ZARDOZI EMBROIDERY
A STUDY ON JAIPURI ZARDOZI A dissertation submitted to the School of Fashion Design, Footwear Design & Development Institute (FDDI) in partial fulfilment of the requirements for the award of CRAFT CLUSTER in Bachelor of Design (FASHION DESIGN) Submitted By: Resham Kumari, 1847021 Shubham Divyanshu, 1847025 Sadhna Dhurve, 1847023 Swetank Prashar, 1847028 Nisha Pal, 1847015 Under the guidance of
Mr. Pradeep Mandal Footwear Design & Development Institute (FDDI) Corner Plot, Khasra no. 31, Nagpur-Chhindwara Road, Imlikheda Chawk ,Chhindwara, Madhya Pradesh- 480001, India
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DECLRATION BY THE CANDIDATE We hereby declare that the project titled “A Study On Jaipuri Zardozi Work” is based on research through various websites and summarized after proper understanding of the contents which we mentioned in the Table Of Content. This project is done under the guidance of Mr. Pradeep Mandal (Sr. Faculty), specialization in Fashion & Apparel Design of Footwear Design & Development Institute (FDDI), Chhindwara480001, Madhya Pradesh, India for the fulfilment of this project of Jaipuri Zardozi and whatever information is taken from any source had been duly acknowledged.
Signature of the supervisor
Signature of the team
Date: _________________ Place:_________________ ZARDOZI EMBROIDERY 2 | Page
CERTIFICATE OF THE SUPERVISIOR This is to certify that the work entitled “A Study On Jaipuri Zardozi Work”, a piece of research work done by Group A (Resham Kumari, Shubham Divyanshu, Sadhna Dhurve, Swetank Prashar, Nisha Pal) under my guidance and supervision for the completion of this project. I certify that the team member of this group has performed well in the subject of Craft Cluster and gave their best for this project. They have successfully presented their research work and incorporated the suggestions given by me. They are permitted to submit their project to the institute.
_____________________ Signature of the supervisor
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ACKNOWLEDGEMENT In the present world of competition there is a race of existence in which those are having will to come forward succeed. Project is like a bridge between practical and theoretical working. With this willing we joined this particular project. In the accomplishment of this projects successfully, many people have best owned upon us. Their blessings and the heart pledged support, this time we’re utilizing to thank all the people who have been concerned with this project. Primarily, we would thank god for being able to complete this project with success. Then we would like to thanks our college Footwear Design & Development Institute (FDDI) who give this a great opportunity to show our dedication towards Fashion Designing. Then we would like to thank our central in-charge Mr. Sankoch Katre. We are feeling oblige in taking the opportunity to sincerely thanks to our subject faculty Mr. Pradeep Mandal, whose valuable guidance has been the ones that helped us to patch this project and make it full proof success. His suggestions and his instructions had served as the major contributor towards the completion of this project. Then we would like to thanks parents and friends who have helped us with their valuable suggestions and guidance has been helpful in various phases of the completion of the project. Last but not the least we the team of Group A, would like to thank each other to work so hard and to coordinate accordingly. All shown best efforts for their work to complete this project.
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PREFACE As a part of this four year programmed leading to Bachelor Degrees in Fashion Design from Footwear Design & Development Institute, Chhindwara, Affiliated by Ministry of Commerce & Industry, Government of India and Institute of National Importance (INI), curriculum of which includes both theoretical orientation in specialized area. In fulfilment of these objectives, we had observed the organization. We made a report on “A Study On Jaipuri Zardozi Work”. We have put our level best to prepare our project an error free project. Every effort has been made to offer the most authenticate position with accuracy.
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ABSTRACT In this project we introduce the art of Jaipuri Zardozi. On the basis of our research, we suggest that there is still a gap between the earlier way of doing zardozi and the present way of doing Zardozi. Assuming that the project is a form of solving problems of zardozi workers, about their low remuneration, work credit etc and to bring something unique and innovative design pattern. To end this, we introduce this project consisting of awareness, design, performance, etc. This work of zardozi has been studied in a purely exploratory study. Result of this study is that some workers don’t even know about their rights and many people wants changes in the designs as they want to wear something unique. We finally conclude that we will offer them to join NGO and to bring new and unique patterns of designs not only in garments but also in other products.
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LIST OF CONTENT Sr. No. 1 2 3 4 5 6
Content Introduction To Zardozi History Objectives Scopes Importance Limitation ● Jaipuri Zardozi
Page No. 12 13 15 15 16 17-30
● Uniqueness ● Designs ● Motifs
● Artisans
● Problems 7 8 9 10 11 12 13 14 15
Method Raw Materials Tools Planning Marketing Outcomes Changes Designer’s Name Questionnaire Feedback
&
31 38 39 41 42 42 43 43 44-52
● Questionnaire Material
16 17
Review Boards
● Inspiration Board
53 55-59
● Mood Board
● Design Board ● Trims Board 18
Sketches
60-70 ZARDOZI EMBROIDERY 7 | Page
● Sketch 1 ● Sketch 2 ● Sketch 3 ● Sketch 4 ● Sketch 5 ● Sketch 6 ● Sketch 7 ● Sketch 8 ● Sketch 9
● Sketch 10 19
Prototypes
● Prototype 1
71-76
● Prototype 2 ● Prototype 3 ● Prototype 4
● Prototypes Justification 20 21 22 23 24
Result Data Collection Discussion Conclusion Bibliography
77 80 88 91 93
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LIST OF FIGURE Figure No. 1 2 3
4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19
Content Map Showing Countries Of Ancient Zardozi Work Done On Original Fabric With Golden Wires Drawing Of Delhi Gold Embroiderers At Work In 1870, By John Lockwood Kipling Mixed Design Of Badla & Dabka
Zardozi Motifs
Tree Motif Floral Motif Lotus Motif Peacock Motif Parrot & Hansa Motif Mango Motif Traditional Motif Sun Motif Rudraksha Motif Tree Of Life Motif Elephant Motif Square & Star Motif Symmetric Motif Farahnaaz From Jaipur
Page No. 13 14 15
18 19 19 20 20 21 22 22 23 23 24 24 25 25 26 27 ZARDOZI EMBROIDERY 9 | Page
20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52
Preparing Stencils Trims Framing The Fabric Workers Doing Zardozi Embroidery Zardozi Work By Farahnaaz And Team Designing Tracing Setting Hoop Working On Embroidery Straight Stitch Stem Stitch Twisted Stem Stitch Padded Slanting Stitch Chain Stitch Loop Stitch Lazy Daisy Stitch Surrounding A Bead Stitch Fishbone Stitch Filling Stitch Raw Thread Scissor Needle Hoop Ruler Pen/Pencil Dress Design By Ritu Kumr & Amit Aggarwal Glimpse Of Jaipuri Zardozi Inspiration Board Mood Board Desin Board Trims Board Sketches Of Products Sketch 1
27 28 28 29 30 31 32 32 33 34 34 35 35 35 36 36 37 37 37 38 39 40 40 41 41 44 55 56 57 58 59 60 61 ZARDOZI EMBROIDERY 10 | Page
53 54 55 56 57 58 59 60 61 62 63 64 65 66
Sketch 2 Sketch 3 Sketch 4 Sketch 5 Sketch 6 Sketch 7 Sketch 8 Sketch 9 Sketch 10 Zardozi Prototypes
Prototype 1 Mini Pouch Purse Prototype 2 Mini Purse Prototype 3 Hanging Decor Item Prototype 4 Ribbon Batch
62 63 64 65 66 67 68 69 70 71 72 73 74 75
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INTRO TO ZARDOZI •
Zardozi is one of the oldest and most beautiful embroidery styles of India. It is used extensively in clothing and home decoration. Painstakingly and delicately done by hand, creations in Zardozi work are timeless, unbounded by the shackles of trends.
• Zardozi embroidery work involves making elaborate designs, using gold and silver threads. Further adding to the magnificence of the work are the studded pearls and precious stones. • Zardozi is form of embroidery that came to India from Persia. Its literal translation, “Zar” meaning gold and “Dozi” meaning embroidery, refers to the process of using metallic-bound threads to sew embellishment on to various fabrics. • This heavy and intricate style of design is said to have been brought to India with the Mughal conquerors. • It is particularly popular in countries like Iran, Pakistan and India. • Regions Known for Zardozi Work in India are: Jaipur, Hyderabad, Lucknow, Jammu, Kashmir, Kolkata, Varanasi, Agra, Delhi, Farrukkabad. • Initially, the embroidery was done with pure silver wires and real gold leaves. However, today, craftsmen make use of a combination of copper wire, with a golden or silver polish, and a silk thread. This is ZARDOZI EMBROIDERY 12 | Page
because there is hardly any availability of gold/silver on such a large scale as before. •
Zardozi is a type of heavy and elaborate metal embroidery on a silk, satin, or velvet fabric base.
• The inspiration for all motifs has always been nature. From flowers, leaves and trees to animals and birds. •
Zardozi garments not only look grand but also weigh a lot. Depending on the design, each work generally takes about 10 days to complete.
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HISTORY • Historically, it was used to adorn the walls of royal tents, scabbards, wall hangings and the paraphernalia of regal elephants and horses. • Initially, the embroidery was done with pure silver wires and real gold leaves. However, today, craftsmen make use of a combination of copper wire, with a golden or silver polish, and silk thread. IRAN • Zardozi is an important handicraft in Persian culture. It is known around the country by names such as zar-douzi, kam-douzi, gol-douzi and kaman-douzi. Nowadays it is more popular in Hormozgan, especially in Bandar-e-Lenge, Bandar-e-Abbas, and Minab.
FIG 1: MAP SHOWING COUNTRIES OF ANCIENT ZARDOZI Persian zardozi is of three kinds: ● Some people completely sew the basic fabric with Bakhie in order to produce novel patterns and colors, such as the Baloch's Souzandouzi, Rasht's Qollab-douzi and Kerman's Pate-douzi. ● Some sew with less density of work on the original fabric. They cross the strings throughout the woof of the fabric and sew them ZARDOZI EMBROIDERY 14 | Page
to each other to form a colorfully patterned lattice, such as sekkedouzi or qollab-douzi in Isfahan. ● A third way is to sew a variety of patterns on the original fabric with gold and silver strings, such as Dah-Yek-Douzi, Naqade-douzi, Tafte-douzi, Kous-douzi, Zari-douzi or Golabatoun-douzi.
FIG 2: WORK DONE ON ORIGINAL FABRIC WITH GOLDEN WIRES INDIA ● Gold embroidery has existed in India since the time of the Rigveda, between 1500 and 1200 BC. ● It prospered during the 17th century during the reign of the Mughal emperor Akbar, Under the rule of Aurangzeb, the royal patronage stopped and this led to the decline of the craft. Since the cost was high and raw materials quite rare, craftsmen could not carry on with the embroidery on their own. ● Many craftsmen left Delhi and went to the courts of Rajasthan and Punjab in search of work. With the 18th and 19th century bringing industrialization, the craft suffered another setback. ● The craft began to experience a resurgence in popularity following India's independence in 1947. ● Today, zardozi is popular in the Indian cities of Lucknow, Farrukhabad, Chennai and Bhopal. ● In 2013, the Geographical Indication Registry (GIR) accorded Geographical Indication (GI) registration to the Lucknow zardozi. ZARDOZI EMBROIDERY 15 | Page
With GI status, zardozi artisans, distributors, and retailers in Lucknow and the six surrounding districts of Barabanki, Unnao, Sitapur, Rae Bareli, Hardoi and Amethi can become authorized users of the "Lucknow Zardozi" brand and carry a unique mark of authenticity.
FIG 3: Drawing of Delhi gold embroiderers at work in 1870, by John Lockwood Kipling
Objectives ● To trace the origin and history of Zardozi craft. ● To spread awareness among people.
● As a designing students, how can we improvise this craft. ● To solve the problem which craftsmen are facing. ● To provide them stage for better earning.
● For abroad transformation of motifs and designs from traditional to contemporary. ● To identify the cause and effect of change in zardozi embroidery craft.
Scopes • Better future for Zardozi craft. • As a designing student, how can we relate it to western culture because till now there are none such designer who work such kind of work in so deeply. ZARDOZI EMBROIDERY 16 | Page
• It is our responsibility to lift up this art on higher level so that government can do more events and activities to attract public. • Tendency to wear Indian Zardozi embroidery in India and western women should increasing, as the demands are high the manpower also increase. • Strong domestic market as well as growing export market should be in Zardozi.
Importance • Embroidery specifically has always been a universal form of art. The Indian traditional embroidery has withstood the ravages of time, impact of foreign influences and globalization of embroidery techniques to outshine many of its counterparts in today's market scenario. • The history of Zardozi embroidery in India dates back to Rig Vedic times. Infect the last 5 decades has seen a phenomenal progress in terms of revival of this golden art. • The use of gold and silver threads, beads, stones, and imaginative designs has made it one of the most sought after glittering art to decorate fabric. The word "Zardozi" is made up of two Persian terms, 'Zar' meaning gold and 'Dozi' meaning embroidery. • The materials used to do the embroidery has also been commercialized to meet the demands of the consumer over the period of time and to reduce the cost, so as to make available to all. Metallic wires, kora, saadi, kinari, Salma, badla, sequins, stones and other such materials are used today to add to the glitz and glamour of the embroidery. • The results of the survey were phenomenal. Majority of the respondents of the survey, mostly young women belonging to the age group of 20-25 years well accepted the developed stylized choli. The survey also showed that criteria such as functionality, design, comfort and appeal of the garment through value addition was of utmost importance to the consumer irrespective of the cost.
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• The traditional art of Zardozi in India still intrigues the minds of the global consumer and has aroused the interest of the global market. From the time globalization and liberalization has taken over the market, competition has reached its zenith and to survive, it has now become a necessity to reintroduce these forms of decoration and incorporate the same on new products and styles to cater to the needs of the consumer today.
Limitation • Our limitation is binding up on the boundaries of Jaipur. JAIPUR ZARDOZI
•
Jaipur is one such place. Where has different types of work are done. Like related to textile, artwork, handicraft etc. One of the work from there which is Zardozi Embroidery.today, craftsmen make use of a combination of copper wire, with a golden or silver polish, and silk thread. and also they uses kind of decorative items like metal sitara, plastic beads, crystal Pearl, this is because there is hardly any availability of gold/silver on such a large scale as before it’s kind of heavy embroidery. This embroidery create on saree, bridal lehenga, kurti, coat, sherwani, shawl etc. UNIQUENESS
• Zardozi is a type of heavy and elaborate metal embroidery on a silk, satin, or velvet fabric base. • It created using gold and silver threads and can incorporate pearls, beads, and stones. • it gives a royal touch to fabric. • It looks very different from the rest of the embroidery because it is very attractive due to the useful material • Design embellishes very beautifully with Zardozi embroidery on the fabric. It's very creative. Designs
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• The design is first outlined on the fabric and mixed metallic wires and shapes are spread out on it. • The motifs used by the embroiderers in Rajasthan are inspired from different shapes and sizes of gold and silver wires and discs. The badla, a flat wire with a thread base, the salmais coiled and springy, while the dabka is a thin tightly coiled wire. Asitara is a tiny ring of metal that resembles a star, gijai is a circular, thin stiff wire and the tilla is a flat metal wire.
FIG 4: MIXED DESIGN OF BADLA & DABKA •
Laid-stitch, backstitch, couching chain stitch, running stitch and satin stitch are also employed in these exquisite embroideries.
• Zardozi embroidery patterns include circles and triangles into margins, creating a body of flowers. Borders often feature triangular forms with finely wrought floral scrolls. The corners are adorned with Hindu mantras, a floral spray or peacocks. Motifs • Zardozi embroidery pattern include comprised of complex nature, floral and leaf motifs, contemporary patterns are more geometric stylizations of similar motif. circles and triangles into margins, creating a body of flowers. Borders often feature triangular forms with finely wrought floral scrolls. The corners are adorned with Hindu
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mantras, a floral spray or peacocks. The field is filled with sprays, flower buds and animal figures.
FIG 5: ZARDOZI MOTIFS Nature motifs • Nature provides examples of many kinds of pattern, including symmetries, trees, leaf, flower and other structures with a fractal dimension, spirals, meanders, waves, foams, tilings, cracks and stripes • A tree laden with flowers and fruits with birds in its branches and animals sheltering under it indicates that all is well with life on Earth. A shankh or a shell symbolises the sounds of the cosmic space, an elephant denotes power and the rudraksh, a bead associated with Indian deity Shiva, denotes an ascetic charm. The motifs surfaced on Indian textiles are many with each representative of a meaning, which many believe to emanate a vibe on the person who adorns it.
FIG 6: TREE MOTIF ZARDOZI EMBROIDERY 20 | Page
Floral motif • This motif illustrates Tree with Flowers, Fruits, Birds and Animals giving an idea that all life on Earth is related and depends on each other. Lot of colours is used in this motif and are popularly seen in embroidery.
FIG 7: FLORAL MOTIF Lotus motif • The motif of the kamal or the lotus flower is one of the most popular motifs used in Indian art and textiles. A symbol of the eternal order of the union of earth, water and sky, it represents the power of life. The flower is represented with both its opening and closing petals indicating the ups and downs of life and the revamping of one’s characteristics. Its petals also represent the multiplicity of the universe.
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FIG 8: LOTUS MOTIF Peacock motif • Peacock which is now the national bird of India is the symbol of Indian ethnicity, tradition and exquisiteness. It is often associated with rain. Motif of the peacock are found commonly on traditionally designed fabrics with more embellished designs on bridal wear as in some cultures, the peacock signifies the completeness of being a woman. It is also believed to carry a sense of energy that comes from its renewal of feathers every yeathe peacock is considered a vahana or vehicle for lord Muruga.
FIG 9: PEACOCK MOTIF Parrot and hansa motif
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• Symbolizing passion and courtship, a motif of a parrot is commonly found in artwork telling the story of Lord Krishna and his lover, Radha, a tale well recited in Hindu epics and sagas. • This motif represents the symbol of spirituality and vahana of Brahma, sarasvati.
FIG 10: PARROT & HANSA MOTIF Mango motif • This motif is used in wide range of Indian textiles. • These patterns are exceptionally ornate, classic and royal.
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FIG 11: MANGO MOTIF Traditional motif •
Most of the traditional motifs are often inspired from nature. The sun, peacock, elephant, rudraksha and all the cultural, ethnicity, tradition and exquisiteness sign.
FIG 12: TRADITIONAL MOTIF The sun motif • Sun is considered as source of life and has been worshipped by people of varied cultures and religions. Depicted as the only divine form visible to human eye sun plays a vital role in Hindu rituals.
FIG 13: SUN MOTIF Rudraksha motif
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• Rudrakha Motif Possessing ascetic charm, a symbol of peace and power.
FIG 14: RUDRAKSHA MOTIF Tree of life is an ancient motif • During 17th to 19th century palampore or cotton bed coverings it was portrayed as a central flowering tree surround by vases, animals or birds and leaves with a of broad borders of curvilinear patterns based on flowers and leaves.
FIG 15: TREE OF LIFE MOTIF The elephant motif • Widely used as motif in Indian textiles, Elephant is a symbol of wisdom, fertility, prosperity, strength and royalty. ZARDOZI EMBROIDERY 25 | Page
FIG 16: ELEPHANT MOTIF Geometric motif • A geometric pattern is a kind of pattern formed of geometric shapes and typically repeated like a wallpaper design. The three basic shapes are a square, a triangle and a circle. All other shapes are derived from these. Organic shapes, for the most part, are circular in nature.
FIG 17: SQUARE & STAR MOTIF Symmetric motif • A symmetrical motif is comprised of two or more parts of identical size, shape and content on both the sides of line. It shows formal balance. Each identical part is known as fundamental unit. They may have either vertical symmetry or horizontal symmetry or both.
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FIG 18: SYMMETRIC MOTIF Artisans Profile • Today's zardozi embroidery artisans has face little problem because of the 5% Gst rule comes. As, i talk to them,then they said they don't earn to much because lack of money and not having better support system, like they don't have outlet and store for selling their work so they facing problem in selling. And they get backgrounded because of many more famous fashion Designer's are working on zardozi and they do their business on high level and this artisans are still same as always...
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FIG 19: FARAHNAAZ FROM JAIPUR {Talking To Artisan} • Farahnaaz is working on zardozi Embriodary in jaipur. I get talk to her she told that she is connected with an organization to do their business. She do embroidery work on at their home place. • She is facing lots of problems during selling their work because of not getting proper money and not getting a right platform so she not able to do a good business. • Some of her workplace pictures are:
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FIG 20: PREPARING STENCILS
FIG 21: TRIMS
FIG 22: FRAMING THE FABRIC
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FIG 23: WORKERS DOING ZARDOZI EMBROIDERY
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FIG 24: ZARDOZI WORK BY FARAHNAAZ & TEAM
Credits giving to artist Farahnaaz We would like to thank miss farahnaaz, you are jaipur based artisan and you work on zardozi embroidary , we also have to do craft cluster work on zardozi embroidary of jaipur so we connect to you, and you help us allot, so i want to you say thank you from my group because you help us so much on our craft cluster research work on zardozi embroidary you provide us very important information about this art you guide us how to do this embroidery and the best part is in this difficult times of covid epidemic you teach us through the form online portal .You tell us about your every work experience . it’s great experience to connect with you mam the way help us and provide us such information of zardozi , it’s very kind of you so from my team want to say you thank you again.
Problems • This form of embroidery is very stressful as a person has to sit crosslegged on the ground for several hours. • They spent hours doing a neat and clean job of heavy embroidery, but the entire credit goes to their master, who sold the products to big showrooms at a good price, without increasing their payments. ZARDOZI EMBROIDERY 31 | Page
• Manufacturers claim that constructing a zardozi pattern is quite expensive even now, not only because of the high-priced raw material but also because embroiderers are paid on an hourly basis for doing delicate and intricate work. • Growing popularity of machine work and low remuneration is killing this art. • The craft and artisans both are facing various problem including lack of government attention, exploitation of Karkhandars and Middle man, and wages.
METHODS • The techniques, tools and raw materials used to create Zardozi are the same across India and adhere very closely to the original and ancient techniques. The basic technique is 4 fold: 1. Designing: This is the initial stage of the process, where the entire design is drawn on to a tracing sheet and holes are made along the traced pattern using a needle. While the patterns from the Mughal period all comprised of complex nature, floral and leaf motifs, contemporary patterns are more geometric stylizations of similar motifs.
FIG 25: DESIGNING ZARDOZI EMBROIDERY 32 | Page
2. Tracing:In order to trace the design on to a fabric, the papers with the patterns are placed on a flat table with the fabric underneath. A kerosene and Robin Blue solution is made and wads of cloth are used to dip in it, which are then wiped against the tracing sheet. This enables the ink from the sheet to seep in to the fabric.
FIG 26: TRACING 3. Setting the frame or “Hoop”: The design imprinted fabric is stretched over a wooden frame. The size of the frame can usually be adapted to the size of the fabric. Using bamboo or wooden spars, it is then stretched out and tightly held to give the cloth a uniform tension.
FIG 27: SETTING HOOP ZARDOZI EMBROIDERY 33 | Page
4. Embroidery: A crochet-like needle that is fixed to a wooden stick called “Ari” is used to carry out the embroidery. As opposed to a regular needle and thread, the Ari greatly speeds up the work as the artisans can pass the threads both above and below the fabric. Depending on the intricacy of design and number of artisans working on a piece, this phase can take anywhere from a day to 10 days.
FIG 28: WORKING ON EMBROIDERY • Zardozi is to be worked in two distinct styles. • Karchobi: It is distinguished by the density of its stitches on a heavy base material such as velvet or satin. It is usually seen on garments like coats, tent coverings, furnishing and canopies. • Kamdani: It is the lighter, more delicate work, which is well-known in Rajasthan. Kamdani adorns elegant fabrics like silk and muslin. Although this kind of work is considered to be most suitable for scarves and veils, these days it is most visible on bridal wear in India. Sewing style of zardozi: • Some people completely sew the basic fabric with Bakhie. • Some sew with less density of work on the original fabric. They cross the strings throughout the woof of the fabric and sew them to each other to form a colorfully patterned lattice. • A third way is to sew a variety of patterns on the original fabric with gold and silver strings. ZARDOZI EMBROIDERY 34 | Page
• Main stitches used in zardosi work: • Straight stitch:This is the most basic stitch of zardosi. You work this the same way that back stitch is done. This stitch is also worked inside big designs under filling stitches to form a padding.
FIG 29: STRAIGHT STITCH • Stem stitch:This is used for giving outline and for stems of flower designs.
FIG 30: STEM STITCH • Twisted stem stitch: This is used to enhance the outline.
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FIG 31: TWISTED STEM STITCH • Padded slanting stitches:To work this stitch first a straight stitch or two is made as a base and then slanting stitches are done over and above the straight stitch.
FIG 32: PADDED SLANTING STITCH • Chain stitches: It is formed to give decorative look.
FIG 33: CHAIN STITCH ZARDOZI EMBROIDERY 36 | Page
• Loops:A loop is formed when you bring up the needle and thread the zardosi piece and then go back some two – three thread near from where you first came up.
FIG 34: LOOP STITCH • Lazy daisy:Lazy daisy stitches worked to form a flower. This is a common zardosi motif with the metallic bullion thread.
FIG 35: LAZY DAISY STITCH • Surrounding a bead:A bead is usually surrounded by a suitable length of zardosi thread.
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FIG 36: SURROUNDING A BEAD STITCH • Fish bone stitch: It is formed to give decorative look.
FIG 37: FISH BONE STITCH • Filling stitches: It is done to fill the unfilled part of a design.
FIG 38: FILLING STITCH
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Raw material Embellishments:• The original Zardozi thread was made from an alloy of silver and gold. The wire that came out of the furnace, although containing a lot of silver in it, glittered like gold. This flattened wire was then twisted around silk threads to form the spring like Zardozi. Zardozi uses dabka (a spring type of thread), kora, katori, tikena, andsitara(sequins) and also glass and plastic beads at times. All these are usually purchased from the local markets or from wholesale markets like Kinari and Sadar Bazaar. Heavy and grand took at, garments made with Zardozi embroidery can weigh a lot in terms of pounds and kilos.
FIG 39: RAW THREAD Raw material need to do zardozi work: • Cotton thread: In matching colours. • Zari thread:Gold or silver metallic hand embroidery thread, this is used to make an outline stitch – fine chain stitches are worked along the outline. • Bullion embroidery thread:The spiral bullion thread come in different widths/ sizes as well as in different shades of the golden colour and ZARDOZI EMBROIDERY 39 | Page
silver. You have to cut the thread into small pieces appropriate for your design. • Thread snips:for cutting the zardosi thread. • The fabric:Zardozi is used mainly on silk, satin or velvet. • Hoop:To do this work the fabric has to be stretched on a hoop. A nice stretch is necessary to do the work correctly with even tension. • Needle:you can use thin beading needles for the work. Ensure they will pass through the fine coils. • Beads, sequins or other embellishments like kundan crystals.
Tools
FIG 40: SCISSOR 1. Scissor: Embroidery scissors are a special type scissors used to cut sewing thread or multi-ply embroidery thread. They are specially designed with long thin pointy tips to allow someone to cut threads in tight areas accurately and with a clean sharp cut.
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FIG 41: NEEDLE 1. Needle /Ari:Needle is the main tool in the Zardozi embroidery.thin Ari needles ( a very fine crochet needle look alike with wooden handles)ndle it is used for pass the thread from cloth It has a hook at the tip and wooden handle at the back. For zordozi 10 no. Needle is required.
FIG 42: HOOP 2. Frame/Adda:Wooden or metal frame which is uses for the cloth to pulled tightly so we can easily work on fabric. Frame serves an
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important purpose, keeping your fabric taut while stitching keeps your stitches even and tension consistent.
FIG 43: RULER 3. Ruler: Ruler is used for mark a perpendicular/straight line or any geometrical and symmetrical design.
FIG 44: PEN/PENCIL 4. Pencil/pen: Transfer pencils or pens are also an option for marking an embroidery design on fabric and will work on both light- and heavierweight fabrics. Transfer pencils and pens are available in different colors and thicknesses, and the ink is activated by the heat of an iron. However, these markings are permanent.
Planning • Aari Zardozi is a form of embroidery, originated from Persia where as “zar” means gold and “dozi” means embroidery. Mughal conquerors introduced this heavy and unique style of hand embroidery to India. In the Mughal era, Aari Zardozi works were used to decorate tent walls in the form of wall-hangings as well as an accessories for royal elephants and horses. Various styles of hand embroideries are handed down from generation to generation. Aari Zardozi works ZARDOZI EMBROIDERY 42 | Page
differs from other traditional embroideries like Chikankari, Sujni, Kantha, Kasuti, Toda and Mirror embroidery etc. The Muslim communities residing in India initially executed Aari Zardozi work. These Aari Zardozi designs varies from place to place.
Marketing Marketing Of Zardozi Embroidery • Zardozi embellished outfits have always been ‘en vogue’ especially for weddings and special ceremonies. During the last fifty years, the revival of Zardozihas been phenomenal. Not only is it found in the latest designer outlets, but it is being used yet again for interiors of mega weddings and grand ceremonies. Today the Indian ramp is ablaze with products of the craftspeople —the materials may not have the same aesthetic of the Mughals, but they do cater to the demand for highly ornamented garments with glittering beads and sequins. • With the change in times and demand, the Zardozicraftsman has become vital to the garments ‘en vogue’ in Hollywood and Bollywood.
Outcomes • We all know that this embroidery belongs from history, and now a days its going to be in trend. • Many more fashion designer are working on it and make it vogue. • Now a days everyone want to wear this embroidery work in traditional touch up. • Also this craft is support system for many families . • Many artisans are facing problems because they cant bring their business at high level due to lack of money and support system. • Also this is broad area for designers to bring new arrival in zardozi embroidery because last few decades there are none such things came.
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CHANGES • Zardozi is one of the oldest forms of hand embroidery, which was done on garments worn by the kings and royals in India. At that time, the priceless and exquisite embroidery was created with real gold leaves and silver wires on the attires. Pure gold was beaten into fine metal thread that was used to embroider motifs on the fabric. Zardozi involved making elaborate designs wherein precious gems such as diamonds, emeralds, pearls and precious stones were sown into the fabric as part of the embroidery which further enhanced the look of the garment. • By the end of the Mughal era, the art declined because of its high cost and the lack of precious metals for the purpose of embroidery. It was again revived in the 20th century. Today, like everything else, Zardozi too has its limitations: being sold in the market at a much cheaper cost, made out of copper and brass wires plated with gold. Today we use a combination of copper wire, coated with golden or silver polish and synthetic threads, as they are lightweight and durable. • By the end of the Mughal era, the art declined because of its high cost and the lack of precious metals for the purpose of embroidery. It was again revived in the 20th century. Today, like everything else, Zardozi too has its limitations: being sold in the market at a much cheaper cost, made out of copper and brass wires plated with gold. Today we use a combination of copper wire, coated with golden or silver polish and synthetic threads, as they are lightweight and durable.
Designer’s Name Famous Fashion Designer's who worked On Zardozi Embroidery • The Name of Designer's Who Worked On Zardozi Embroidery: ⮚ Ritu Kumar
⮚ Amit Aggarwal
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• Designer Ritu Kumar & Amit Aggarwal they both worked on the techniques of zardozi embroidery:-Textile revivalist and art enthusiast Ritu Kumar’s and Amit Aggarwal love for this historical technique has led her to archival documents as well as on-ground research to preserve the sanctity of this art form. Here, she delves into the techniques, intricacies and celebrated history of zardozi embroidery.
FIG 45: DRESS DESIGN BY RITU KUMAR & AMIT AGGARWAL
Questionnaire & feedback 1. Gender
On our survey we have asked some question about Zardozi Embroidery to the audience, where the percentage of Male were 55.6% while the percentage of female were 44.4%. This question is related to Know the gender equation of the audience. 2. Do you know about Zardozi Embroidery?
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While asking this question to the audience we got that 72% audience who knows the Zardozi Embroidery where the 16.7% don’t know what is Zardozi, the rest audience were on the may be list. This question is to know about the awareness of people on the Indian Zardozi. This is necessary to know where to start the awareness about Zardozi work because there still 16% audience don’t know about it. 3. Do you have any outfit of Zardozi embroidery?
In this question we asked audience if they have Zardozi in their wardrobe or not. The big number of audience answered were NO or MAY BE this answer were normal because the male participant in this questionnaire were Male and Zardozi mainly used by Female so the 55.6% have Zardozi in their wardrobe. So we can make it more comfortable for male too if we do some innovation. 4. Is Zardozi work practices in your state?
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In this question we asked the audience that they are aware of their regional embroidery technique or not well the Zardozi is practiced in some state of India. And our audience were also the from the different state. So who lives in such state where Zardozi Practiced they said Yes which is 44.4% the audience who said NO they were 33.3% the rest 22.2% were those who were on May Be. 5. On what kind of fabric would you like to see Zardozi work?
Bhagalpuri silk Cotton Silk Velvet Khadi Something which is suitable for
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We have asked audience to advice us which fabric they think more suitable for Zardozi Embroidery, they liked these six fabric more then any other where Silk have more vote than any other fabric with 33%, then 21% velvet, 12% Khadi, 11% each Bhagalpuri silk (TUSSAR SILK) and Cotton and 12% audience said any fabric which is suitable for it. Its good that people need to see Zardozi in different fabric. 6. We are adding embossed technique in Zardozi embroidery would you like it or not?
So here we asked audience that with Zardozi will they like Embossed technique. Because we want to add something new with Zardozi so we come up with new style. So for that we want to know the review of audience where 83.3% said they like to go with this experiment, 11.1% said May Be and rest said NO. so this new technique will get market in their favor according to this survey. 7. We are experimenting Zardozi with different fabric, will you like it or not?
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So audience reaction were more on Yes which is 83.3%. Audience who said NO were 11.1%, rest were with May Be. the no of yes is more because people needs change and love changes or experiment with traditional things. 8. Wages of artisans Are very low, so what amendment would you do? In this question we asked on the low wages of artisans and their Solution. For this question we want suggestions from the audience side so we didn’t give them any options so they can add their ideas. So in this process we got many ideas which were suggested by the audience. Tell them about their rights, Increase in demand will increase wages, Right information, More work, these are the four Suggestions who came through audience more. 9. It's our bad luck that all credits of Zardozi workers goes to their master so what we do for them? In this question we asked the audience what they think is the best way for this reason its an open slot where they can share their own idea. Many ideas came in this process some ideas are here. Like to unite them so they can protest for their Rights, some said they will encourage government towards them to do something, One answer were very interesting about addressing people to tell them the importance of workers this could be really helpful if public will aware about the importance of Indian heritage and those worker is still working to alive this embroidery technique. 10.Encourage and help them for their own start up.
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because in Covid Pandemic or in regular basis they have very low incomes. Its awkward that Artisans who make people wardrobe beautiful don’t have much for their living. So it’s very important step towards their good will. And it can really change in their work and living. They can earn their own and work their own they can not let themselves for sustenance on other or any master. 11. Will you suggest them to join any NGO, who are helping artisans.
We asked audience this question where their response were very positive on Yes 94.1% but the rest audience said No. The Large number of audience suggest them work with NGO But the rest don’t. That may be the reason for them they think NGO can take advantage from them. But the large number of audience want to help them through NGO according to it will work. 12.Which of the following you would like to prefer Zardozi work?
This question was asked to the audience to know their response on Zardozi work in Party wear or Casual wear, they voted 55.6% to party wear and 44.4% to casual wear. So they don’t want Zardozi work as an occasional wear it may be in casual wear and it can really change that ZARDOZI EMBROIDERY 50 | Page
taste in fashion. But as its a costly thing we don’t think in casual wear it can really work. But if audience like it then it can be in fashion too. 13. We all know that Zardozi is a Indian embroidery, will you prefer its on Western outfit?
We asked audience to this question where they like Zardozi on Western Outfit or Not. 83.3% said Yes and rest 16.7% said No. this question was related to the modernization of Zardozi. Because as the market in now a days are open window to all because of internet so we want to spread the Zardozi to more people. So that we need to experiment these things. And now a days many designers were doing this already. 14. Which motifs will you like to prefer on contemporary outfits?
As we asked the last question about modernization of Zardozi this question was related to that too. We asked which motif they choose in their Contemporary outfits their was 4 options we have given to the audience so the selection of motifs designs were 33.3% biggest with Nature motifs, 27.8% selected Mantra motifs, 22.2% selected Abstract motifs, rest 16.7% said they like Symmetrical motif. So here we can say the audience chooses all types equally. 15.What kind of raw materials you want to use? ZARDOZI EMBROIDERY 51 | Page
Golden N Silver wire or Sequence of Beads We asked audience which they want more in the design. According to their response 66.7% wants Golden n Silvers wire works more as Design and rest 33.3% they like sequence pf Beads more. Both techniques are beautiful both have their own looks but according to our survey people wants more Golden N Silver wire on their design. 16.Zardozi is all about hand embroidery which gives real feel of work but many work places doing this through machines which is killing the originality.
This question was related to the originality and purity of Zardozi. Which we want to asked the audience to know their view on it because we all are aware that modernization is killing the purity of Zardozi. Its all about hand feel and all but know a days many vendors were using machines for Zardozi that makes them less time and more profit but in this the Artisans were those who suffers more and Zardozi as well. 94.4% audience agreed and rest were on May Be list.
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Questionnaire Material This is our study on Jaipuri Zardozi work. As a student we need to find out all the related objective and outcomes to completing our thesis. So we can’t write only our thoughts and perspective. So we had created a digital questionnaire, through we can easily reach people and they can answer it in their comfort about Zardozi what we want to know about their experiences in some points. While sharing our Questionnaire we spread this to our acquaintance to who were in the fashion fields. Where we got 69 responses from responded. Then we have limited our respondent to 50 only because those people who doesn’t know about the Zardozi we removed those participant. So 26% of our respond were removed. Then the 50 respondents and their responses were proceeded to get our survey report accordingly.
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Review While doing this work on Zardozi Embroidery we came to these points. Zardozi is an old Indian Embroidery form which is Indian Pride and Heritage for us because their not such any style like this Embroidery technique. As by the time its glimpse getting faded because of the Modernization. As the modern era came the use of machines work was more fascinated in starting. As we know that the Zardozi is Embroidery who were used in garment to look beautiful, this work were used that time with Golden And Silver wire. The Zardozi were used by only rich and reputed people because of its gold stitching. Normal people were not able to adopt it. But as a time flies the gold n Silver become more costly which makes it not to wear or more expensive and even duplicates or thread getting used in the place of Gold and Wire And Beads. Zardozi is an artisan based Embroidery for making a design it takes years of practice and hours of work. It need mastery and for this we need artisans. They are the people who works so hard and give their life to achieve mastery in this art. As their such efforts they even can’t get proper wages for their living, they even dependent on their master for proper living. And this Pandemic also damaged their works. They are still not getting proper work. Government also did nothing for them that’s why they changes their occupation which is a biggest lose because they are the trained one and on their place the new persons needs many years to learn this technique. But this modernization make many vendor to use machine for it which didn’t give hand touch feel, which is true they need many intense work which can’t done by machine for that we need to take experienced hand for it. We find the problems which are in the middle of the way for their success. Like they work under the Master, they work in a daily wages, they are not much educated to know the rules, lack of information, poverty, these are the main problems which they are facing. Their need to be change in rules for them. For their goodwill the rule should be make. Many NGO are working for them, but they can’t help to all because they are larger in numbers. But as much as they can they are doing. Many artisans have lack of knowledge so they didn’t know about the NGO and all, so government should do something’s.
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We need to make people aware about the Zardozi so we have taken a survey about Zardozi where we asked question related about Zardozi and their Artisans. Where their answer were on the support of Zardozi to re-established. We asked about Zardozi re-formation. With different garments, techniques, and style people want it to see. The audience need Zardozi to explore with new technique. The Zardozi is an Indian form which makes us proud so we need to make it alive with us. for this we also need to know the Artisans value, their works in this form. So all this is our review about Zardozi.
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Boards
FIG 46: GLIMPSE OF JAIPURI ZARDOZI
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FIG 47: INSPIRATION BOARD ZARDOZI EMBROIDERY 57 | Page
FIG 48: MOOD BOARD ZARDOZI EMBROIDERY 58 | Page
FIG 49: DESIGN BOARD ZARDOZI EMBROIDERY 59 | Page
FIG 50: TRIM BOARD ZARDOZI EMBROIDERY 60 | Page
Sketches
FIG 51: SKETCHES OF PRODUCTS
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FIG 52: SKETCH 1
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FIG 53: SKETCH 2
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FIG 54: SKETCH 3
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FIG 55: SKETCH 4
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FIG 56: SKETCH 5
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FIG 57: SKETCH 6
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FIG 58: SKETCH 7
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FIG 59: SKETCH 8
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FIG 60: SKETCH 9
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FIG 61: SKETCH 10
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Prototypes
FIG 62: Zardozi Prototypes
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FIG 63: Prototype 1 Mini Pouch Purse
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FIG 64: Prototype 2 Mini Purse
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FIG 65: Prototype 3 Hanging Décor Item
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FIG 66: Prototype 4 Ribbon Batch
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Prototypes Justification In our questionnaire part we have asked about zordozi work on garments, but here we have used to worked on accessories like potli bag , clutch, purse etc. because accessory is an item used to contribute, in a secondary manner, to the wearer's outfit, often used to complete an outfit and chosen to specifically complement the wearer's look. Now-a-days as we see bags are the part of traditional looks .It has the capacity to further express an individual identity and personality as there are accessories that come in different size ,style etc. One more thing which is decor item, we have created zardozi work on that too, because as we know zordozi refers royalty in its own way, so why not in traditional vibes. zordozi gives it more attractive and creative look.
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Result Embroidery is one of the core factors of luxury for decoration of fabrics and making them more valued. It has a rich history which adds more to its value presently. - Embroidery has prevailed in India since centuries and has been established in this country as a rich form of art even presently. The number of artisans has reduced in India compared to the historic times till the present. - India is the most hand-skilled country in the world. -The process of hand embroidery is intensive and time consuming which is why it is valued even more in the luxury industry. There are two methods of embroidery in India, the Zari and Aari. Zari takes longer than Aari and is hence more intensive. - Few embroidery artists, embroidery ateliers are left and the ones which are presently active are more expensive than the ones in developing countries like India. The cost of embroidery 15% less expensive in India making India an ideal supplier. - Even though embroidery is an expensive enterprise it is still widely used in haute couture fashion as well as the luxury fashion pret-a-porter lines. Machine embroidery is avoided in luxury wear to keep the value of fine craftsmanship. - For the growth of the hand embroidery industry promotions and awareness are been slowly taken up by designers as this would help the artisans get recognised and appreciated. - Trends for the year 2019 highlight like Getting Woke and Radical Transparency expect companies to go beyond CSRs and being more transparent. Highlighting the luxury brands to be transparent about the embroiders and ateliers behind would help in the awareness and importance of embroidery in fashion. - Decline in embroidery has taken place due to urbanisation and the luxury industry has slowly started to appreciate the craft but is not enough yet. ZARDOZI EMBROIDERY 78 | Page
- The prices of embroidery are bound to increase with time and so will the demand. - If there are more inventions made in the machine embroidery sector there would be more scope, but it would not be able replace the exclusivity of hand embroidery in the luxury fashion industry. - Women should be considered as an asset and promoted in the hand embroidery industry in India as it is extremely male dominated industrially. - Artisans are currently not paid well in India and he doesn’t understand the true value of his skill. A skill as such should be voiced by the artisan to meet his demands. - The artisans presently who work at the export houses don’t wish their children to follow the family tradition and pursue the craft if it doesn’t pay well. - A good pay scale and standardised and better working hours and conditions in export houses would help the future potential artisan pursue the tradition. - Decline of hand embroidery is happening in terms of the artisans unwilling to continue the craft tradition even though the value is increasing. - The value of embroidery would increase more with the decline in artisans creating an impact on availability, cost and adding to the exclusivity. - Hand embroidery would not completely go away in the future of 20 years but is on a slowly decline which would continue if they are not given ample credit. - Artisans are not valued within the Indian fashion industry as much they should be. - The artisans face the pressure of the fast-paced fashion world being at the last tier of the process since the embroidery process is a timeconsuming art. - There are a lot of embroidery houses which work overtime which Is unethical, and the employer rights and rules are not valued. ZARDOZI EMBROIDERY 79 | Page
- The artisans are often unhappy and are pursing the tradition not as a passion anymore but as a tradition and a san income.
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Data collection 5.1. Interview with Individual A. Q. How long have you been in the Embroidery Industry and what do you think of the hand embroidery Industry? A. I have been in the industry for 20 years now, since 1998. I think that firstly, India has the highest and largest artisanal based in the world, not only in terms of volume of artists available today but also the skill level. So, it’s like a national treasure and I think when you go back, it began when historically royal families really patronized the arts, and as a result there was a very high level of awareness for the arts and therefore high levels of interests. Over time it mildly dwindled away and due to urbanization, this form of art took a backseat. Having said that I think globally, now more than ever, there is still a luxury space and appreciation for craftsmanship and maybe 20 years ago it wasn’t there. Q. With the growing education and standard of living how do you think its going to affect the hand embroidery Industry? A. I think we are at a turning point, so the whole definition of hand embroidery being perceived as like the rest of the textile industry where sometimes the working conditions were not optimal is all changing very rapidly. In Mumbai I think already the level of awareness and std of liking is becoming very quickly at par and going forward its only going to get better the appreciation for it is rising. I think it an area of specialization where earlier the perception was that I rather have my son have do computer courses I think that its going to change, yes education is happening, at the same time the craftsmen are correctly paid. I think there should be a standard paying fee where the craftsman is given his due right. Q. How will the decline in hand embroidery affect the fashion luxury houses? A. So, two things firstly, as stakeholders in the craftmanship industry we need to take on the responsibility of innovating the craft enough to keep it relevant and keep the magic alive and if we are able to spin it around season after season, there is no reason why it would decline. Also, historically there are fashion houses that have hand embroidery in their ZARDOZI EMBROIDERY 81 | Page
DNA. There may be a seasonal up and down but looking at craftsmanship going down as a whole either it is going to only have an increasing desire with the end consumer because there is so much more awareness about something that is handmade and unique people are willing to appreciate and pay for the uniqueness. How else would a luxury house leverage themselves otherwise, what are you offering? You are offering fine craftsmanship. Whether it is hand embroidery or leather weaving, or crochet or macramé how are you differentiating yourself as a luxury house, only through your craftsmanship. I don’t think there will ever be a time where there will be a drop towards craftsmanship. It will only go upwards. Q. How have the prices of embroidery changed over the years? A. I think that India is going to be the only places in the world that can offer master craftsmanship at a price that isn’t in fact the same price you would pay for other skills. It is a lot more expensive in other parts of the world. Prices will rise and just like prices everything else will rise and I think that’s something common for every industry. Q. How will this affect couture prices or the high fashion? A. The couture prices would definitely increase, and the demand would only increase day by day. The value for hand embroidery is increasing, so will its price especially if the artisans reduce in the future. Q. Has the value of hand embroidery increased with time? Would it continue to flourish? A. Yes. I think earlier the definition of luxury could be you know crocodile skin or fur and today because of consumer the luxury definition is evolved into something more purposeful. It needs to be clean in their consciousness therefore more than ever craftsmanship is taking the centerstage and automatically awareness levels have built in their appreciation has increased. I am convinced that it is going in a circle again, we are going back to the time where craftsmanship is given the respect and love that is necessary to keep it alive. As an entrepreneur I must make sure that the love continues. Q. Would embroidery get limited to machine embroidery with time? A. We a lot of machines but we can only do sequins and threadworks, it good commercially but the flavor is very different and its more ZARDOZI EMBROIDERY 82 | Page
synonymous to high street fashion. When we talk about true luxury it will need to be much more crafted and therefore while it may continue there will be convention there too. It will grow but never replace hand embroidery. It depends on how much invention takes place in the machine industry and how much they create and what trends get created based in the invention. Depends who invest more time being in innovation. There is more value in hand craftsmanship and certain skill which you can’t replace. Machine loses that value. I am sure luxury houses have there brackets where certain brackets must have the exclusivity of hand craftsmanship and certain bracketswhich is more commercial, there is always a place for both. Q. Do you think the way fast fashion moves and the pressure which comes on the craftsmen is right? A. I think that maybe the key problem with luxury houses is that they are so large that within their own departments they may not, so they are very responsible as a company and their philosophies are very responsible. Their CSR departments are very active, and their global compliances are very active. Sometimes the style division at times have no time and they also work with the same kind of pressure like us. I don’t think its something they expect us to go alone, its something that is inherent in the fashion industry and there are times the way to treat it. I think in every industry there will be crunch periods. If you compensate the crunch periods monetarily as well as given the necessary time off, then it’s taken care of. It is not wise to expect everything to happen in the theoretical time frame. Q. I have heard your company XYZ has taken a few initiatives towards the craftsmen. Can you tell me more about your program which would help revive the art and help it sustain? A. The idea was to women to have their own independent futures but also in that process in keeping the magic of artisanal craftsmanship alive we thought would have a school which teaches women the craft and teaches it at a level which is internationally acclaimed, and we are providing income generation models for these women. They can absorb them into our women’s workshop and therefore become a full circle with them. The idea of the program started with having a school for hand embroidery, and while talking with a big luxury house designer, ZARDOZI EMBROIDERY 83 | Page
Person X, she came up with the vision that maybe it would be useful to have women and give them an opportunity in a male dominated society and craft and the women are perfectly capable, just not given the opportunity to learn it. So, it just began with a simple thought and we worked very hard on the curriculum and got it going in a way where its recognized, complete, meets standards and we started with a group of 20 women and then we had 100 women by the end of the year. There three courses. The basic embroidery course, intermediate and advanced level and the whole program takes 14 months to complete, post which there in an internship in the atelier and they can join. Q. Do you think fashion houses should put efforts/CSR initiatives to help save this slowly dying art form? A. Absolutely! Every industry is incomplete without the socioeconomic aspect. Everyone should do their bit to give back. We need to basically build more awareness and that will happen if internationally more transparency on the dependency on these artisans from India. But you know, that is maybe changing, today they no longer shun the media it has been recognized as a center of craftsmanship it’s just the matter of time! 5.2 Interview with Individual B. Q. How long have you been in the Embroidery Industry and what do you think of the hand embroidery Industry? A. I have been working since the past 17 years in the hand embroidery industry. I think the industry presently is doing well and will go on for a while. Fashion will never stop, the techniques of the craft will change, materials season will keep changing. It is a very traditional industry which all us artisans have been following for years now. It is our family heritage. There used to be a time we were very proud about it. Q. With the growing education and standard of living how do you think it’s going to affect the hand embroidery Industry? A. The hand embroidery industry will be declining in India. With the growing standard of living it is a very hard job which pays less compared to other jobs. The labor will reduce in the coming years. I would approximately say it would reduce by 50% in the next 10 years. Especially for the art of zari (hand needle style). 10 years ago, every ZARDOZI EMBROIDERY 84 | Page
month there used to 25 new embroiderers who would join to learn the craft now its difficult to recruit one artisan a month. Q. How will the decline in hand embroidery affect the fashion luxury houses? A. This will surely affect the fashion houses because we are the main suppliers to the beautification of their garments. If our numbers dwindle, it will affect the big houses. The decline is slow, but it is definitely happening. The prices of the garments with hand embroidery would increase and become more precious. Q. How have the prices of embroidery changed over the years? A. First the labor rate used to be less but that time the standard of living was slower. They have increased but compared to the standard of living in an urban city it is less. The company has a budget where the artisans suffer the most. Q. Has the value of hand embroidery increased with time? Would it continue to flourish? A. The value has definitely increased with time. For the art to flourish the artisan must be uplifted. The present artisans would continue the art till they grow old, approximately an artisan of 35 years old would work for 15 more years till his vision is impaired or he is physically capable to sit for hours and hours. But he wouldn’t want his son to do this and neither would his son would want to pursue this career as you have to work for 14 hours with such less pay. The artisan father would want his son to be doing a better job which would give more income as well as more physical rest. I wouldn’t even let my own child to be a part of this business. Q. So what measures should be taken for the artisans to not fade away and let the art survive? A. First and foremost, the artisan should be taken care of properly. Working a standard of 8 hours should be compulsory. Like how government jobs are of standardized timings. We are humans too; the fashion industry is fast paced but our hands aren’t as fast as machines. The artisan should be provided with facilities like health insurance. Every artisan should at least get a salary of 25000 Rs per month, in hand in the ZARDOZI EMBROIDERY 85 | Page
present times (2018). Only when they get paid well enough and have normal hours of labor, would they think that yeah this is a good career to pursue. Then you would encourage your children as well. When we asked for these demands every company says that if the labor is reduced we won’t be able to supply to the needs of the European fashion. Also, if one company implements this rule, then the European fashion house client would move to an export house which meets their high volume demands which would create a loss for the company. Only when all export houses set these ground rules with the help of government laws being stricter, would make a change. It is difficult to break the tradition since its been there since a long time, but it must be done if they want the artisans to work in the future. Q. How can the artisan take steps towards this? A. The problem is, these artisans don’t themselves know the value of their skill. The talent which they have is very precious. The poor artisans don’t understand that their skill is been underrated. They either have to voice their demands, which they don’t or at least the export houses should take care of these artisans if they want to make a profit in the long run. This line of work would be there in the future in way lesser amount if nothing is done but it will not be the same as before. 5.3 Interview with Individual C. Q. What would be the impact of decrease in the art of embroidery on luxury fashion houses? A. Luxury brands and Couture relies on embroidery as one of the elements that adds value to product. It also gives the opportunity to create distinct and one of a kind experiences for the brand. With the changing methods and technology embroidery done by hand remains as the classic technique to work with material. Decrease of embroidery may give opportunity for various other surface developments like printing, fabric manipulations to be explored for luxury wear. Q. Has the value of hand embroidery increased with time? Would it continue? A. Yes, the value of hand embroidery has certainly increased with time and will continue in future too. Considering that the number of artisans who practice the form are decreasing with time the repercussions are ZARDOZI EMBROIDERY 86 | Page
clearly seen on the cost / availability / exclusivity of the embroidery. The value of product not just in terms of monetary but also with respect to functional, social and psychological of the user. Q. Would embroidery be limited to only machine embroidery with time? A. No, hand embroidery will still sustain and find its niche in the vast fashion luxury world. But the usage and its availability will probably become more exclusive with time in near future. Also, with changes in the technology and its application – designers will evolve and adapt bringing together a fusion that works as an added advantage to support hand embroidery. Q. Will the growth of machine embroidery impact the value of luxury clothing? A. The value of luxury product will be proportionate to the usage of machine embroidery in the product. It is simply the mathematics of putting the costing together to understand the impact of value. Further, it is also important to understand that value need not be just on monetary basis. Q. What can be done presently to revive the art and sustain it? A. I see and believe that there could be several approaches, listing a few: - Clarity of communication, that is the designer giving ample credit and clarity to the embroidery technique and the artisan who has done it. This would help in bringing in notice to help promote growth of the craft. Commitment from the industry to boost and provide ample work and fair remuneration to the craft practitioner. - Promoting and creating employment through the craft itself rather than the embroidery becoming just a family tradition. The craft could be spread within the region by the core community to involve more artists helping it spread.
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Local Market Survey A detailed survey of the area was made to access the existing design at Bhopal Zari crafts , the available materials , technical inputs , production process and marketability of products etc. for the development of new design , which can easily marketed . Survey has done before the Project starting , keeping certain things in mind such as the present condition of craft and its practitioners to know the basic requirement , the problem and its solutions and last but not least for the scoop and possibilities of the crafts and its practitioners . How one can get them in the line of current world of competition . The work was started keeping basic aspects of the development like locating the active area i.e. geographically where the craft stands , which level of skills craft persons have , basic difficulties around the area so that it could easy to reach and rectify the problem . The result reveals heartening facts . No doubt . they are skilled and deserve every right to get all the recognition that others enjoying . The craft persons were talented and practicing it as the products made out of this craft is in everyday use . The craft persons practicing the art for the house hold needs and for some small business point . Their products of concerned and the designs were of limited stock as they don't have exposure to the outer world of competition . The artisans are skilled but easily can be mold in to any shape of desire The ultimate story is that , by proper guidance regarding the designs , ability to judge the trend and requirement of the market , technical puts, providing proper marketing network refinement of taste and choices to be built up among the artisans to enable them to put an overall performance on the crafts to ensure end users satisfaction The result of the survey reveals the facts which can be summarized that crafts persons practicing the craft were not too lucky compare to others , as the area of concern was not videographically gifted place but accessibility to connect internationally and domestic market.
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Discussion This research has led to my understanding that embroidery is an art which is one of a kind. Along with that, it is a labour-intensive art to provide to the fast paced and booming luxury fashion industry. The literature review, along with on field interviews with industry experts, and an autobiographical field text have given me a clear vision of the history, present scenario and as well as a glimpse in the future of the embroidery industry. Embroidery carries a rich heritage and tradition. The art form started out as a livelihood in most countries, especially a craft done by the women to decorate their houses. As the art became a prestige in ateliers, more interests were built in women and men. In countries like India, the ideology of the man being the earning member of the family and the woman being a housewife lingered for a longer time than in developed countries. This ideology prevails in the rural parts of the country even today. This also led a lot of male artisans in India to this craft as a source of income and profession, which is why today the majority industrially working are all male. After industrialization and many more developments in technologies, the artisans of this craft moved on to other fields of work which were having higher wages, further making the embroidery craft lose more value. It was not considered as equal to technological knowledge and hence did not hold more value and was not paid well. This concept is still present strongly present in India. In the beginning of the revolution of the fashion industry, there were many craftsmen practising the art which decreased the value as well as developing countries like India focused more on the technological and political aspects for growth and development of the country. Embroidery has always been an important aesthetic feature of luxury fashion. The world of couture, especially the breath-taking elegant gowns often have intricate hand embroideries as a luxurious factor. These couture houses as well as the luxury fashion brands use various types crafts for exclusivity and fine craftsmanship quality to keep the luxury factor in the brand. Luxury fashion brands not only use their brand value as a luxury, but also behind every great couture house right from Chanel, Valentino, Gucci, Yves Saint Laurent, and so on is a skilled team of artisans who turn these fashion dreams into a reality for the designers (Farnault,2014). The fashion industry ZARDOZI EMBROIDERY 89 | Page
undeniably provides work and a source of income to the artisans but at the same time, the fast pace of the very same fashion industry is ruining the magic and beauty of the craftsmanship itself. The craftspeople carried this art as passion and not just a source of income. Wages for the embroiderers in India are low as there is yet to be an urgent awakening in the industry for measures to be taken to uplift the craftsmen. The fashion industry and its high-volume demands are plummeting. The passion and desire to contribute by the embroiders and needle workers as they once were is affected by this pressure as well as the low pay scale. India having the largest number of hand embroiderers, as well as the cost of embroidery being less due to the difference of the currency value to Euro, makes it the ideal source for sampling as well as production. A few years back, the luxury fashion industry was not as transparent as it is getting today. We are currently seeing a ban on fur and skins slowly embraced by the luxury brands. The world is getting more aware and the millennial generations care about the ‘behind the scenes’ and are conscious about what is happening around them and the consumer thinks before he or she shops. Companies in the fashion industry are slowly but steadily adopting and then adapting to these changes and needs asked by the consumers. The corporate social responsibilities are more expanded, and the companies have to think about the aspects like sustainability, transparency and validity. The couture and luxury brands are slowly talking about the embellishers, atelier seamstresses and other artisans who are the backbone of the brand. A lot of export houses based in India are now trying to get more transparent as the luxury houses have started getting more self-aware. Export houses that have also started their own schools for embroidery for underprivileged women and men who can pursue the courses and join the ateliers is step not only towards the growth of the company but also towards the idea of giving back to the society and other CSR initiatives. However, in contradiction to the positive direction of promotion of the craft, the already-existing artisans within the export houses are still working extra hours and being paid less. Today, fashion is getting more and more extravagant and dramatic. Every designer and couturier want to successfully cement their standing in the industry and get recognized. Whether the creations are bold or restrained, traditional or revolutionary, simple or luxurious, these designers and couturiers ZARDOZI EMBROIDERY 90 | Page
would not exist without the arts and the craftspeople such as embroiderers, lace makers, weavers, textile painters, pleaters, glassblowers, leatherworkers and so on. Equally, the crafts people’s art would not exist if the designers and couturiers didn’t use it. They are mutually dependent. This research helps us formulate through interviews, narrative inquiry and findings the importance of embroidery and creators as art and artists, relatively. The study further demonstrates the current state of the industry and the need for revival and upliftment to slow down its present steady decline to benefit the luxury fashion industry as well as the embroidery artisans.
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Conclusion ‘The Fading Art of Indian Embroidery and its Impact Luxury Fashion’ is a sociocultural issue which has been active for the past few years. As more generations enter the world, the impact of this issue has started to gain visibility within the industry. The art is still not completely endangered but is slowly progressing towards a decline. The research conducted uncovers the art of embroidery the problem of the number of artisans dwindling, and the study has helped us come to explore the current situation and the solution to the very problem. The luxury fashion industry is a progressive, fast paced world where something new is expected season after season from the designers. There is constant competition, pressure and a tremendous amount of efforts from the designers to the seamstresses to the craftsmen. Everything works hand in hand and without every aspect performed rightly, the luxury brand is no more valuable. The craftspeople from developing countries are ones which are at the most bottom tier of the industry and yet are one of the important aspects of the brand’s skeleton. The luxury fashion houses, despite knowing and understanding the value of the embroiderer, often don’t give them enough credit and recognition. As they are not as valued in developing countries, and are not supported by the luxury houses, the artisans believe that this line of career is not a good one and do not want others or their children to pursue it. This ideology is still in its early stages, but only with the correct and dedicated awareness and promotion can it be changed. There is a need to further take the responsibility of the artisans who sow the luxurious value into the garments and accessories. While these couture dresses and luxury pretaporters, accessories, shoes and so on get sold for thousands of dollars, the Indian artisan only makes sufficient money to provide an average living for themselves and their family. The luxury fashion houses, the government of India, the export houses in India, and consumers must create a sense of awareness in these early stages to prevent the decline of this form of art in a much more rapid amount in the later years. If the embroiderers are not given their rights and the art form in India is not given the rightful encouragement, it will eventually create a domino effect on the luxury fashion brands as well as the end customer. The research can be concluded by creating an awareness about the state of the industry. The fading of the art of Indian embroidery is still slow and the right measures can help save ZARDOZI EMBROIDERY 92 | Page
and treasure this creative field as well as hold a brighter future for luxury fashion. The research strongly suggests for everyone to become aware and spread the awareness. It achingly provides a voice for the artisan, to not let people forget the hands that sew the sequins.
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Bibliography • https://en.m.wikipedia.org/wiki/Zardozi • https://fashionous.in/blogs/knowledge-corner/motifs-used-in-indiantextiles • https://sewguide.com/zardosi-embroidery-work • https://eclectictaurean.wordpress.com/2016/06/07/documentarycoming-soon/ • https://www.littleindiasalwarboutique.com/blogs/styles/embroidery -from-india-zari-zardosi-and-dabka • https://textilelearner.blogspot.com/2019/03/traditionalembroideries-india.html • https://www.pinterest.cl/pin/531917405990275029/
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