off chance that we see from this point of view, why are individuals actually eating meat and other non-veg cuisines? This is only a ridiculous comment!" was made by Mr. Omkar.

All things considered, not that he is right in saying this, but rather imagine a scenario in which he is really right by referring to the above case! Also not to forget the part that, these silkworms are developed for the sole purpose of raising silk. This isn't something new, it has been done likewise since the time it was created.

A man dyeing the silk fabric Image Source- Artisan (Omkar Rode)

W h i l e t h e r e i s a d i s c u s s i o n g o i n g o n t h e s e i s s u e s , t h e r e a re i n d i v i d u a l s w h o a re c o m i n g u p w i t h a v e g e t a r i a n s u b s t i t u t e f o r s i l k . It c e r t a i n l y h a sn ' t h i t t h e m a rk e t a n d t h e a s s e m b l i n g c e n t e r p o i n t t o d a t e , y e t w h o k n ow s! T i m e m a k e s a h u g e difference thus may our reasoning cycle!

T h e n , w e h a v e o n o u r r u n d o w n i s t h e d y e i n g c y c l e . T h e e n t i re i n t e ra ct i o n o f d y e i n g i n c l u d e s t h e u t i l i z a t i o n o f c h e m i c a l s u b s t a n c e s , b e i t b l a n ch , sh a d i n g s, o r w a x . L a r g e c o n t a i n e r s c o n t a i n i n g t h e s o l u t i o n o f c h e m i ca l c o l o rs a f t e r b e e n u se d a r e u n l o a d e d o u t i n t h e w a s t e o u t l e t s . T h e s e o u t l e t s a r e no t e x p o se d t o a n y so rt o f f i l t r a t i o n m e a s u r e p r i o r t o b e i n g r e l e a s e d i n t o t h e w a t e r b o d i e s. W h a t ' s m o re , t h i s w a y c o n t a m i n a t i o n b e g i n s a n d c o n t i n u e s f o r e v e r . O n b e i n g g o t t e n so m e i n f o r m a t i o n a b o u t t h i s w o r r y , a c l e a r a n s w e r w a s r e t u r n e d f ro m t h e c ra f t sm a n .

O n e o f t h e m e v e n s a i d , " I n l i g h t o f t h e f a c t t h a t t h e c o l o r g i v e s l u st u re a n d t ry t o please silk, which resembles never-ending is extremely engaging and thus utilized by us!".

S o , w a s h e a t t e m p t i n g t o f a u l t u s ( c l i e n t s ) f o r h a v i n g a s h a rp e y e f o r a l l u ri n g a n d g l e a m i n g p r o d u c t s ? W e l l , t h e r e i s n 't a c o m p l e t e d e n y i n g t o t h i s st a t e m e n t t h o u g h !

T h e e n t i r e m a r k e t s e c t o r r u n s o n t h i s s i m p l e h u m a n 's a b i l i t y t o g e t f a sc i n a t e d . In g o l d e n e r a s , n a t u r a l c o l o r s w e r e u t i l i z e d , h o w e v e r , t h e i r p o w e rl e ssn e ss t o l o n g l a s t a n d b l u r w i t h t i m e g o t t h e m l o s t w i t h t i m e . F u r t h e r m o re , t h i s g a p w a s l o a d e d up with synthetic colors and their subordinates!

From the over two thoughts about focuses, it tends to be concluded that albeit c u t t i n g o n t h e s i l k p a r t i s n ' t s o m e t h i n g t h a t s h o u l d b e p o ssi b l e so e f f e ct i v e l y a n d sensibly. What's more, utilization of substance colors is the thing that can be d e a l t w i t h e f f e c t i v e l y a n d a c c o r d i n g l y d e c r e a s e t h e i n c re d i b l e a d v e rse c o n s e q u e n c e i t i s h u r l i n g o n t h e w a t e r b o d i e s . H o w e v e r, t o a c co m p l i sh t h i s w e need to choose constantly our way of life as a CONSUMER or a HUMAN! Utilize the HUMAN mind and Choose carefully!

Social Equity The Ecologist's point of view T h e E c o l o g i s t d o e s n ' t c o n s i d e r h u m a n s a s a d i f f e r e n t s u b st a n ce f ro m t h e p l a n e t a n d its assets, however part of it.

Ze r o i n g i n o n t h e s o c i a l p a r t o f P a i h a n i a s a b u s i n e s s , w e n e e d t o z e ro i n o n i n d i v i d u a l s c o n n e c t e d w i t h o r u t i l i z e d i n t h i s i . e . , t h e c r a f t sm a n .

I n d e e d , t h e e n t i r e b u s i n e s s o f P a i t h a n i i s h e a v i l y i n f l u e n c e d b y t h e a c t u a l w e a v e rs.

C o n s e q u e n t l y , t h e y a r e r e p r e s e n t a t i v e s a s w e l l a s t h e c h i e f . T h u s, t h e re i s n o re a so n f o r d i s c u s s i n g t h e d i s c r i m i n a t i o n o r t h e r e a s o n a b l e t r e a t m e n t o f w o rk e rs u n d e r t h i s part.

W i t h r e g a r d s t o t h e b l i s s a n d f u l f i l l m e n t o f t h e w e a v e r s , t h e re a re n u m e ro u s l a y e rs t o i t . T h e c r a f t s m a n o f Y e o l a a n d P a i t h a n h a s b e e n e n g a g e d w i t h t h i s b u si n e ss si n c e t h e h o u r o f t h e i r p r e d e c e s s o r s . A f t e r s o m e t i m e t h e y t o o h a d n o c h o i ce se p a ra t e d f ro m j o i n i n g t h i s i n h e r i t a n c e . T h e m e e t i n g s o f m e e t i n g s u n c ov e re d t h a t t h e se c ra f t sm a n a r e h a p p y w i t h w h a t e v e r t h e y c a n a c q u i r e t h r o u g h t h i s , t o a p o i n t w h e re t h e y h a v e n o p r o t e s t o v e r t h e m o r e y o u t h f u l a g e a s o p p o s e d t o e x a m i n i n g jo i n s t h i s b u si n e ss.

A c c o r d i n g t o t h e m , w i t h t i m e - t h e i r s o c i a l s t a t u s a s a P a i t h a n i w e a v e r h a s i m p ro v e d a l o t . P e o p l e i n t h e i r s o c i e t y r e s p e c t t h e m a n d t h e i r w o rk , w h i c h u l t i m a t e l y e n c o u r a g e s a n d g e n e r a t e s a s e n s e o f p r i d e a m o n g t h e m f o r t h e i r a rt .

Mr s. B hosale w i t h t h e m e m b e r o f P r a s h i k s h a n K e n d r a Image Source- Artisan (Mrs. Shashikala Bhosale)

Mr . Nithin and h i s b r o t h e r w o rk i n g o n l o o m ( l e f t ) , a f e m a l e weaver reeling the fibre on charkha (rig h t) Image Source- Artisan (Mr. Nitin and Mrs. Shashikala Bhosale)

T h i n k i n g a b o u t t h e w o r k p l a c e , i t a p p e a r s t o b e t h a t i n sp i t e o f t h e f a c t t h a t t h e r e a r e s o m e p r o b l e m a r e a s t h a t m a y c a u s e a d r a w n - o u t m e d i ca l p ro b l e m , t h e craftsman appear to be hesitant about it. For them, it is the 'will undoubtedly h a p p e n ' t h i n g w i t h r e g a r d s t o w e a v i n g . W e a k e n i n g o f v i s u a l si g h t a t a y o u t h f u l age because of consistent hefty intricate work, and brief pain on the knee and b a c k j o i n t s b e c a u s e o f l o n g s i t t i n g h o u r s a r e a c o u p l e o f t h e m e d i c a l p ro b l e m s that were raised. Be that as it may, as referenced, for them it's only a touch of adjustment.

Indeed, there must be done something for individuals engaged with the dyeing of the fibres, for the simple explanation of inclusion of synthetics all the while.

W h a t ' s m o r e , t o t h e e x t e n t k i d w o r k a n d l a d i e s a b u se i s c o n c e rn e d , t h i s business can be effectively removed from the list.

L i k e w i s e , t h e r e a r e n u m e r o u s p l a n s b e i n g c o n t r o l l e d b y t h e g o v e rn m e n t p a r t i c u l a r l y f o r t h e w e a v e r ' s l o c a l c o m m u n i t y , a n d o f w h i ch t h e y a re v e ry m u ch a w a r e . T h e y h a v e a s i g h o f r e l i e f c o n c e r n i n g t h e a s s o c i a t i o n o f t h e g o v e rn m e n t and the current market.

M o r e o r l e s s , t h i s b u s i n e s s i s v e r y e m p l o y e e - f r i e n d l y a n d g o o d . De sp i t e t h e f a c t t h a t t h e r e a r e n o t m a n y i s s u e s t h a t w o r r y t h e h e a l t h o f t h e w o rk e rs, t h e y a re i n t h e ' n o t a n i s s u e ' b u n c h f o r t h e c r a f t s m a n . T h u s , t o t h e e x t e n t c ra f t sm a n a re acceptable with this, we also can disregard it.

Economic Viability The Economist's point of view T h e E c o n o m i s t c o m p r e h e n d s t h e p r o p o r t i o n s o f u n su st a i n a b i l i t y e m e rg i n g f ro m a consumer-drove culture regarding limited assets as an income yet has confidence that m a r k e t i n f l u e n c e s a n d a " t h e s a m e o l d t h i n g " a p p r o a c h w i l l b ri n g a b o u t a c h a ra c t e ri st i c emergency revolution happening.

T h e e c o n o m i c m a i n s t a y o f s u s t a i n a b i l i t y i s t h e p l a c e w h e re m o st o rg a n i z a t i o n s f e e l t h e y a r e o n f i r m g r o u n d . T o b e f e a s i b l e , a b u s i n e s s s h o u l d b e b e n e f i ci a l . A ct i v i t i e s t h a t f i t u n d e r t h e e c o n o m i c c o l u m n i n c o r p o r a t e c o n s i s t e n c y , a p p ro p ri a t e a d m i n i st ra t i o n , a n d risk management.

D i s c u s s i n g t h e P a i t h a n i a s a b u s i n e s s o n m o n e t a r y g r o u n d s, t h e re i s a g re a t d e a l t o se e y e t l e s s t o z e r o i n o n , w h i c h i s w h a t b e t h e i s s u e h e re . In d e e d , i t ' s n o t ju st a b o u t P a i t h a n i , r a t h e r p r e t t y m u c h a l l H a n d l o o m p r o d u c t s o u t t h e re o n t h e l o o k o u t .

L e t ' s v i s i t a m a r k e t . H e r e m o s t o f t h e s e l l i n g t h i n g s a r e a sse m b l e d a n d f o c u se d o n a s p e r t h e i r f o c u s e d a u d i e n c e . R e m e m b e r i n g t h e w a y t h a t y o u n g a d d s t o a si g n i f i c a n t p o rt i o n o f t h e p o p u l a t i o n , p r o d u c t s t o d a y a r e c e n t e r e d a r o u n d t h e i r re q u i re m e n t s a n d n e e d s.

W h a t ' s m o r e , h a n d l o o m i t e m s a p p e a r t o r e l a x o n t h a t s t a g e . A n d i t ' s n o t l i k e , t h e re i s s o m e k i n d o f p r o b l e m w i t h h a n d l o o m i t e m s . B u t , t h i s i s o n t h e g ro u n d s t h a t t h e m a rk e t today is changing at a dramatic speed thus does the fashion of the coming age.

D i s t rict tax dep a r t m e n t b u i l d i ng ( f o r r e f e r e n c e p u r p o s e o n l y )

Image Source- Self clicked

F a c b ook page o f a n a r t i s a n ( l e f t ) , a n d a c o m m e r c i a l s h o p o f p aithani silk (right) Image Source- Artisan (Mr. Nitin) and self clicked

P a i t h a n i h a s s t r o n g d e e p r o o t s i n t h e h i s t o r y o f Ind i a & t h i s b u si n e ss h a s c o n s i s t e n t l y b e e n r u n n i n g t h e r a c e a n d i s e v e n a b l e t o s u st a i n i t a l l t h ro u g h . In a n y c a s e , t h e m e a s u r e o f h a r d w o r k a l o n g w i t h m a n u a l l a b o r i n p u t a n d t h e p ro f i t p r o c u r e d b y t h e w e a v e r s d o e s n 't a p p e a r t o o n a s i m i l a r l e v e l w i t h t h e l a st b e i n g l o w e r t h a n t h e p r e v i o u s . I n s p i t e o f t h e f a c t t h a t o u r c r a f t sm a n s a p p e a r t o a p p ro v e o f t h i s , t h e r e i s a s y e t a d i s a p p o i n t m e n t o n t h e i r c o u n t e n a n c e s.

T h e y a r e o n l y a b l e t o g e t t h e i n s t a l l m e n t f o r t h e i r p e r s i st e n t e f f o rt a n d h a rd l y a n y s a v i n g s h o u l d b e p o s s i b l e . H a r d l y h e r e a r e o c c a s i o n s i t h a p p e n s w h e n t h e y c a n se l l t h e i r i t e m s a t t h e p r i c e s t h e y n e e d . S o m e t h i n g e l s e , t h e re i s c o n si st e n t l y a n o p p o r t u n i t y o f b a r g a i n i n g w h i c h c o n s t r a i n s t h e m t o b r i n g d o w n t h e c o st . In sp i t e o f a l l t h i s , t h e y a r e n ' t r e l u c t a n t a b o u t t h e i r c h i l d r e n j o i n i n g t h i s b u si n e ss, w h i c h shows their affection for their culture and its craft.

C o v i d - 1 9 P a n d e m i c b e g a n i n t h e y e a r 2 0 2 0 , p u t t i n g a f u l l st o p t o e a c h b u si n e ss a n d exchange out there gave a hard hit to the handloom area too. Well, with time, the a d v a n c e m e n t o f ' M a k e i n I n d i a ' b y t h e G o I ( g o v t o f In d i a ) t o h e l p t h e l o c a l m a rk e t s a w a l i t t l e s u r g e i n P a i t h a n i b u s i n e s s . N o t t o t a l l y , y e t i t c a m e t o a p p ro a c h i t s o l d s p e e d . A g r e a t d e a l o f a w a r e n e s s i s b e i n g s e e n i n t h e c o u n t ry o v e r h a n d l o o m products, be it among adults or teens.

A s i t ' s b e e n s a i d , R o m e w a s n 't u n d e r l y i n g o n e d a y . A d d i t i o n a l l y , i t w i l l t a k e so m e t i m e t o e s t a b l i s h t h e s a m e o l d s p e e d a n d p u r s u e t o w a r d s a b e t t e r f u t u re . A s In d i a n c i t i z e n s , i t i s o u r d u t y t o h e l p v a l u e a n d k e e p t h e n a t i o n ' s a rt a n d c ra f t d e v e l o p throughout the generations.

Image Source- Self clicked

ANALYSIS

व

ेषण

Mr. Omkar Age- 21 Place - Yeola, MH Phn No.- 9226281773

Mr . Omkar work i n g o n l o o m

Source- Artisan (Omkar Rode)

Handloom expert Hard-working and loves the art of weaving Can be versatile when it comes to handloom products Motivated and dedicated Adaptable to the changing environment A Textile Design student

S

Lack of sources of information keeps them aloof from reaping the benefits o f s c h e m e s l i k e H e a l t h Y o j a n a , G I, H a n d l o o m m a r k , e t c .

L o w f i n a n c e r e s t r i c t s t h e m t o t r y a n d e x p e r i m e n t w i t h ne w d e si g n s a n d b e f i x e d t o a s a m p l e o f p r e - e x i s t i n g d e s i g n s l i m i t i n g t h e i r sco p e o f improvement.

P o o r c o m m u n i c a t i o n l e a d s t o p o o r d e a l s w i t h v a g u e u n d e rst a n d i n g s a n d p o o r s t a n d i n t h e m a r k e t s e c t o r . T h i s u l t i m a t e l y i m p a c t s t h e i r b u si n e ss.

The high competition in the market by skilled designers tends to lower their confidence and motivation, which impacts their decision of continuing this business in the future C o n f i n e m e n t t o S e m i - u r b a n a r e a s a n d l o c a l i t y h i n d e r s t h e i r e x p o su re t o a bigger and global market view and the existing trends. This limits them to i m p r o v e a s p e r t h e c u s t o m e r 's d e m a n d a n d h e n c e l o w e rs t h e sp e e d o f business.

T

W

O

Lack of information about government schemes and policies Low finance for a design experiment Lack of Communication and entrepreneurial skill Work and study pressure Lack of capabilities to match the skilled designers Still confined to semi-urban areas and small cities and untapped market B e i n g a y o u n g d e d i c a t e d w e a v e r i n h i s f a m i l y , h e i s c u ri o u s t o e x p l o r e n e w s e l l i n g p l a t f o r m s l i k e s o c i a l m e d i a a n d e x h i b i t i o n s.

Having an adaptable behavior has helped him to cope with conditions like pandemics, and which can be used to avoid forthcoming similar situations.

H i s v a s t k n o w l e d g e a n d e x p e r i e n c e a s a T e x t i l e D e s i g n st u d e n t w i l l h e l p t h e f a m i l y t o c r e a t e n e w p a t t e r n s a n d d e s i g n s , a s p e r t h e t re n d in the market.

His versatility towards the Paithani business will add plenty of products to the existing range, upgrading their business to the next level.

A f e male weave r w r o k i n g o n l o o m

Image Source- Artisan (Mrs. Shashikala Bhosale)

PESTEL Analysis

Political

P

T h e g o v e r n m e n t s i n c e i n d e p e n d e n c e h a s b e e n p r o a ct i v e l y e n g a g e d w i t h a d v a n ci n g t h e d e v e l o p m e n t o f t h i s s e c t o r . G o v e r n m e n t i n t e r c e s s i o n s h a v e a ssu m e d a si g n i f i ca n t p a rt b y b u i l d i n g u p d i f f e r e n t a u t h o r i t a t i v e b o d i e s f o r a d v a n c i n g h a n d l o o m s l i k e A l l In d i a H a n d l o o m F a b r i c s M a r k e t i n g C o o p e r a t i v e S o c i e t y ( 1 9 5 5 ) , H a n d l o o m a n d H a n d i c ra f t s E x p o rt C o rp o ra t i o n of India Ltd - HHEC (1958).

F o r t h e t u r n o f e v e n t s a n d f o r t i f y i n g h a n d l o o m a r e a e st a b l i sh m e n t s, f o r e x a m p l e , W e a v e rs S e r v i c e C e n t e r , I n d i a n I n s t i t u t e o f h a n d l o o m t e c h n o l o g y h a v e b e e n w o rk i n g .

R i g h t n o w , t h e r e a r e f i v e p l a n s b e i n g c o n t r o l l e d b y t h e c e n t ra l g o v e rn m e n t i n p a rt i cu l a r: Y a rn supply scheme, National Handloom Development Scheme (has 2 subcomponents Revival R e s t r u c t u r i n g & R e f o r m s c h e m e a n d c o m p r e h e n s i v e h a n d l o o m d e v e l o p m e n t sc h e m e ) , Comprehensive Handloom cluster development scheme, Handloom Weavers Comprehensive W e l f a r e S c h e m e , & T r a d e F a c i l i t a t i o n C e n t r e & C r a f t s M u se u m . T h e se p l a n s c a re f o r e v e ry o n e o f t h e p e r s p e c t i v e s d i r e c t l y f r o m r a w m a t e r i a l a c q u i si t i o n t o co n cl u si v e d e a l s, g ro u p a d v a n c e m e n t , t h e g o v e r n m e n t a s s i s t a n c e o f h a n d l o o m w e a v e rs, a n d so o n " I n d i a H a n d l o o m B r a n d " b y H o n 'b l e P r i m e M i n i s t e r w a s i n a u g u ra t e d o n se v e n t h A u g u st 20 1 5, t h e N a t i o n a l H a n d l o o m D a y t o e l e v a t e t h e n a t u r e o f h a n d l o o m p ro d u c t s a s f a r a s c ru d e m a t e r i a l u t i l i z e d , p r e p a r i n g / p r o d u c i n g , f r i v o l i t y /c o m p l e x i t i e s, w e a v i n g , a n d p l a n . It l i k e w i se h e l p s i n g e t - t o g e t h e r t h e t r u s t o f s h o p p e r s b y f o l l o w i n g so c i a l a n d n a t u ra l c o m p l i a n ce s.

S t a t ue of Gandhi j i a n d h i s f o l l ow e r s ( l e f t ) , R e p resentative b u i l d i n g o f B J P p a r t y (rig h t); (for refe r e n c e p u r p o s e o n l y ) image Source- Self clicked

I n d i an currency ( f o r r e f e r e n c e p u r p o s e o n l y )

Image Source- Self clicked

Economic

E

T h e a n a l y s i s o f f i n a n c i a l c o m p o n e n t s i s a n e s s e n t i a l f o r t h e st ra t e g i c e x a m i n a t i o n o f a n y a re a .

T h e h a n d l o o m b u s i n e s s a s s u m e s a n e s s e n t i a l p a r t i n t h e d e v e l o p m e n t o f t h e c o u n t ry ' s e c o n o m y b y c o n t r i b u t i n g 4 % i n G D P a n d u t i l i z e s 4 . 3 m i l l i o n i n d i v i d u a l s u n d e rw a y f ro m p r o v i n c i a l I n d i a s t a n d i n g o n l y c l o s e t o t h e A g r i c u l t u r e s e ct o r.

L o w c a p i t a l n e c e s s i t y , t h e e c o - f r i e n d l y i n t e r a c t i o n o f c r e a t i o n . a n d so o n , t h e se c o m p o n e n t s go about as an impetus in the food of this area.

T h e r e w e r e n o t m a n y m o t i v a t o r s f o r t h e h a n d l o o m a re a t o o w h i c h w o u l d g o a b o u t a s f a c i l i t a t o r s . ( a ) I n c r e a s e i n e x c i s e d u t y o f r e a d y m a d e a n d m a rk e d p i e c e s o f cl o t h i n g , h a v i n g a c o s t o f R s . 1 0 0 0 o r m o r e , f r o m 'N i l ' w i t h o u t i n p u t t a x b re a k o r 6 % /1 2.5% w i t h a n i n p u t t a x c r e d i t t o 2 % w i t h o u t i n p u t t a x r e d u c t i o n o r 1 2 . 5 % w i t h a n i n f o rm a t i o n t a x b re a k , ( i i ) R e d u c t i o n i n e s s e n t i a l c u s t o m d u t y o f n a t u r a l f i b r e s fro m 5% t o 2.5% , a n d e v a c u a t i o n o f i m p o r t d u t y o n t e x t u r e s u t i l i z e d f o r c r e a t i o n f o r e x p o rt ( Ja i t l e y , 20 1 6 ) . T h i s w i l l h e l p i n a d v o c a t i n g t h e a b i l i t i e s o f h a n d l o o m w e a v e r s i n e s t e e m e x p a n si o n o f d e si g n s, e m b e l l i sh m e n t s a n d c o m p l e x i t i e s . A d d i t i o n a l l y , t h i s w i l l b r i n g a b o u t h a c k i n g o u t t h e e x p e n se a n d d e a l c o st s o f h a n d l o o m f a b r i c s . F u r t h e r a i d i n g i n b u i l d i n g a l e v e l b a t t l e g ro u n d f o r h a n d l o o m s.

S Social

A c c o r d i n g t o t h e s t a t i s t i c s , h a n d l o o m w e a v i n g i s p r e - p r e d o m i n a n t l y a ru ra l a c t i o n w i t h 3 6 .3 3 l a k h ( 8 3 .8 8 % ) l a b o r e r s l i v i n g i n r u r a l r e g i o n s a n d 6 . 9 8 l a k h ( 1 6 .1 2% ) i n m e t ro p o l i t a n re g i o n s.

T h e n o r m a l f a m i l y s i z e w a s a c c o u n t e d f o r t o b e 4 . 5 9 a n d t h e n u m b e r o f l a b o re rs p e r f a m i l y w a s 1 .5 6 . T h e p a c e o f w o r k s u p p o r t w a s 3 3 . 9 p e r c e n t . B y a n d l a rg e , t h e w e a v e rs a re u t i l i z e d f o r 191 days. The weavers dwelling in rural regions labor for 173 days and the ones living in metropolitan regions labor for 248 days.

9 . 7 % o f t h e h a n d l o o m l a b o r e r s f a l l i n t o t h e m o s t u n f o r t u n a t e c l a ssi f i c a t i o n a n d 3 6 .9% h a v e a p l a c e w i t h t h e B P L c l a s s . J u s t 3 4 . 5 % o f t h e l a b o r e r s h o l d A P L c a rd s. It i s v e ri f i a b l e t ru t h t h a t n u m e r o u s f a m i l i e s h a v i n g a p l a c e w i t h t h e A P L c l a s s i f i c a t i o n a g a i n m o v e b a c k t o d e st i t u t i o n b e c a u s e o f d i f f e r e n t i s s u e s e m e r g i n g l i k e l o s s o f w o r k , w e l l b e i n g c o st s, a n d so f o rt h I n r u r a l r e g i o n s , t h e m a j o r i t y o f t h e w e a v e r s l i v e i n k u ch h a h o u se s w h i l e i n m e t ro p o l i t a n r e g i o n s t h e g r e a t e r p a r t o f t h e m l i v e i n s e m i p u c c a h o u s e s.

A s i n d i c a t e d b y t h e i n f o r m a t i o n , 2 9 . 4 p e r c e n t o f t h e h a n d l o o m l a b o re rs h a v e n e v e r g o n e t o a n e d u c a t i o n a l c l a s s a n d 1 2 . 7 p e r c e n t h a v e a c h i e v e d s c h o o l i n g u n d e rn e a t h t h e p ri m a ry l e v e l .

M o s t o f t h e m f o r e x a m p l e 8 2 . 9 p e r c e n t h a v e a c h i e v e d i n st ru c t i o n u p t o m i d d l e sc h o o l a n d u n d e r n e a t h . E d u c a t i o n i s s u p p o s e d t o b e t h e b e s t a p p ro a ch t o b re a k t h e e n d l e ss l o o p o f poverty.

S o u r c e s : “ H a n d l o o m C e n s u s o f In d i a 2 0 0 9 - 1 0 ” , N C A E R , N e w De l h i .

S c e n e of local sem i - u r b a n a r e a s ( f o r r e f e r e n c e p u r p o s e o n l y )

Image Source- Self clicked

O n l i ne selling p l a t f o r m : A m a z on ( l e f t ) a n d F l i p k a r ( r i g h t ) Image Source- Mobile Screenshots

Technological

T

T h e u t i l i z a t i o n o f S o l a r C h a r k h a s ( t u r n i n g w h e e l s ) i n O ri ssa i s a si g n i f i c a n t l e a p f o rw a rd . It h a s m a d e t h e t u r n i n g o f h a n k y a r n a l o t q u i c k e r a n d l e s s e x p e n si v e . T h e p re se n t a t i o n o f so l a r b a s e d c h a r k h a s w i l l b u i l d t h e q u a l i t y a n d a m o u n t o f y a rn a n d b ro k e rs ca n l i k e w i se b e d i s p e n s e d w i t h f r o m t h e v a l u e c h a i n . A s i d e f r o m t h i s G ov e rn m e n t i s a d d i t i o n a l l y su p p o rt i n g i n n o v a t i v e l y b y s e t t i n g u p C o m m o n F a c i l i t y C e n t e r s ( C F C s) , w h i c h h a v e w e b o f f i c e s a l o n g si d e loom offices.

I n t e r n e t b u s i n e s s s t a g e a n d E R P e x e c u t i o n w i l l h e l p i n t h e o n l i n e a g e o f so l i ci t a t i o n s, p u t t i n g i n o f r e q u e s t s f o r r a w m a t e r i a l , a n d s o f o r t h . In t h i s w a y , e x p a n d i n g t ra n sp a re n c y a n d w i p i n g o u t c o o p e r a t i v e s . O n l i n e b u s i n e s s g o l i a t h s , f o r e x a m p l e , A m a z o n In d i a , Fl i p k a rt h a v e e f f e c t i v e l y r e s t r i c t e d t h e g o v e r n m e n t f o r t h e o f f e r o f h a n d l o o m p ro d u c t s o n t h e i r p l a t f o rm s.

T h e h e a d w a y o f t h e p o w e r l o o m t h r o u g h o u t t h e m o s t re c e n t c o u p l e o f m a n y y e a rs h a s b r o u g h t a b o u t t h e b r e a k i n g d o w n o f t h e c u t t h r o a t s o u l o f t h e h a n d l o o m s. P o w e r l o o m s a re m o r e l i k e d b y F o r e i g n f i n a n c i a l b a c k e r s u n d e r t h e 'M a k e i n In d i a ' c ru sa d e b ri n g i n g a b o u t l o ss of market for the handlooms.

T h e p o w e r l o o m s h a v e t h e o p t i o n t o i m i t a t e t h e c o n v e n t i o n a l sa m p l e s f o r a n e n o rm o u s sc o p e a n d s e l l t h e i t e m s l e s s e x p e n s i v e a n d f u r t h e r m o r e c a u s e h o l d o n t o a t o n o f t h e ra w m a t e ri a l e x p e c t e d f o r t h e h a n d l o o m s y e t t h e g o v e r n m e n t h a s n ot g i v e n a n y i n d i c a t i o n s o f d o i n g a s s u c h . A n o f f i c i a l s t a t e m e n t b y t h e M i n i s t r y o f T e x t i l e s i n 20 1 4 c o m m u n i c a t e d t h a t n o c h a n g e i s c o n s i d e r e d b y t h e M i n i s t r y o f T e x t i l e s , i n t h e m e a n i n g o f h a n d l o o m a n d l i k e w i se , a h a n d l o o m - c r e a t e d f a b r i c . T h i s s i g n i f i c a n t a d v a n c e b y G o ve rn m e n t i n t h e h a n d l o o m a re a g i v e s significant relief to the sector.

Environmental

E

T h e I n d i a H a n d l o o m B r a n d i s a d r i v e f o r t h e m a r k i n g of e x c e l l e n t h a n d l o o m p ro d u c t s w i t h z e r o d e f o r m i t i e s a n d z e r o i m p a c t o n t h e c l i m a t e . It w o u l d se p a ra t e t o p - n o t c h h a n d l o o m p r o d u c t s a n d h e l p i n p r o c u r i n g t h e t r u s t o f c l i e n t s b y u n d e rw ri t i n g t h e i r q u a l i t y a s f a r a s c r u d e m a t e r i a l s , p r o c e s s e s , e m b r o i d e r i e s , w e a v i n g m o t i f s a n d p a t t e rn s, a n d o t h e r q u a l i t y m e a s u r e m e n t s a n d b y a s s u r i n g s o c i a l , a n d n a t u r a l c o n f o r m i t y i n t h e i r c re a t i o n .

The handloom area is low technology-driven which implies no utilization of power or e l e c t r i c i t y w h i c h m a k e s i t a n e c o - f r i e n d l y a s s e m b l i n g. W i t h t h e i n t ro d u c t i o n o f B ra n d H a n d l o o m b y t h e G o v e r n m e n t , t h e a d v a n c e m e n t o f Z e ro d e f o rm i t y a n d z e ro Im p a c t o n climate is given a lift.

B r a n d h a n d l o o m w i l l a s s i s t w i t h m a r k i n g t h e h a n d l o o m i t e m s w i t h a re t a k i n g i n t o a c c o u n t n e e d s o f c u s t o m e r s w h o n e e d t h e i t e m s w i t h q u a l i t y a n d b e i n g e c o l o g i c a l l y p ro t e c t e d a s w e l l .

T h r o u g h t h e l a u n c h o f t h e b r a n d , t h e r e i s l e g i t i m a t e t e x t u re , u t i l i z a t i o n o f g o o d n a t u re o f ra w m a t e r i a l ( y a r n s ) a n d c o l o r i n g o f t h e p r o d u c t s w i t h s a f e co l o rs w h i c h a re l i b e ra t e d f ro m p r o h i b i t e d a m i n e s . T h i s w i l l p r o m p t c o n f i r m a t i o n t o t h e c l i e n t s w i t h re sp e ct t o t h e n a t u re o f t h e p r o d u c t s . M a s s p u r c h a s e r s a n d e x p o r t e r s w i l l l i k e w i s e p ro f i t a s t h e y w i l l a c t u a l l y w a n t t o s o u r c e q u a l i t y m a r k e d f a b r i c s a c c o r d i n g t o t h e i r r e q u i r e m e n t s. W e a v e rs w i l l g e t t h e f re e d o m t o s t r a i g h t f o r w a r d l y c o n n e c t w i t h t h e m a r k e t a n d c a n h i g h e r w a g e s a s t h e jo b o f m e d i a t o rs w i l l g e t i r r e l e v a n t . W e a v e r e n t r e p r e n e u r i a l a n d d i f f e r e n t p ro d u c e rs a c t i o n w i l l g e t a l i f t a n d w i l l u r g e t h e m t o t a k e u p c r e a t i o n a n d m a r k e t i n g o f v a l u e h a n d l o o m f a b ri c s i n m a ss i n si d e and outside the country.

O f f i cial page of I n d i a H a n d l o o m B r a n d ( r i g h t ) , a n d a g a r d e n (for reference purpose) Image Source- Screenshot and self clicked

O f f i cial Governm e n t b u i l d i n g s (f o r r e f e r e n c e p u r p o s e o n l y ) Image Source- Self clicked

Legal

L

I n d i a b e i n g a p a r t o f W O R L T T R A D E O R G A N IZ A T IO N i s ne e d e d t o e n su re G I a n d h e n c e f o rt h t h e G e o g r a p h i c a l I n d i c a t i o n s o f G o o d s ( R e g i s t r a t i o n a n d P ro t e c t i o n ) A c t , 1 999 w a s authorized.

A s p e r W o r l d w i d e S y m p o s i u m o n G e o g r a p h i c a l In d i c a t i o ns c o o rd i n a t e d b y W o rl d In t e l l e c t u a l P r o p e r t i e s O r g a n i z a t i o n ( S a n F r a n c i s c o , 2 0 0 3 ) , p a r t i e s a s s u m i n g a si g n i f i c a n t p a rt i n G I a re a s p e r t h e f o l l o w i n g : C o n s u m e r s , G I U s e r s , P r o d u c e r s /M a n u fa c t u re s, a n d G o v e rn m e n t .

C o n s u m e r s : w h e n a s p e c i f i c p r o d u c t a c c o m p l i s h e s G I, i t g i v e s a n a f f i rm a t i o n t o c l i e n t s o f i t s quality.

G I U s e r s : T h i s a i d s i n t h e n a m i n g o f t h e i r i t e m s a n d f u r t h e rm o re h e l p s i n b e t t e r e n t ra n c e i n the unfamiliar business sectors.

P r o d u c e r s / M a n u f a c t u r e s : I t h e l p s i n g e t t i n g a n o n e x c l u si v e n a m e si n ce t h i s e l i m i n a t e s d i s a r r a y a n d i s a s i m p l e r m e t h o d t o s e p a r a t e f r o m d i f f e re n t i t e m s. S o m e i n d i v i d u a l m a k e rs ( w e a v e r s f o r t h i s s i t u a t i o n ) n e e d d e a l i n g f o r c e a n d i t 's h a rd t o g e t a c k n o w l e d g m e n t o f t h e items.

G o v e r n m e n t s : I n r e q u e s t t o s e c u r e t h e m o n e t a r y i n t e r e st s o f t h e p ro d u c e rs, i n su ra n c e o f b u y e r s f r o m d e c e p t i o n , t h e p u b l i c a u t h o r i t y h a s a s i g n i f i c a n t t a sk t o c a rry o u t .

M a r k e t s t h i n k i n g o f f a k e i t e m s u n d e r t h e n a m e o f h a n d l oo m w i t h m o d e st c o st s a re d ro p p i n g d o w n t h e m a t t e r o f g e n u i n e h a n d l o o m i t e m s . L i k e w i s e , w i t h t h e d e v e l o p m e n t o f f a k e si l k f i b r e s a t l e s s e x p e n s i v e c o s t s , p r o d u c e r s a r e c r e a t i n g s i l k p ro d u c t s a t m o d e ra t e c o st s. T o s e c u r e a n d g i v e a n u n m i s t a k a b l e i d e n t i t y t o r e a l h a n d l o o m a n d si l k p ro d u c t s, G o I c o n c o c t e d t h e i d e a o f h a n d l o o m a n d s i l k m a r k s . P r o d u c e r s c a n e n l i st f o r t h e se i m p ri n t s u n d e r t h e G o I l i b r a r y a n d u s e t h e m t o v a l i d a t e t h e i r p r o d u c t s a n d b u s i n e ss.

CONCLUSION

न कष

Source- Artisan (Mrs. Shashikala Bhosale)

A s i g n i f i c a n t l o n g e x c u r s i o n , r i g h t ? W e l l , i t 's t i m e t o e n d t h i s. W e w e re i l l u m i n a t e d w i t h t h e l i t t l e s u b t l e t i e s o f t h e c o l o r i n g o f s i l k a n d t h e w e a v i n g p r o c e ss a l o n g si d e v a ri o u s t h e m e s a n d co l o rs.

B e i n g a n a u d i e n c e a n d r e m a r k i n g a b o u t t h e p e r f o r m a n c e i s a si m p l e e rra n d . It b e c o m e s t r o u b l e s o m e w h e n y o u b e c o m e t h e a c t u a l p e r f o r m e r . S u b se q u e n t l y , t o g e t a n i d e a o f t h o se t r o u b l e s , w e w e n t t h r o u g h t h e p o i n t s o f v i e w o f c ra f t sm e n a b o u t t h i s b u si n e ss. A l l t h e i n f o r m a t i o n a b o u t t h e d i f f e r e n t g o v t i n i t i a t i v e s , a n d a n a l y z i n g t h i s b u si n e ss f ro m a su st a i n a b i l i t y perspective had a special yield to acquire.

Being in something similar with various market approaches acknowledges us the way that a s i m i l a r d e s i g n c a n ' t b e u s e f u l t o c o u n t l e s s i n d i v i d u a l s. E a c h i n t e rv e n t i o n m u st b e c e n t e re d a r o u n d m i n u t e d e t a i l s . C r a f t s m e n 's h e s i t a n t c o n d u c t t o w a rd s t h e i r w e l l b e i n g w h i l e d y e i n g t h e t h r e a d s s h o w s , e i t h e r t h e y a r e i g n o r a n t o f t h e u n s a f e i m p a c t s o r n e e d m o re c a sh t o b u y t h e sa f e t y kit!

T h e i r l a c k o f a w a r e n e s s t o w a r d s t h e g o v t s c h e m e s c o n s t ra i n t s t h e m f ro m i t s b e n e f i t s o f l i k e G I, h a n d l o o m a n d s i l k m a r k s. T h e y d o u t i l i z e o n l i n e s t a g e s l i k e F a c e b o o k , a n d W h a t sA p p f o r t h e i r business, however, the simple absence of photography abilities or communicational abilities slows down them from a better business positively.

E a c h h a n d l o o m b u s i n e s s h a s e n d u r e d , a n d w i l l c o n t i n u e e n d u ri n g a n d su st a i n i n g a l l t h ro u g h t i m e , h o w e v e r o n t h e o f f c h a n c e t h a t w e n e e d t h e m t o t h ri v e , a n d d e v e l o p l i k e d i f f e re n t businesses we need to pull together our actions.

O n e c a n u n d o u b t e d l y s e e t h a t t h e r e i s a t o n o f s c o p e f o r d e v e l o p m e n t , b e i t i n t h e a d v e rt i si n g a r e a , a w a r e n e s s a r e a , p r o d u c t d i v e r s i f i c a t i o n a r e a , o r s k i l l a d v a n c e m e n t a re a . A t t h e p o i n t w h e n t h e g o v e r n m e n t a n d t h e r e s i d e n t s a r e a l l s e t , r e a l l y a t t h a t t i m e , w e c a n se e n e w w a y s o f accomplishment and developments.

Glosarry Administration : the act or process of administering something.

A m i n e s : a n o r g a n i c c o m p o u n d d e r i v e d f r o m a m m o n i a b y re p l a c e m e n t o f o n e o r m o re hydrogen atoms by organic groups.

APL (Above Poverty Line) : above than the Poverty line (monthly per capita consumption e x p e n d i t u r e o f R s . 9 7 2 i n r u r a l a r e a s a n d R s . 1 4 0 7 i n u r b a n a re a s a t t h e a l l In d i a l e v e l ) .

A s h P o w d e r : t h e s o f t g r e y o r b l a c k p o w d e r t h a t i s l e f t a f t e r a s u b s t a n c e , e sp e c i a l l y t o b a c c o , coal, or wood, has burned B e a m : a r o l l e r , l o c a t e d a t t h e b a c k o f a l o o m , o n w h i c h t h e w a rp e n d s a re w o u n d i n preparation for weaving.

B e a t i n g : t h i r d p r i m a r y m o t i o n i n w e a v i n g . It c o n s i s t s i n d r i v i n g t h e l a st p i c k o f w e f t t o t h e fell of the cloth.

Blanch : make white or pale by extracting color.

Blouse piece : the part of saree which is cut out to sew the blouse.

BPL (Below Poverty Line) : below than the Poverty line (monthly per capita consumption e x p e n d i t u r e o f R s . 9 7 2 i n r u r a l a r e a s a n d R s . 1 4 0 7 i n u r b a n a re a s a t t h e a l l In d i a l e v e l ) .

B r o c a d e : a r i c h f a b r i c w o v e n w i t h a r a i s e d p a t t e r n , t y p i c a l l y w i t h go l d o r si l v e r t h re a d .

Charkha : a spinning wheel for spinning thread or yarn from fibres.

Chemical dyes : artificially prepared dyes in laboratories or industries.

C l u s t e r s : a g r o u p o f s i m i l a r t h i n g s o r p e o p l e p o s i t i o n e d o r o c c u r r i n g c l o se l y t o g e t h e r.

C o n c e n t r a t e d s o l u t i o n : s o l u t i o n i s o n e t h a t h a s a r e l a t i v e l y l a r g e a m o u n t o f d i sso l v e d solute.

Consummation : the point at which something is complete or finalized.

Contemporary : belonging to or occurring in the present.

Craftsman : a worker skilled in a particular craft.

C u s t o m d u t y : t a x i m p o s e d o n t h e g o o d s w h e n t h e y a r e t ra n sp o rt e d a c ro ss t h e i n t e rn a t i o n a l borders.

D e c c a n P l a t e a u : l a r g e p l a t e a u i n w e s t e r n a n d s o u t h e r n In d i a .

D e g u m m i n g : t h e p r o c e s s o f r e m o v i n g t h e s e r i c i n , a s t i c k y s u b s t a n c e p ro d u c e d b y t h e silkworm that holds the strands of silk together.

D e m o c r a c y : s y s t e m o f g o v e r n m e n t b y t h e w h o l e p o p u l a t i o n o r a l l t h e e l i g i b l e m e m b e rs o f a state, typically through elected representatives.

Dye : colored substance that chemically bonds to the substrate to which it is being applied.

Dyeing : the process of applying dye to the fabric or threads.

Ecologist : an expert in or student of ecology.

Economist : an expert in economics.

Embellishment : the action of adding decorative details.

Environmentalist : a person who is concerned about protecting the environment.

Excise duty : tax charged on goods produced within the country.

E x h i b i t i o n s : a p u b l i c d i s p l a y o f w o r k s o f a r t o r i t e m s of i n t e re st , h e l d i n a n a rt g a l l e ry o r museum or at a trade fair.

F a c e b o o k : s o c i a l n e t w o r k i n g s i t e t h a t m a k e s i t e a s y f o r y o u t o c on n e c t a n d sh a re w i t h family and friends online.

F e m i n i s m : t h e a d v o c a c y o f w o m e n ' s r i g h t s o n t h e g r o u n d o f t h e e q u a l i t y o f t h e se x e s.

G D P : m o n e t a r y v a l u e o f a l l f i n i s h e d g o o d s a n d s e r v i c e s m a d e w i t h i n a c o u n t ry d u ri n g a specific period.

G I : s i g n u s e d o n p r o d u c t s t h a t h a v e a s p e c i f i c g e o g r a p h i c a l o ri g i n a n d p o sse ss q u a l i t i e s o r a reputation that are due to that origin.

Handloom : a manually operated loom.

H a n d l o o m M a r k : G o v e r n m e n t o f In d i a 's i n i t i a t i v e t o p r o v i d e a c o l l e c t i v e i d e n t i t y t o t h e h a n d l o o m p r o d u c t s i n I n d i a a n d c a n b e u s e d n o t o n l y f o r p o p u l a ri z i n g t h e h a n d w o v e n p r o d u c t s b u t c a n a l s o s e r v e a s a g u a r a n t e e f o r t h e b u y e r t h a t t h e p ro d u c t b e i n g p u rc h a se d i s g e n u i n e l y h a n d w o v e n f r o m In d i a .

Harness : the frame of the loom that holds the warp threads.

H e a l d s : A s t e e l w i r e o r s t r i p w i t h a n e y e i n t h e c e n t r e , o r a s i m i l a r d e v i c e t h ro u g h w h i c h a warp yarn is threaded.

H e i r l o o m : a v a l u a b l e o b j e c t t h a t h a s b e l o n g e d t o a f a m i l y f o r se v e ra l g e n e ra t i o n s.

Horticultural : relating to the art or practice of garden cultivation and management.

Hydro-chemical : indicating the presence of hydrogen in a chemical compound.

I n d u s t r i a l i z a t i o n : t h e d e v e l o p m e n t o f i n d u s t r i e s i n a c o u n t r y o r r e g i o n o n a w i d e sc a l e .

Input tax credit : at the time of paying tax on output, you can reduce the tax you have already paid on inputs.

Insurance : a thing providing protection against a possible eventuality.

Jacquard : an apparatus with perforated cards, fitted to a loom to facilitate the weaving of figured and brocaded fabrics.

Jacquard loom : loom with jacquard apparatus J a c q u a r d s h e e t s : t h e p e r f o r a t e d s h e e t s w h i c h a r e p a t t e r n e d a c c o r d i n g t o t h e d e si g n o n the fabric.

Knotting Process : process of tying the warp sheets at the time of beam change.

Kamarpatti : part of saree that goes along the waist of the body.

Lakat process : process of blanching the silk threads on the loom and dyeing it to another c o l o r . T h i s p r o c e s s i s m a i n l y u s e d f o r d y e i n g d i f f e r e n t c o l o r o n p a l l u o f t h e sa re e .

M e r c h a n t : a p e r s o n o r c o m p a n y i n v o l v e d i n w h o l e s a l e t r a d e , e s p e ci a l l y o n e d e a l i n g w i t h f o r e i g n c o u n t r i e s o r s u p p l y i n g g o o d s t o a p a r t i c u l a r t ra d e .

Metropolitan : relating to or denoting a metropolis or large city.

M i l l g a t e P r i c e : t h e p r i c e a t w h i c h t h e y a r n i s p r o c u r e d f r o m t h e r e g i s t e re d l i c e n c e h o l d e r s o f S i l k E x c h a n g e i n c a s e o f s i l k y a r n , p r o c e s s ors/ d y e h o u se s i n t h e c a se o f d y e d / p r o c e s s e d y a r n a n d r e p u t e d s p i n n i n g m i l l s i n t h e c a se o f c o t t o n a n d o t h e r t y p e s o f yarn.

M o t i f : a d e c o r a t i v e i m a g e o r d e s i g n , e s p e c i a l l y a r e p e a t e d o n e f o rm i n g a p a t t e rn .

N a t u r a l F i b r e : f i b e r s t h a t a r e p r o d u c e d b y p l a n t s , a n i m a l s , a n d g e o l o g i c a l p ro c e sse s.

N a t u r a l d y e : d y e s o b t a i n e d f r o m n a t u r a l s o u r c e s l i k e p l a n t s , f r u i t s , a n d v e g e t a b l e s.

OPD (Outpatient department) : part of a hospital designed for the treatment of o u t p a t i e n t s , p e o p l e w i t h h e a l t h p r o b l e m s w h o v i s i t t h e h o sp i t a l f o r d i a g n o si s o r t r e a t m e n t , b u t d o n o t a t t h i s t i m e r e q u i r e a b e d o r t o b e a d m i t t e d f o r o v e rn i g h t c a re .

P a d d l e : l e v e r u n d e r a l o o m w i t h w h i c h a t h r e a d i s c o n n e c t e d b y m e a n s o f c o rd s.

Pallu : part of saree that goes on and beyond shoulder.

Peninsula : a piece of land almost surrounded by water or projecting out into a body of water.

Picking : inserting a weft thread across the warp through during weaving.

P l a i n w e a v e : a s t y l e o f w e a v e i n w h i c h t h e w e f t a l t e r n a t e s o v e r a n d u n d e r t h e w a rp .

Plateau : an area of fairly level high ground.

P l y : n u m b e r o f y a r n s t h a t a r e t w i s t e d a r o u n d o n e a n o t h e r t o c re a t e o n e si n g l e t h re a d .

P o w e r l o o m : a l o o m p o w e r e d b y w a t e r , s t e a m , o r e l e c t r i c i t y ra t h e r t h a n b y h a n d .

R e e d : p a r t o f a w e a v i n g l o o m , a n d r e s e m b l e s a c o m b . It i s u se d t o se p a ra t e a n d sp a c e t h e w a rp t h r e a d s , t o g u i d e t h e s h u t t l e 's m o t i o n a c r o s s t h e l o o m , a n d t o p u sh t h e w e f t t h re a d s i n t o p l a c e .

R e e l i n g P r o c e s s : p r o c e s s o f u n w i n d i n g r a w s i l k f i l a m e n t f r o m t h e c o c o o n d i re ct l y o n t o a h o l d e r.

R e t a i l e r : a p e r s o n o r b u s i n e s s t h a t s e l l s g o o d s t o t h e p u b l i c i n r e l a t i v e l y sm a l l q u a n t i t i e s f o r u se o r consumption rather than for resale.

Rural : in, relating to, or characteristic of the countryside rather than the town.

Risk management : p r o c e s s o f i d e n t i f y i n g , a s s e s s i n g a n d c o n t r o l l i n g t h r e a t s t o a n o rg a n i z a t i o n ' s capital and earnings.

S e r i c u l t u r e : t h e p r o d u c t i o n o f s i l k a n d t h e r e a r i n g o f s i l k w o r m s f o r t h i s p u rp o se .

S e m i - u r b a n : p a r t l y u r b a n ; b e t w e e n u r b a n a n d r u r a l ; s o m e w h a t b u t n o t w h o l l y ch a ra c t e ri st i c o f u rb a n areas.

Shaft : the frame of the loom that holds the warp threads.

S h e d d i n g : m e c h a n i s m s e p a r a t e s t h e w a r p t h r e a d s i n t o t w o s h e e t s ( l a y e rs) b y l i f t i n g so m e o f t h e h e a l d shafts up whilst lowering others.

S h u t t l e : a s h u t t l e i s a t o o l d e s i g n e d t o n e a t l y a n d c o m p a c t l y s t o r e a h o l d e r t h a t c a rri e s t h e t h re a d o f the weft yarn while weaving with a loom.

Silk : a fine, strong, soft lustrous fibre produced by silkworms in making cocoons and collected to make thread and fabric.

S i l k m a r k : m a r k c e r t i f i e s t h a t t h e p i e c e o f t e x t i l e w h i c h b e a r s t h e m a rk i s m a d e o f p u re n a t u ra l si l k .

Silkworm : the commercially bred caterpillar of the domesticated silk moth ( Bombyx mori ), which spins a silk cocoon that is processed to yield silk fibre.

S o d a : s o d i u m c a r b o n a t e , e s p e c i a l l y a s a n a t u r a l m i n e r a l o r a s a n i n d u st ri a l c h e m i c a l .

Solar charkhas : charkha run by the electricity generated through solar panels.

S u b s i d y : a s u m o f m o n e y g r a n t e d b y t h e s t a t e o r a p u b l i c b o d y t o h e l p a n i n d u st ry o r b u si n e ss k e e p the price of a commodity or service low.

Sustainable : able to be maintained at a certain rate or level.

Sustainability : avoidance of the depletion of natural resources in order to maintain an ecological balance.

T a x : a c o m p u l s o r y c o n t r i b u t i o n t o s t a t e r e v e n u e , l e v i e d b y t h e g o v e rn m e n t o n w o rk e rs' i n c o m e a n d b u s i n e s s p r o f i t s , o r a d d e d t o t h e c o s t o f s o m e g o o d s , se rv i c e s, a n d t ra n sa c t i o n s.

The periplus of Erythraen Sea : Greco-Roman periplus written in Koine Greek that describes navigation and trading opportunities from Roman Egyptian ports like Berenice Troglodytica a l o n g t h e c o a s t o f t h e R e d S e a, a n d o t h e r s a l o n g H o r n o f A f r i c a, t h e P e r s i a n G u l f, A r a b i a n S e a a n d t h e I n d i a n O c e a n, i n c l u d i n g t h e m o d e r n - d a y S i n d h r e g i o n o f P a k i s t a n a n d s o u t h w e s t e r n r e g i o n s o f I n d i a.

T h r e a d h o l d e r : t o o l a r o u n d w h i c h t h r e a d s a r e r e e l e d a n d k e p t f o r s t o r a g e p u rp o se .

U t e n s i l s : a t o o l , c o n t a i n e r , o r o t h e r a r t i c l e , e s p e c i a l l y f o r h o u s e h o l d u se .

Warp : the lengthwise or longitudinal yarns placed in loom W e f t : t r a n s v e r s e y a r n s d r a w n t h r o u g h a n d i n s e r t e d o v e r - a n d - u nd e r t h e w a rp .

Weights : h e a v y m a t e r i a l t i e d t o b u n d l e s o f w a r p t h r e a d s i n o r d e r t o k e e p t h e n e c e ssa ry tension.

W e a v i n g : t h e c r a f t o r a c t i o n o f f o r m i n g f a b r i c b y i n t e r l a c i n g t h r e a d s.

WhatsApp : c r o s s - p l a t f o r m c e n t r a l i z e d m e s s a g i n g a n d v o i c e - o v e r- IP se rv i c e o w n e d b y Facebook, Inc. W h o l e s a l e r s : a p e r s o n o r c o m p a n y t h a t s e l l s g o o d s i n l a r g e q u a n t i t i e s a t l o w p ri ce s, t y p i ca l l y t o retailers.

Women's empowerment : p r o m o t i n g w o m e n ' s s e n s e o f s e l f - w o r t h , t h e i r a b i l i t y t o d e t e rm i n e t h e i r o w n c h o i c e s , a n d t h e i r r i g h t t o i n f l u e n c e s o c i a l c h a ng e f o r t h e m se l v e s a n d o t h e rs.

Workmanship : the degree of skill with which a product is made or a job done.

Woven cloth : textile formed by weaving Yarn : spun thread used for knitting, weaving, or sewing.

Z a r i : a t y p e o f g o l d t h r e a d u s e d d e c o r a t i v e l y o n In d i a n c l o t h i n g .

Bibliography S i n g h , S u s h m i t a & S r i v a s t a v a , S h a s h i . ( 2 0 1 8 ) . E x t e r n a l F a c t o rs A f f e c t i n g Indian Hand loom Industry: A Paradigm Shift. 12. 33-41. h t t p s : / / w w w .i n v e s t o p e d i a . c o m /a r t i c l e s /i n v e s t i n g /1 0 0 5 1 5 /t h re e - p i l l a rscorporate-sustainability.asp h t t p s : / / w a h g i .n c o g . g o v . i n / h o m e U r l h t t p s : / / w w w .i n d i a . g o v . i n / o f f i c i a l - w e b s i t e - h a n d l o o m - m a r k h t t p : / / w w w .s i l k m a r k i n d i a . c o m / h t t p s : / / e n .w i k i p e d i a . o r g / w i k i /Y e o l a h t t p s : / / w w w .i n c r e d i b l e i n d i a . o r g /c o n t e n t /i n c r e d i b l e i n d i a /e n /d e st i n a t i o n s /aurangabad/paithan.html h t t p s : / / e n .w i k i p e d i a . o r g / w i k i /M a h a r a s h t r a

About the artisans..

Omkar Rode, a resident of Yeola (MH) is pursuing undergrad degree in TEXTILE design from J.J School of arts, Mumbai,and is actively involved in Paithani weaving business of his family from his childhood and wishes to continue it future.

P h n N o .: 8 6 6 8 5 9 2 9 3 1

Nilesh Pardeshi, resident of Yeola, (MH).

Experience : over 15 years P h n N o .: 9 9 2 1 6 2 0 7 9 4

Nitin Pendharkar, a resident of Yeola (MH).

Experience : over 20 years P h n n o .: 9 8 5 0 3 1 9 4 4 6

Mr. Ramesh Pahilwan,a resident of Yeola (MH), is a Ph.D holder in Paithani from Pune University, is still actively involved in Paithani weaving business.

Experience : over 50 years P h n N o .: 9 4 2 3 0 0 1 0 9 8

M r s .S h a s h i k a l a Bhosale, a resident of Paithan (MH).

Experience : over 20 years P h n N o .: 9 2 2 6 2 8 1 7 7 3

About the authors..

Abhishek Soni, a resident of Raigarh ( C . G .) , has an undergrad degree in Bsc (Mathematics) from St. Xavier's College, Mumbai.

Email: a b h i .s o n i 3 0 0 6 @ g m a i l .com

Neha Patel, a resident of Bhopal ( M . P .) , has an undergrad degree in BA (English Literature) from SNGGPG Bhopal .

Email: n e h a .p a t e l .2 0 @ n i f t . a c.in

Nisha Rani, a resident of Patna (Bihar), has an undergrad degree in BA (English Hons.) f r o m G .D .M . C o l l e g e , Bihar.

Email: n i s h a .s i n g h 7 2 4 @ g m a i l.com

Pranali Goswami, a resident of Bhuj (Gujarat), has an undergrad degree in B.Sc (Botany) from Gujarat University, Ahmedabad, Gujarat.

Email: pranaligoswami1@g m a i l .c o m

Shivangi Raj, a resident of Kanpur ( U . P .) , has an undergrad degree i n B .D e s f r o m N I F T , Raebareli Email: s h i v i .r a j 2 1 1 0 @ g m a i l .com

Shubham Verma, a resident of Gorakhpur (U.P.), has an undergrad degree in Bachelor of Visual Arts from Dr. Shakuntala Mishra National Rehabilitation University, Lucknow.

Email: Shubh521998@gmail. com

Shweta Ralegaokar, a resident of Aurangabad (M.H.), has an undergrad degree in BFA in Textile Design from Govt. College of Arts & Design, Aurangabad.

Email:shwetaralegao n k a r 6 @ g m a i l .c o m